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Where Do We Go Now?: Light but Profound Film on Religious Sectarianism
This film tells the story of a small village in Lebanon around the turn of this century. Their only connection to the outside world is through a treacherous walk over a rickety stone bridge and they barely have access to television and radio reception. The whole village relies on two boys who frequently make the trek over to the nearest town on an old scooter, running errands and supplying the villagers with newspapers, clothes and other bits and pieces. Despite their near-total isolation, the religious sectarian violence affecting Lebanon as a whole manages to filter in, disturbing the villagers’ peaceful coexistence.
Where Do We Go Now? explores the women’s often comical attempts at keeping the peace in their village. They employ different strategies to keep the men distracted from the news thus protecting their village and families from unnecessary bloodshed.
The film’s opening scene is of a procession of women clad wholly in black, some with covered hair the others carrying crosses, making their way to the cemetery that is divided into two based on faith.
The women come as one, split off according to religion then engage in the exact same acts, mourning and grieving their loved ones, of which there are many and all of whom are men. It’s a very powerful scene that sets up the film perfectly. It asserts that shared experiences can be more powerful than shared faith and that believing in different religions doesn’t make people fundamentally different.
Now this is how you tackle a serious, highly relevant subject without preaching. This is also how you successfully, and more importantly respectfully, portray female relationships. Where Do We Go Now? gives us what is practically a war story, from the point of view of the women. War is erupting between Muslims and Christians all over Lebanon, and the women of the village are hell bent on preventing intolerant, hateful sentiments from taking root in their home despite the fact that the men are becoming exceedingly volatile. And before the words ‘war story’ send anybody off running, the film is not gory in the slightest nor does it revel in any form of brutality. In fact, the closest it gets to a physical depiction of war is the odd fistfight.
Director Labaki’s touch is all over the film and to anyone who’s seen her debut, Caramel, this is highly apparent. She excels at portraying multilayered female relationships and dealing with the interaction between people in general. The film is at its strongest when the women are figuring out a solution to their community’s problem. On the other hand, the film lacks the same emotional punch when the focus shifts to personal problems.
In general though, the film seems effortless. The strength of the characters’ relationships make the events flow very organically, succeeding in subtly showing the film’s message and side stepping any preaching. Even more impressively, the film’s cohesiveness isn’t interrupted in the slightest during the two musical interludes where the characters burst into song. It also helps that the songs are thoroughly charming and in fact the score as a whole is pretty gorgeous and fits the film perfectly. The acting is spot on and the women have a lived-in feel that really sells the story. Their relationships feel very genuine and they play off of each other perfectly; especially when they’re joking around and devising outlandish schemes to keep the guys distracted.
Where Do We Go Now? is a great, distinctly Arab film in that it deftly blends tragedy, comedy, melodrama and musical interludes. It tackles a really difficult subject, yet it is perfectly balanced as a light, crowd pleaser with an important and relevant, if rather simplistic, message.
Since George A. Romero's 1968 Night of the Living Dead, flesh-eating Hollows – aka Zombies, Lurkers, Biters or the Undead – have become a part of a phenomenon that is still dominating the horror-scene today.
However, with the release of Nick Lyon's Rise of the Zombies, one can’t help but wonder: who in their right mind would allow for this TV movie travesty to be released in cinemas in Egypt?
Set in a run-down and abandoned San Francisco, Rise of the Zombie's opening scenes show a group of panic-stricken folks trying to escape from the hungry hands of the infected monsters. Their mission, unfortunately, soon fails and – thanks to a badly executed CGI car crash – everyone, apart from one young pregnant woman who manages to escape, is left behind as food.
The film then shifts focus to a different group of people who have taken refuge in the infamous Alcatraz Prison. The troop is led by the sturdy Dr. Lynn Snyder (Hemingway), fellow scientist Dr. Dan Helpern (Burton) and the barmy-looking Caspian (Trejo). While Dr. Helpern continues to do his research and find a cure to kill the 'virus' which has been spreading like wildfire, Dr. Snyder believes that it's the peculiar researcher, Dr. Arnold – who has been sending in video transmits from the mainland – has all the answers.
However, it's not long before the zombies – who have apparently learned how to swim over the years – infiltrate the prison, forcing its refugees to flee and search for another safe-house and quite possibly the cure for the fast-spreading 'infection'.
The producers and the distributors for this film – The Asylum – are known for their exclusively B-list, straight-to-DVD productions, and Rise of the Zombies is a complete mockery of a film from minute one. Apart from the plot being completely unoriginal, the characters – whose survival and well-being is imperative to drive the story – fail to register with the audience and the poorly scripted dialogue, and its flimsy delivery, only adds to the absurdity of it all, though the make-up isn’t entirely dreadful
Unfortunately, the cast – which includes a few recognisable faces – can’t rise above the shabby material. Hemingway, an actress who has been seen in a good share of mindless action flicks, has never been worse. Failing to add an ounce of personality to her character, she is almost robotic in her delivery, while badass Trejo looks embarrassed the entire way through.
Predictable, cheesy, and downright upsetting, Rise of the Zombies is definitely like no other zombie-fest you'll ever see – and that is not a compliment.
Subtlety has never really concerned Australian-born filmmaker, Baz Luhrmann. The man who brought us as Romeo and Juliet and Moulin Rouge is both known and reviled for his dazzling and glitzy visual panache, and the notion of impossible love is forever present as the heart of his largely theatrical and melodramatic productions.
Flamboyant and extravagant, The Great Gatsby is visually striking, but when stripped down, has little to offer.
The film opens with a depressed and weary Nick Carraway (Maguire) who is being treated for alcoholism. Unable to articulate his thoughts on a man named Gatsby, he begins to put pen to paper under instructions from his doctors.
We then flash back to 1922, where Nick, then a bond salesman, moves to the fictional town of West Egg, nearby to his cousin Daisy Buchanan (Mulligan) and her husband Tom (Edgerton). Nick’s new home happens to neighbour that of a mysterious and elusive Jay Gatsby (DiCaprio). An enigma to his neighbours, Gatsby perennially throws the most extravagant parties, but the millionaire generally lives his life as a recluse.
After discovering that Tom is having an affair, Nick receives an invitation to one of the Gatsby’s infamous parties. Once there, Gatsby reveals that he is still in love with Nick’s cousin Daisy, after a brief romantic encounter years before. As Nick slowly becomes entangled in the bizarre life of Gatsby, the cynicism and hypocrisy of West Egg’s inhabitants drives the characters to great lengths to preserve their own vanity and sense of self-importance.
F. Scott Fitzgerald's novel has continually struggled to translate onto the big-screen and previous adaptations have failed to capture the essence that made this the ‘Great American Novel’.
Disappointingly, Luhrmann’s stab at the project has yielded few improvements. The director’s trademark approach is extraordinary, and over-the-top doesn't begin to describe the flamboyant visual experience that he creates. But while for the most part it works, the unflinching visual style and the sweeping overhead shots prove to be a little too sensational for what is an intricate and complex plot.
However, the biggest downfall is the emotional hollowness of the story. Luhrmann fails to infuse emotional connections between the characters, while the soundtrack – which features everything from jazz and hip-hop to techno and dance – is every bit as awkward as it sounds.
Despite Luhrmann’s misguided post-modern motions, DiCaprio gives the film depth with an excellent interpretation of the eponymous character’s charm and allure. Meanwhile, Mulligan plays her character in a way that maintains her position as the object of desire perfectly; though she too is a victim of the absurdities of West Egg, it becomes difficult to surrender any sympathy to her. Maguire, on the other hand, shines in his wallflower role; although he is guilty of enabling many of the decisions that the characters make, he retains an innocence and naivety that is integral to the plot.
All in all, Luhrmann’s The Great Gatsby fails to render the novel’s grandness in terms of plot, but taken as a whole package, the stylistics make for an entertaining piece of cinema.