Ajami

Astonishing that this is a debut feature from two young directors. The film, named for the Jaffa neighborhood where most of it takes place, chronicles the story of several neighborhood residents who tread through life amid rampant crime, strict Arab family structures and rules, clan law, revenge killings, harsh police and racism, and the growing Jewish presence in the neighborhood. It could have easily fallen onto the abundant clichés which generally characterize films that delve on this subject matter - but instead, there are no fingers pointed, no blame set and no far-fetched allegories. The focal point is always on individual human beings, and the injustices and tragedies that constrict their paths.

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.

There is the sensitive kid thrust into a situation that requires more maturity and smarts than normal for his age, there is the couple whose love incurs disapproval because it crosses ethnic lines, there is the authority figure who protects you today but may turn against you tomorrow... the problem is, this movie has two of each of those. The cast of characters is huge and hard to keep track of, the plot is artificially discontinuous, and in short if you want to get the movie straight, you'd better be ready to see it twice. Which you may want to, because the acting is convincing and although the characters are used from time to time to make a clear and didactic sociopolitical point, they win considerable sympathy from the viewer-- without, for the most part, being oversentimentalized.

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.

Ajami is a first film by the team of Scandar Copti, an Israeli Arab (with a Christian family name), and Yaron Shani, an Israeli Jew. It gained recognition at Cannes and in Israel; and is nominated for the Best Foreign Oscar. Using locally recruited non-actors, shooting in the Ajami neighborhood of Jaffa, which has become a mostly Arab ghetto outpost of Tel Aviv, 'Ajami' is full of improvisation and hand-held camera work that give it an intense feeling of immediacy -- and seethes with action disturbing enough to leave you feeling bruised. Israeli cinema is remarkable for a tiny country; it's a pity more Arabs outside Israel can't see this film. Despite the myriad hostilities and misunderstandings 'Ajami' depicts -- between Palestinians from the territories and Israeli Arabs; Arab Christians and Arab Muslims; Israelis and Arabs; rich and poor; old and young -- there is hope in the fact that an Arab and a Jew could team up for such passionate film-making.

'Ajami' interweaves multiple story-lines with a documentary feel using a large cast and, to make matters more complicated but also underline interconnections, it's divided into chapters that are not quite in chronological order so some events are seen again, from a different angle the second time. Most of the scenes are in Arabic but some are in Hebrew or a mixture of Hebrew and Arabic. All the location inter-titles and the end credits are rigorously both Hebrew and Arabic -- a practice not uncommon in Israeli cinema, but especially resonant here.

The action begins with a drive-by shooting -- of the wrong person. A young boy, Nasri (Fouad Habash), who narrates the film, his soft voice giving it a kind of clarity and delicacy, is present when his cousin is shot while working on a car in the street. The hit man meant to get Nasri's brother Omar (Shahir Kabaha), as revenge for Nasri's uncle's killing of an extortionist. Omar is now clearly in mortal danger.

The neighborhood leader and restaurant owner Abu Elias (Youssef Sahwani) arranges a deal-brokering among village elders at a bedouin camp where men bid back and forth as to how much protection or payoff money is required for Omar to stay alive. Omar can't possibly raise the sum finally arrived upon, but he's indentured at Abu Elias' restaurant; and there, Omar turns out to be in love with his boss' daughter Hadir (Ranin Karim), a serious no-no, since her family is Christian and Omar's is Muslim. Next there arrives a bright-eyed and innocent teenager, Malek (Ibrahim Frege) who sneaks in from the occupied territories and is an illegal worker in the restaurant, an Arab exploited by an Arab, the harsh Abu Elias. Malek also has an impossible financial burden, needing to raise many thousands to pay for a bone marrow transplant for his seriously ill mother.

Eventually both Omar and Malek are drawn into trying to deal dope to raise money, against the strong objections of Nasri, and totally against the wishes of Abu Elias, who wishes to appear to function within the law, even if he doesn't.

Meanwhile there are the Israeli and near-Israeli parts of the story. Dishonest Israeli cop Dando (Eran Naim) appears both as a bastard, when persecuting the boys who're clumsily attempting to sell cocaine, and a softy, when it comes to the disappearance of his younger brother from the army, perhaps captured by Palestinians, an event that devastates his family (these are the all-Hebrew scenes). The Arab co-director Copti himself plays Binj, a Palestinian who speaks fluent Hebrew and has a non-Arabic speaking Jewish girlfriend. He is pressured by his Arab friends for this, and his life turns tragic when he holds drugs for the others after his brother has stabbed a Jewish neighbor in an argument over noisy animals, and the cops manhandle him, with Dando on hand in his bad-cop role. This sequence about Binj seems to dramatize the futility of cross-over dreams in this harsh world. (The problems faced by Arabs living in a Hebrew-speaking Israeli environment has also been dealt with in the hit Israeli sitcom "Arab Work.")

It doesn't necessarily seem as though Dando is more dangerous, in a sense, for the young Palestinians than the brutish Abu Elias, who threatens to break Omar's bones if he continues his courtship of Hadir. Partly it is the elders who appear as the villains, more threatening here than Israeli checkpoint guards.

One has to grapple with all these plot elements to follow 'Ajami.' The intersections get complicated, and the film is a bit under-edited at two full hours, but there is a wealth of cultural material that gets across along with the insistent problems and an overwhelming sense of hopelessness for young Arabs. There is great warmth among friends and family members of all stripes. But even fun moments seem framed in scariness, like a birthday celebration for Malek which he's sent to by threatening him that the "government" (الحكومة, i.e. police) is after him. Even the birthday present they give Malek, an electrified tennis racket, has an edge of menace. 'Ajami' doesn't stop for a breath or a moment of happiness: it succeeds in convincing you that isn't possible.

Further proof of that impossibility came early this month (February 2010) and life imitated art when Scandar Copti's brother Tony, a supporting actor in the film, was arrested after Israeli police accused some Ajami teenagers of hiding drugs who said they were only burying a dog. This led to a brawl in which Tony Copti and another brother were arrested and hauled off to the police station for questioning, according to a 'Haaretz' article.