socialmedia-437-956449
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The story begins with a will, which Nawal (Lubna Azzabal), a Canadian expat with Middle Eastern origins, leaves behind for twins Jeanne (Mélissa Désormeaux-Poulin) and Simon (Maxim Gaudet). The will consists of two sealed envelopes with instructions for delivery listing Jeanne and Simon's supposedly late father, and their recently discovered older brother. From that point forward, the twins embark upon an adventure in a war-torn country, with the sole purpose of unlocking the mystery left behind by their mother; a mystery providing a gateway to their homeland and origins.
The magnificent prologue of the film speaks volumes, with a beautiful, seemingly serene hilly landscape tricking the audience into a false sense of security. The camera then slowly sweeps across a room full of young boys either with clippers shaving their heads to a military standard, or receiving terrifying looking arms. The camera pauses on one boy with piercing eyes, looking at us in a moving combination of fear, anger and resentment as his hair falls on his shoulders, rendering him bald and ready. In the background, Radiohead's 'You and Whose Army' hypnotises us, imprinting the powerful image in our memory – one which will strongly be recalled later on in this film. This scene alone is worth sturdy artistic praise.
Face down, naked and without a memorial is the burial instruction left behind by the apparently tortured Nawal, with a haunting quote noting that, " childhood is a knife in the throat that you can't easily take off". The children realise that a gravestone can only be added when the puzzles of their mother's past are unlocked with the delivery of the letters within the cryptic will.
Based on a play by Wajdi Mouawad,'Scorched' which I am not familiar with, but one could feel tell that the screenplay adaptation turned Mouawad's work into a respected and admired, multi award winning picture. The film garnered international attention, with twenty wins in total at various festivals, including an Oscar nomination for Best Foreign Language Film. 'Incendies' was also one of the most highly praised films screened during the second edition of the Doha Tribeca Film Festival (DTFF), encouraging further exploration into its appeal.
Can war be poetic? With Villeneuve, this is possible. It is also romantic and ruthless, combining the most extreme of human emotions, leading to radical choices like the Christian Nawal's recruitment by Muslim militia. The poetic narrative exposes idyllic sceneries that the director focuses on often, revealing shortly after the truths of a raw, harsh and poignant reality. .
From the moment Jeanne lands in the Middle East we are transported to stories from her mother's history. Although the country's name is fictional, the historical details fail to belie the nation in question is in fact Lebanon. Every location she visits is alternated with a parallel memory from her mother's past, featuring ferocious battles, both as just a woman and also as a political activist. As soon as Jeanne infiltrates her Nawal's hometown, she is exposed to the complex hatred that society continues to struggle with, even years after the war has ended. The villagers blatantly refuse Jeanne assistance upon discovering she is Nawal's daughter, without any mention of her mother treated like a taboo.
While Simon is resisting his mother's enforced wishes, it is Jeanne who initially takes the solo initiative to seek closure. Throughout her adventures, we learn that this same, unfriendly village appears to be the basis of Nawal's struggles upon falling pregnant with a Palestinian man who was brutally murdered by her own brothers. Drowned in the shadow of disgrace by everybody in the village due to falling pregnant, Nawal delivers a boy who is taken away from her upon birth. With a tattoo marking his shin, Nawal had vowed to find her child at any cost, only to be driven out of the village for fear of persecution and even death. This is when she takes drastic decisions out of anger, resentment and fear, just like the boy at the opening of the film.
The war is not just the context but explains – regardless of one's political stance – that there's more to what people choose to practice and preach than mere ideals. Nawal's decision to join the militia was primarily born out of despair and the injustices she suffered. In the style of a mythological Greek tragedy, the plot then cleverly reveals key information within every step the twins' detective efforts reaped. After years of absence, it becomes obvious to them that war had never really left all of their mother's past protagonists, but lived on and festered within them.
Although the children had considered their mother as nothing more than a neurotic, unstable character, the journey they embark on honours what is in fact a valiant woman, also known as "the woman who sings". The past was too painful to be easily forgotten, and it seemed they had never really understood their mother.
The film is picturesque, memorable in every scene, surprising, tense and mysterious in parts. Villeneuve portrays a vulnerable and curious vision from Nawal's viewpoint, one that is applicable to any person regardless of religion and political parties, but sharing the same circumstances. For someone who is unaware of the conflict of the Middle East, the narration carries no judgment as to innocence and guilt, or what may be considered right or wrong. As with war in general it is a personal perspective which highlights how one's worst enemy can also be a precious part of oneself. It is the story of struggling women, star-crossed lovers and suffering mothers and the personal journey of a life, and family legend, tainted by war and society.
The magnificent prologue of the film speaks volumes, with a beautiful, seemingly serene hilly landscape tricking the audience into a false sense of security. The camera then slowly sweeps across a room full of young boys either with clippers shaving their heads to a military standard, or receiving terrifying looking arms. The camera pauses on one boy with piercing eyes, looking at us in a moving combination of fear, anger and resentment as his hair falls on his shoulders, rendering him bald and ready. In the background, Radiohead's 'You and Whose Army' hypnotises us, imprinting the powerful image in our memory – one which will strongly be recalled later on in this film. This scene alone is worth sturdy artistic praise.
Face down, naked and without a memorial is the burial instruction left behind by the apparently tortured Nawal, with a haunting quote noting that, " childhood is a knife in the throat that you can't easily take off". The children realise that a gravestone can only be added when the puzzles of their mother's past are unlocked with the delivery of the letters within the cryptic will.
Based on a play by Wajdi Mouawad,'Scorched' which I am not familiar with, but one could feel tell that the screenplay adaptation turned Mouawad's work into a respected and admired, multi award winning picture. The film garnered international attention, with twenty wins in total at various festivals, including an Oscar nomination for Best Foreign Language Film. 'Incendies' was also one of the most highly praised films screened during the second edition of the Doha Tribeca Film Festival (DTFF), encouraging further exploration into its appeal.
Can war be poetic? With Villeneuve, this is possible. It is also romantic and ruthless, combining the most extreme of human emotions, leading to radical choices like the Christian Nawal's recruitment by Muslim militia. The poetic narrative exposes idyllic sceneries that the director focuses on often, revealing shortly after the truths of a raw, harsh and poignant reality. .
From the moment Jeanne lands in the Middle East we are transported to stories from her mother's history. Although the country's name is fictional, the historical details fail to belie the nation in question is in fact Lebanon. Every location she visits is alternated with a parallel memory from her mother's past, featuring ferocious battles, both as just a woman and also as a political activist. As soon as Jeanne infiltrates her Nawal's hometown, she is exposed to the complex hatred that society continues to struggle with, even years after the war has ended. The villagers blatantly refuse Jeanne assistance upon discovering she is Nawal's daughter, without any mention of her mother treated like a taboo.
While Simon is resisting his mother's enforced wishes, it is Jeanne who initially takes the solo initiative to seek closure. Throughout her adventures, we learn that this same, unfriendly village appears to be the basis of Nawal's struggles upon falling pregnant with a Palestinian man who was brutally murdered by her own brothers. Drowned in the shadow of disgrace by everybody in the village due to falling pregnant, Nawal delivers a boy who is taken away from her upon birth. With a tattoo marking his shin, Nawal had vowed to find her child at any cost, only to be driven out of the village for fear of persecution and even death. This is when she takes drastic decisions out of anger, resentment and fear, just like the boy at the opening of the film.
The war is not just the context but explains – regardless of one's political stance – that there's more to what people choose to practice and preach than mere ideals. Nawal's decision to join the militia was primarily born out of despair and the injustices she suffered. In the style of a mythological Greek tragedy, the plot then cleverly reveals key information within every step the twins' detective efforts reaped. After years of absence, it becomes obvious to them that war had never really left all of their mother's past protagonists, but lived on and festered within them.
Although the children had considered their mother as nothing more than a neurotic, unstable character, the journey they embark on honours what is in fact a valiant woman, also known as "the woman who sings". The past was too painful to be easily forgotten, and it seemed they had never really understood their mother.
The film is picturesque, memorable in every scene, surprising, tense and mysterious in parts. Villeneuve portrays a vulnerable and curious vision from Nawal's viewpoint, one that is applicable to any person regardless of religion and political parties, but sharing the same circumstances. For someone who is unaware of the conflict of the Middle East, the narration carries no judgment as to innocence and guilt, or what may be considered right or wrong. As with war in general it is a personal perspective which highlights how one's worst enemy can also be a precious part of oneself. It is the story of struggling women, star-crossed lovers and suffering mothers and the personal journey of a life, and family legend, tainted by war and society.
From the producers of "Shaun of the Dead" comes "Attack the Block", a science fiction comedy that pits savage alien monsters against the Earth's best line of defense, a group of hoody wearing, knife wielding, teenaged youths from the mean streets of South London.
The story for this dark British comedy unfolds in the unlikely setting of a deprived and foreboding council estate, where we meet the anti-hero Moses (John Boyega) and his gang as they rob an innocent woman, Sam (Jodie Whittaker) at knife point. There is no hiding the fact that these teenagers are the stuff of nightmares as they prey upon fragile victims, but it is they who soon become the prey when aliens start dropping out of the sky in the form of dark, vicious dog-like monsters. As one of the teenagers exclaims, the aliens are "blacker than my cousin Femi!" Joe Cornish, the writer/director, took inspiration from his own personal experience of a mugging in Brixton, London. Having an understanding of the nature of disenfranchised youth gave weight to the character development of these teenagers, who, if they were to meet the kids from the 1985 film, "The Goonies", would most likely beat them up, steal their bikes, and eat all of Chunk's chocolate bars. The use of street slang and popular culture is a means to win the audience over – "I just want to go home, lock my door and play Fifa" has a universal appeal to PlayStation addicted urbanites across the globe. You soon forget that Moses and his gang would sell their own grandmother for loose change if they weren't being pursued by the devilish monsters from outer space.
There is no doubt that Cornish has attempted to create a film with a social conscious, setting it in a deprived area of broken Britain which remarks on a society not giving the disenfranchised a chance at life. Interestingly, the film was released in the UK a few months before riots broke out in London – almost telegraphing a message of discontent felt by the young. Although not standing behind a banner of justice, the riots were a sharp reminder to politicians and community groups that there exist deep rooted problems in certain sections of British society.
By no means an essay for social reform, "Attack the Block" keeps the laughs coming. There are plenty of nods to teenage sci-fi films, with clear references to "Gremlins" and "Critters". But where in those American films, we saw well behaved kids rallying together, here we see young terrors yelling, "killing 'em, killing 'em straight".
The cast of mainly inexperienced actors give real authenticity to the group. Mainly discovered through their schools and online auditions, we are given a raw performances of real street kids – all of whom would be expelled from Hogwarts if they even bothered to turn up. Jodie Whittaker is a convincing underpaid overworked nurse who the gang first robs, before reuniting with her to take on the aliens. Nick Frost adds hilarity as a lazy drug dealer who never leaves his flat.
The CGI aliens are probably the most silly aspect of "Attack the Block". They look like black blobs with glowing teeth, which is meant for a minimal effect. I couldn't but help think it may have been a budget constraint. Still this film is about delivering comedic set pieces over its brisk 88 minutes. "Attack the Block" is a film teenagers will adore, as well as adults with misspent youths. You may wish to be warned that some of the comedy may fly over the heads of a non-British audience, but "Shaun of the Dead" worked as an export and if that's the kind of film you like then you are sure to enjoy Attack the Block – just as long as you can decode the street jargon.
The story for this dark British comedy unfolds in the unlikely setting of a deprived and foreboding council estate, where we meet the anti-hero Moses (John Boyega) and his gang as they rob an innocent woman, Sam (Jodie Whittaker) at knife point. There is no hiding the fact that these teenagers are the stuff of nightmares as they prey upon fragile victims, but it is they who soon become the prey when aliens start dropping out of the sky in the form of dark, vicious dog-like monsters. As one of the teenagers exclaims, the aliens are "blacker than my cousin Femi!" Joe Cornish, the writer/director, took inspiration from his own personal experience of a mugging in Brixton, London. Having an understanding of the nature of disenfranchised youth gave weight to the character development of these teenagers, who, if they were to meet the kids from the 1985 film, "The Goonies", would most likely beat them up, steal their bikes, and eat all of Chunk's chocolate bars. The use of street slang and popular culture is a means to win the audience over – "I just want to go home, lock my door and play Fifa" has a universal appeal to PlayStation addicted urbanites across the globe. You soon forget that Moses and his gang would sell their own grandmother for loose change if they weren't being pursued by the devilish monsters from outer space.
There is no doubt that Cornish has attempted to create a film with a social conscious, setting it in a deprived area of broken Britain which remarks on a society not giving the disenfranchised a chance at life. Interestingly, the film was released in the UK a few months before riots broke out in London – almost telegraphing a message of discontent felt by the young. Although not standing behind a banner of justice, the riots were a sharp reminder to politicians and community groups that there exist deep rooted problems in certain sections of British society.
By no means an essay for social reform, "Attack the Block" keeps the laughs coming. There are plenty of nods to teenage sci-fi films, with clear references to "Gremlins" and "Critters". But where in those American films, we saw well behaved kids rallying together, here we see young terrors yelling, "killing 'em, killing 'em straight".
The cast of mainly inexperienced actors give real authenticity to the group. Mainly discovered through their schools and online auditions, we are given a raw performances of real street kids – all of whom would be expelled from Hogwarts if they even bothered to turn up. Jodie Whittaker is a convincing underpaid overworked nurse who the gang first robs, before reuniting with her to take on the aliens. Nick Frost adds hilarity as a lazy drug dealer who never leaves his flat.
The CGI aliens are probably the most silly aspect of "Attack the Block". They look like black blobs with glowing teeth, which is meant for a minimal effect. I couldn't but help think it may have been a budget constraint. Still this film is about delivering comedic set pieces over its brisk 88 minutes. "Attack the Block" is a film teenagers will adore, as well as adults with misspent youths. You may wish to be warned that some of the comedy may fly over the heads of a non-British audience, but "Shaun of the Dead" worked as an export and if that's the kind of film you like then you are sure to enjoy Attack the Block – just as long as you can decode the street jargon.
Based on an autobiographical book by Albert Camus, "Le Premier Homme" film follows Jean Cormery (Jacques Gamblin) the alter ego of the famed philosopher and journalist, on his return to Algeria in the late 1950s. He is back to visit his mother (Catherine Sola) to whom he is attached, reconnect with his past and trace stories of his father.
The film is relayed in the past and present. We visit the writer's tender childhood through flashbacks, while the present carries the struggles of a man torn between the warmth of the Algerian sun, the weight of the colonialism stamp as pied-noir and the bitter relations between both continents.
The mother and son conversations are some of the powerful scenes in "Le Premier Homme". She is overwhelmingly proud of what her son has become; he worries about her living alone in her advancing years. It is a unique bond, often charming in its silences. One can't be indifferent to the magnificent performances by both Gamblin and Sola.
Then comes the Algerian land that Cormery insists on visiting, triggering his vivid reminiscence of childhood. We are shown how this young boy with innocent features showed, at a very early age, a remarkable gift for perception while excelling in his academic performances. This combination will define him as an adult as he tries to fight the effects of colonialism and pays a price for taking a stand on the dilemma.
"Le Premier Homme" is adapted from the book with the same name, which was discovered after the tragic death of Camus in a car accident. The unfinished manuscript was published intact with Camus' notes and mistakes years later. The incomplete autobiography combines the passions inherited from his Algerian birthplace with the probing intellect of a revolutionary existentialistic and genuine thinker. Camus's words are translated into images allowing us to follow the development of his on-screen persona. The omnipresence of the sun and sea captures the hospitality of the Algerian landscape as he's always described it.
Winner of the Prize of the International Critics for Special Presentation at the Toronto Film Festival 2011, "Le Premier Homme" manages to stay loyal to Camus' spirit. As co-producer Bruno Pésery explained at the Dubai International Film Festival last year, the filmmakers filled the narrative gaps of the incomplete book using archival pictures and letters of the author, with the collaboration of Camus's daughter.
When I first learnt about this film at DIFF, I approached the screening with feelings of fear and excitement. The writings of Camus shaped my early thoughts. Fortunately, the film keeps the integrity of his beautiful descriptions intact: the cinematography, focusing on sunny panoramas and warm-colored flashbacks, offers an authentic view of Algeria.
This is no surprise as Italian director Gianni Amelio, winner of Canne's Grand Jury Award for his 1992 feature "The Stolen Children" has combined his interest in philosophy with a sympathy for Camus' upbringing; both were raised by their mothers and grandmothers and deeply affected by the absence of paternal figures. The results make for a meticulously crafted and emotional film. Fans of Camus will find "Le Premier Homme" both cathartic and heart-warming.
The film is relayed in the past and present. We visit the writer's tender childhood through flashbacks, while the present carries the struggles of a man torn between the warmth of the Algerian sun, the weight of the colonialism stamp as pied-noir and the bitter relations between both continents.
The mother and son conversations are some of the powerful scenes in "Le Premier Homme". She is overwhelmingly proud of what her son has become; he worries about her living alone in her advancing years. It is a unique bond, often charming in its silences. One can't be indifferent to the magnificent performances by both Gamblin and Sola.
Then comes the Algerian land that Cormery insists on visiting, triggering his vivid reminiscence of childhood. We are shown how this young boy with innocent features showed, at a very early age, a remarkable gift for perception while excelling in his academic performances. This combination will define him as an adult as he tries to fight the effects of colonialism and pays a price for taking a stand on the dilemma.
"Le Premier Homme" is adapted from the book with the same name, which was discovered after the tragic death of Camus in a car accident. The unfinished manuscript was published intact with Camus' notes and mistakes years later. The incomplete autobiography combines the passions inherited from his Algerian birthplace with the probing intellect of a revolutionary existentialistic and genuine thinker. Camus's words are translated into images allowing us to follow the development of his on-screen persona. The omnipresence of the sun and sea captures the hospitality of the Algerian landscape as he's always described it.
Winner of the Prize of the International Critics for Special Presentation at the Toronto Film Festival 2011, "Le Premier Homme" manages to stay loyal to Camus' spirit. As co-producer Bruno Pésery explained at the Dubai International Film Festival last year, the filmmakers filled the narrative gaps of the incomplete book using archival pictures and letters of the author, with the collaboration of Camus's daughter.
When I first learnt about this film at DIFF, I approached the screening with feelings of fear and excitement. The writings of Camus shaped my early thoughts. Fortunately, the film keeps the integrity of his beautiful descriptions intact: the cinematography, focusing on sunny panoramas and warm-colored flashbacks, offers an authentic view of Algeria.
This is no surprise as Italian director Gianni Amelio, winner of Canne's Grand Jury Award for his 1992 feature "The Stolen Children" has combined his interest in philosophy with a sympathy for Camus' upbringing; both were raised by their mothers and grandmothers and deeply affected by the absence of paternal figures. The results make for a meticulously crafted and emotional film. Fans of Camus will find "Le Premier Homme" both cathartic and heart-warming.