Ajami

Ajami tells the tale of Israeli Jews and Arabs, albeit splintered. The audience is treated to a violent opening followed by dialogue and interaction. As they see the individual characters unwind, the Arab store owner, the Israeli cop, things begin to get more complicated.

The primary power of Ajami is in its mode of storytelling which correlates to the content itself. There are several chapters, each telling a different story. What is most intriguing is how these stories fit. A character will appear two chapters later only for his intentions to be revealed then. A certain act of violence, a consequence of violence, etc. are not contextualized but only taken in the moment. The viewer may be tempted to judge or hold preconceived notions about the characters until the filmmakers, often with great effect, reveal the true intentions of these individuals.

This can be applied to the whole of the Israel-Palestine situation. Each violence has its lasting impact on individuals and groups alike. In Ajami a murder is not only between the victim and the perpetrator. Likewise reading in the news about a killing can only tell a fraction of the truth. The filmmakers wisely adopted a very documentary like feel to this film, similar to The Class and Gomorra. Characters names are only mentioned realistically. There is a sense of confusion as to who is whom for some of the sequences. At times it is frustrating because a Western audience may be more tempted to discuss the actual identity of a character than understand the point of the movie as a whole. Another issue is that this documentary, video approach to film-making can sometimes feel problematic or trite. By the time the third and fourth chapters are reached, there are several emotional climaxes. But these are immediately followed by more revealing. It works in most cases, prompting me to give Ajami a very high mark.

It is a film worth seeing for anyone interested or disinterested in the region. A highly potent character study that proves, perhaps unintentionally, the power of a filmmaker to show or to not show intentions.

I attended a 'full house' screening at the Tricycle Cinema in London, having invited a party of 6 people of different ages and backgrounds. The consensus was unanimous, an excellently executed film, showing the rawness and tensions simmering within Israel's Arab & Jewish populations.

In his pre-screening presentation the director correctly focused on one of the core reasons why Jews & Arabs continue to be suspicious of the other...in many ways it is down to the Jews not speaking Arabic and only a few of the Arabs speaking Hebrew. It is amazing that the Israeli government has yet to address this issue.

This is definitely a film which needs to be seen twice in order to comprehend all the various nuances. Two scenes stood out for me...the Judgement scene at the Beduin elder...and Dando's family grieving.

Well done!

An interesting film, no doubt heavily influenced by "Traffic" and "Babel" "Ajani" takes 5 or 6 stories and quite brilliantly interweaves them together. The film mostly focuses on the Arab/Israeli conflict, and it's effect on the regular townspeople. It would help if you knew a bit of history (I didn't) to have a better political connection to the stories, but that's OK, the stories make up for it with it's human element. It's a bit confusing to follow for the first bit while you're trying to figure out what the filmmakers are doing, but once you get into it, you get hooked. Contains a twist ending that's both shocking and in an instant, puts more depth into the story. A must see if you're into these types of films. Great work here.

Ajami is the first full length feature film directed by two young Israelis Scandar Copti and Yaron Shani.

They have produced an extraordinary film which features five separate stories set in Ajami, a poor Arab neighborhood situated in the city of Tel-Aviv/Yafo. The many characters are played mostly by non professionals, i.e. are not working actors, and the result gives a documentary feel to the film. Amazingly the level of acting is very high and ensures that the film is completely believable and absorbing from beginning to end. Perhaps the only drawback is the limited time available to develop each main character. The viewer wants to know more about them and their lives but time is limited.

The film shows a part of Israeli society rarely shown in Israeli films (Arab Moslem and Arab Christian families living in Ajami) and the makers are to be commended for their achievement in showing a rather hidden side of our society.

Old Jaffa, bordered by the Mediterranean on the east and surrounded on the other three sides by Tel Aviv, is still predominantly Arab and Ajami is one of its neighborhoods. This film, which tells its several stories episodically and without drawing any explicit lessons, conveys the hazards attending life in a place where Israeli Arabs and Palestinian Arabs, both Muslim and Christian, Bedouin and other criminal gangs, rub up against one another under the sometimes watchful eye of Israeli police. Without summarizing the story to the point of revealing the plot, it is about violence and the threat of violence, about familial ties and codes, about vengeance and deals to appease the avengers. It is very well acted, and the subtitles make clear what is being said either in Arabic or Hebrew and occasionally both at once. The film makers have not had much experience. That makes it all the more remarkable that they have succeeded so admirably in telling overlapping stories from different vantage points and, sometimes, out of sequence without confusing the viewer. It is harsh but powerful film and well worth the two hours required to watch it.