Posts Tagged ‘Jordan’

Director: Naji Abu Nowar

Writers: Naji Abu Nowar and Bassel Ghandour

Country: United Arab Emirates, Qatar, Jordan, UK

Runtime: 100 mins

Cast: Jacir Eid, Hassan Mutlag, Hussain Salameh, Jack Fox

An outstanding desert survival drama from a talented first-time director

It is 1916. A group of Bedouin sit around a nighttime campfire in the Arabian desert. A stranger approaches on a camel. He is a British Army officer (Jack Fox), trying to catch up with his regiment. The Bedouin welcome him into their group and the next day two of them set out to accompany the soldier across the desert. However, young Theeb (meaning “wolf”) refuses to be left behind by his older brother (both of them are orphans) and chases after the group on his donkey. The older Arabs are reluctant to take Theeb (Jacir Eid) along with them, but it is a long way back to their camp and the boy is persistent. They all travel together, but eventually tragedy strikes when they are attacked by other Arabs.

As the story develops it becomes more than just a tale of a small group trying to survive a journey in the desert (although it is very much about this too). It is about how encroaching modernity, exemplified by the Ottoman’s desert railway, threatens the survival of nomadic peoples.  The Bedouin in the film are all non-professional actors, drawn from the last remaining Bedouin tribe in Jordan. They turn in quite exceptional performances. Unfortunately, as neither the London Film Festival programme, nor iMDB, connect the actors’ names to the characters I don’t know who to praise for his portrayal of a black-clad Arab bandit that Theeb encounters. By turns desperate, angry, trusting and friendly, this is a performance that dominates the film. For a first-time feature-film director to obtain such performances from non-professionals is really quite something special.

An obvious point of comparison for Theeb is Lawrence of Arabia, especially in relation to the blond-haired English officer seeking assistance from the native Bedouin. Writing in Sight & Sound magazine, Nick James wrote that he saw Theeb as “an antidote to the imperial swagger of Lawrence of Arabia”. However, whilst it is difficult not to make the comparison, in reality these are two entirely different movies. I don’t even consider that Lawrence has “imperial swagger”, which strikes me as a fundamental misreading of that great film, whose protagonist sought to champion the autonomy of the Arab peoples. In fact, to the extent that the two films have any connection it is the way they invite the audience to side, or at least sympathise, with the Arabs rather than the British or the Turks. In conversation after the film, Director Naji Abu Nowar explicitly stated that he did not consider his film to be an “antidote” to Lawrence, and went on to express his great regard for David Lean and that movie.

The opening segments of Theeb lull the audience into a false sense of security. For about fifteen minutes or so the film moves along quietly at a fairly sedate pace, showing hospitable Bedouin conversing with each other, looking after their English visitor, drinking from wells, and also depicting the slow careful pacing of camels through the desert. Then, just as you have convinced yourself that Theeb is going to be some sort of arty meditation on desert living, there is a shock that had many of the people around me cry out and raise their hands to their faces (OK, I admit it, I did this too). A few minutes later there is another shock that will most likely make you jump up in your seat. At one point the woman in the seat next to me was covering her eyes with her hands, like a child watching the Daleks circa 1973. From hereon in the film becomes a gripping drama.

Theeb is one of the most memorable pieces of dramatic cinema that I have watched this year and has deservedly won plaudits for director Naji Abu Nowar, including director prize at the Venice Film Festival Horizons section and Arab Filmmaker of the Year prize from Variety at the Abu Dhabi Film Festival.

Rating: 9/10



Palestine / Jordan / Greece 2012

Director: Annemarie Jacir

Writer: Annemarie Jacir

Runtime: 98 mins

A thoughtful meditation on a displaced people, but lacking in drama

When I Saw You is the latest directorial offering from Annemarie Jacir, the first female Palestinian director. The story explores the response of the Palestinians to Israel’s victory in the six-day war of 1967, after which refugees flooded over the borders into Jordan. However, this is not an exploration of Middle Eastern politics, but rather a more personal examination of people’s lives.

Young Tarek (Mahmoud Asfa) occupies a makeshift shack with his mother Ghaydaa (Ruba Blal) in a Jordanian refugee camp. Neither of them know the whereabouts of Tarek’s father, and it is slightly ambiguous as to whether his absence is connected to the war or to conflict at home. Tarek hates life in the camp and wants to go home, not understanding why they cannot just do so. His naive desire to return back where they have come from, shorn of all political understanding, effectively symbolizes the need of all people to live in the place they call home. However, despite the unpleasantness of  life in the camp, Ghaydaa believes this is the safest place for them to be. We see her trying to educate Tarek about science, though Tarek himself cannot read and is thrown out of school because he is disruptive to the other children.

When Tarek runs away to try and find his home, he is discovered by a “fedayeen”, a freedom fighter, who takes Tarek to his training camp where the boy is welcomed as one of their own. Shortly afterwards Ghaydaa tracks Tarek down. She plans to take him back to the camp, of course, but abandons this plan when she hears that napalm bombs have been dropped on the camps, as these are considered to be “recruiting grounds” for fedayeen. To his mother’s dismay, Tarek increasingly identifies with the fedayeen (which include women as well as men) and wants to be part of their fight. We never actually see any fighting, though, only training exercises led by Abu Akram (Ali Elayan), a commander who preaches class consciousness rather than religion, and who emphasizes the virtues of patience.

The film itself has an atmosphere of stillness about it. The people in the refugee camps are waiting, as are the fedayeen, all waiting – they know not how long – for the day they will reclaim their homeland. Whereas many contemporary films are filled with shaky camera action, almost all the scenes in When I Saw You are shot with a steady camera, which serves to emphasise the feeling of stillness and patience. Ultimately, though – despite a somewhat unexpected ending – the film’s meditative emphasis on a people waiting does result in a story rather lacking in drama.

Rating: 6/10