#kawthar al haddad
Text
Kefernahum
Ağlamaya utanır mı insan ? Utanır.
Bir mahkeme çocukluğunu unutmak zorunda kalan bir çocuk ile ailesinin sarkacın ucunda yitip giden hayatlarına bir çok sorunu iç içe geçirerek harmanlayan bir yapım .
EBEVEYNLERİNE DAVA AÇAN BİR ÇOCUK MU?Hırpalanarak büyüyen insanların ödediği bedeller mi?
Vatan mı zordur , vatansızlık mı ?
Yoksa bilinmezliğin ortasında aile olmak mı ?
Zemheri bir gecede, demir bir yumruk yemiş ve insanın göğsünde izi kalmış gibi sanki bu film. Ağır ve sarsıcı.
Hakim çocuğa sorar: “Neden annene- babana dava açtın?” 12 yaşındaki Zain’in cevabı; “Beni dünyaya getirdikleri için” olur. Yoksulluğun, çaresizliğin, hayatta kalma içgüdüsünün , savaşın, göçmenliğin, çocuk olmanın ama büyük gibi yaşamak zorunda kalmanın, sevgisizlik ve sevgi kavramlarını ele alan ‘Kefernahum’, evrensel bir konuyu işleyerek yüreklere hitap ediyor.
Zain’in bu cehennem yolculuğundaki acılara basarak ayakta kalma savaşı , ancak bu kadar çarpıcı olabilirdi. Nadine Labaki’nin dördüncü uzun metraj filmi olan Kefernahum, (Capernaum) “Mülteci çocuk olmak nedir?” sorusunu bir çok soru ile birleştirip. Baş kaldırmanın , insanlığın bildiği tek çıkış noktasına bir çocuk bakışı ile selam veriyor.
Fransa – Lübnan ortak yapımı olan film, Cannes Film Festivali’nde Jüri Özel Ödülü , ayrıca Altın Portakal En İyi Erkek Oyuncu ve Gençlik Jürisi Ödülünü aldı.
#kefernahum#cafarnaúm#nadine labaki#jihad hojeily#cinema#sinema#khaled mouzannar#zain al rafeea#yordanos shiferaw#fadi yousef#boluwatife treasure bankole#kawthar al haddad#director#ödüllü#senaryo#actors#actress#yönetmen
4 notes
·
View notes
Text
CINE EXPRESS: “Capharnaüm”
Helena Garrote Carmena
Año: 2018País: LíbanoDirección: Nadine LabakiGuion: Nadine Labaki – Labaki Jihad HojeilyReparto: Zain Al Rafeea, Yordanos Shiferaw, Boluwatife Treasure Bankole, Kawthar Al Haddad, Fadi Kamel Youssef, Cedra Izam, Alaa Chouchnieh, Nour el Husseini, Elias Khoury.Género: Infancia – Refugiados
Hacer películas con niños sin caer en el sentimentalismo, la gracia fácil o impostar…
View On WordPress
0 notes
Photo
Recommendation of the week: Capernaum (2018)
Dir.: Nadine Kabaki
Cast: Zain Al Rafeea, Yordanos Shiferaw, Boluwatife Treasure Bankole, Kawthar Al Haddad, Fadi Kamel Youssef.
Genre: Drama
Plot: While serving a five-year sentence for a violent crime, a 12-year-old boy sues his parents for neglect.
Filmphilics score: 8/10
#capernaum#capharnaüm#nadine labaki#zain al rafeea#yordanos shiferaw#boluwatife treasure bankole#kawthar al haddad#fadi kamel youssef#drama#drama film#drama movies#cult movies#cult film#cult cinema#cinema#film#movie
13 notes
·
View notes
Text
Capharnaüm (2018)
Director - Nadine Labaki, Cinematography - Christopher Aoun
"What am I going to remember? Violence, insults or beatings? The chain, the pipe or the belt? The sweetest word I'm told is garbage, son of a bitch"
#scenesandscreens#capernaum#capharnaüm#christopher aoun#zain al rafeea#yordanos shiferaw#boluwatife bankole#kawthar al haddad#fadi kamel youssef#nour el husseini#alaa chouchnieh#cedra izam#nadine labaki#joseph jimbazian#farah hasno
206 notes
·
View notes
Photo
Capharnaüm
1 note
·
View note
Text
Capernaum
(Nadine Labaki, 2018)
With her third feature as director, Nadine Labaki tackles a feature that from the reading of a brief synopsis, or listening to the easy summation upon which the movie is being sold might sound like some kind of courtroom drama, but she instead uses said judicial scenes as her framing device around which to build a story that can probably most easily (and stupidly) be summed up as Slumdog Millionaire meets Breaking Bad.
Of course to compare it to Danny Boyle's Oscar winning effort is a major insult, it can maybe be more closely compared to the first half of Garth Davis' Lion, it's a film that captures the true horror and hardship of life in squalor, or struggling to exist on the streets. The Breaking Bad quality comes from introducing us to our central character who'll lead us through this 2+ hour sprawling odyssey of suffering as the unashamed committer of a significant crime facing time in incarceration, and then flashing back to tell the story of how he came to do what he did, be where he is, and attempt what he is attempting.
The heart of Capernaum is in the story, the struggling to survive day to day on the streets of Lebanon, how this boy fights to stay above water with no significant light at the end of the tunnel, but it's the brain of the movie that makes it special, by presenting us first with this endpoint so that we know he'll make it out, Capernaum becomes less about the how and more about the why, which immediately makes it a more interesting experience to behold rather than a simple case of wallowing in squalor.
Of course Labaki's real masterstroke here is the casting of the central role. Zain Al Rafeea was an illiterate Syrian refugee living in Lebanon, but what he also turns out to be is a full blown movie star. The kid has got a confident swagger on screen totally at odds with his inexperience, an attitude about him that makes him absolutely enthralling to behold. There is an aggression and angst about the character absolutely essential to a child of such an age in such a situation, but a faultless tenderness about him in certain scenes that layers the character tremendously and rounds him out in a way essential for him to keep you on side. Finding such a boy is no small feat, and were it not for him there is very little chance that such a long, harrowing movie would work anywhere near as well as it does.
Labaki surrounds him with a host of other non professional performers, most notably Kawthar Al Haddad and Fadi Kamel Youssef as the parents whose performances make it impossible to make it easy to root for one side or the other and Yordanos Shiferaw as the woman who takes him in when he runs away from home. To watch them you would never know they weren't seasoned professionals, because every one of them is brilliant, and betrays no hint of a lie anywhere along the line.
Beyond that remarkable skill at finding actors the way she shoots this thing, handheld, often in stifling close up, drops you right there in the middle of everything, there is an often observational style to some of these scenes, less interest shown in dialogue driven, plot progression, more just in following, watching these characters existing in their world, the scenes in the court room the only ones where anything resembling exposition rarely rears its head, but even when it does it’s done in a fashion that makes it seems as natural as possible.
It's a tremendously pieced together exercise - cinematic, emotionally involving, finding humour in amidst the darkness to take the edge off. It is a story of chaos, and the aesthetic style brilliantly embodies that, but it's all done in the most professional, effortless way imaginable. Labaki finding the way to create the horrors of such an existence as evocatively as possible in narrative cinema while working the details in such a way that keep from making it a horror to sit through as an audience.
#capernaum#nadine labaki#zain al rafeea#kawthar al haddad#fadi kamel youssef#yordanos shiferaw#2018#reviews#film#films#movie#movies#lebanon#lebanese#foreign#foreign language
3 notes
·
View notes
Photo
Cafarnao - Caos e Miracoli
Recensione da TaxiDrivers.it
1 note
·
View note
Text
Cafarnao
Presentato al settantunesimo Festival di Cannes, dove ha vinto il Premio della Giuria e quello della Giuria Ecumenica, Cafarnao colpisce forte e senza pietà ma è in grado di regalare anche momenti di speranza, compassione e commozione. Accecante l’interpretazione del giovane Zain Al Rafeea. (more…)
View On WordPress
#Alaa Chouchnieh#Boluwatife Bankole#Cedra Izam#Fadi Kamel Youssef#Farah Hasno#Joseph Jimbazian#Kawthar Al Haddad#Nadine Labaki#Nour el Husseini#Yordanos Shiferaw#Zain Al Rafeea
0 notes
Text
Thoughts : Capharnaüm (2018)
My good friend Robin, aside from being one of the kindest, most stylish and adventurous people I know, has the proud accomplishment of creating and curating the Marfa Film Festival for many years. Based solely on these qualifications, any time that she has a recommendation for music or film, I pay attention and do what I can to follow through. Recently, during a catch-up session between us, Robin came through with a recommendation for Capharnaüm, and based on her track record, I put it high on my list. After a bit of cursory research, I made it a point to check out the film sooner than later, and I must say that I am very happy to have this film on my current radar.
youtube
With poverty and the impact it has on the youth being the foundational element of this story, so much so to the point that Zain feels the need to seek litigation against his parents, it’s difficult to not examine the film through the lens of nature versus nurture. When nature is taken into account, the first thing that must be examined is the setting of Beirut, the capital of Lebanon. Despite being an incredibly wealthy nation in terms of bank presence, corporate presence and its Beta + World City ranking by the Globalization and World Cities Research Network, there is a vast wealth gap (partly due to the Lebanese Civil War) that ravaged the community, the cultural landscape and a large cross section of its occupants. Zain not only is caught in the choice between attempting to attend school and being forced to work for his parents’ landlord, but he has no support from his parents when school is brought up. The youth are shown in the opening of the film running through the street with makeshift toys fashioned in the image of heavy military artillery, which not only robs them of their innocence, but creates a sort of mental and cultural pipeline that sends these young men into government service via the military, which further propagates the issues responsible for the situation they are in. In the few rare instances that Zain does manage to escape the limits of his neighborhood and his parents, you can briefly see his innocence return, though it is quickly overtaken by the immense weight of the sorrow that the contrast between the solace of escape and his stark reality creates.
As important as nature is in the Capharnaüm situation, nurture plays possibly an even bigger part in Zain’s life, hence his ultimate choice to sue his parents for even being born. Selim (Zain’s father) admits in court that he hates his family and the life it has created for him, yet Zain is one of at least 5 kids in the El Hajj family. All of the children share a bed, share a room with their parents (and it is implied they often are forced to hear them taking part in adult acts), and the home the family lives in is constantly in a state of filth and disrepair. The neglect for childcare is so prevalent that the youngest child in the family is literally chained and tethered to a wall, like a disobedient or behavioral inept pet. When Sahar finds herself in the throes of puberty and the onset of womanhood, it is Zain rather than Souad who not only educates her on how to take of her body, but protects her in an attempt to keep her parents from exploiting her womanhood (which eventually happens despite Zain’s best efforts). Though his work ethic is forced upon him, it ultimately becomes the key motivator in his plan to escape his bleak situation, while also providing him with a deep sense of humanity based on the lack of it shown to him.
Much like City of God, there are some breathtaking insert shots of the city (Beirut, as mentioned before) that bring out its cinematic beauty despite the clear and present poverty that impacts Zain and his community. The lived-in and rundown nature of the locations that the actors occupy not only makes it easy to buy their extreme living situation, but it also is clearly helping to add dramatic depth to their performances by working off of the visceral immersion that comes with attempting to live and work in these spaces. There is a brilliant presentational and tonal balance between the courtroom scenes and the flashbacks to the preceding events that manages to keep all of Zain’s experiences connected and coherent in spite of the wild premise that a juvenile delinquent from lack of privilege could find the means to sue his own parents. The cinematography works much in the same vein of The Florida Project by bringing quite a bit of the perspective down to Zain’s level whenever he is the primary focus of a scene, staying around 4 or so feet off of the ground, often peering around corners and from a curious distance and almost never still, even during stationary observation.
Zain Al Rafeea does an outstanding job shouldering the burden of leading such a heavy and compelling film, managing to display a wisdom and experience that only comes with age on his young face while convincingly coming off as not only the man of his household, but possibly the most level-headed and autonomous member. Cedra Izam plays off of Al Rafeea’s worldly performance by harnessing the impending fear of womanhood marking the end of her innocence, not to mention the possibility of being pushed into the deep in abruptly via being married off or pawned off to the highest bidder. Kawthar Al Haddad brings the fiercer side of the uncaring parent portrayal to the table, consistently belittling and demeaning Zain because his valid frustrations come in the form of youthful urgency and ignorance. By contrast, Fadi Kamel Youssef invokes a more damaged and burdened sense of neglect as the man of a household full of stress, strife and turmoil, to the point that his shear existence stands as a personal affront and mockery. Nour el Husseini hones in on the energy of those who take advantage of the disenfranchised as he exploits the El Hajj family at every opportunity possible, be it the labor he gets from Zain, the fear he instills in Souad and Selim due to their housing situation, and in the grossest example, his vulture-like presence over Sahar as he lies in wait to make her his possession. Key performances by Boluwatife Treasure Bankole, Alaa Chouchnieh, Joseph Jimbazian, Farah Hasno and director Nadine Labaki (as Zain’s attorney) round out the cast.
I will not be surprised if Capharnaüm finds itself reimagined and reskinned by the Hollywood machine before the end of the decade, as it is not only the kind of compelling story that can flip a viewer’s worldview, but the litigation element may work better stateside than it does in a Lebanese context (this, however, is coming from an outsider’s perspective). Regardless of what the future may hold for the property, immediate respect must be given to Nadine Labaki for her powerful efforts as a director, not to mention a performance for the ages by Zain Al Rafeea. Every bit of praise that has been heaped on this film is well-deserved, and hopefully it can find a wider audience as time passes by.
#ChiefDoomsday#DOOMonFILM#NadineLabaki#Capharnaüm#ZainAlRafeea#YordanosShiferaw#BoluwatifeTreasureBankole#KawtharAlHaddad#FadiKamelYoussef#NourelHusseini#AlaaChouchnieh#CedraIzam#JosephJimbazian#FarahHasno
0 notes
Text
#337 September 18, 2018
Matt writes: The 2018 Toronto International Film Festival, which wrapped on September 16th, had so many enticing selections guaranteed to be major contenders this awards season, and RogerEbert.com was there to cover them all. Click here for the full table of contents featuring dispatches penned by Brian Tallerico, Vikram Murthi, Monica Castillo, Tomris Laffly and Chaz Ebert. Last Monday, Claire Denis became the fifth recipient of the annual Ebert Tribute Award at TIFF, and the event proved to be unforgettable (read Brian's coverage of it here).
Trailers
Private Life (2018). Written and directed by Tamara Jenkins. Starring Kathryn Hahn, Siobhan Fallon Hogan, Paul Giamatti. Synopsis: An author is undergoing multiple fertility therapies to get pregnant, putting her relationship with her husband on edge. Debuts on Netflix on October 5th, 2018.
youtube
Capharnaüm (2018). Directed by Nadine Labaki. Written by Jihad Hojeily, Michelle Keserwany, Nadine Labaki and Khaled Mouzanar. Starring Kawthar Al Haddad, Boluwatife Treasure Bankole, Nadine Labaki. Synopsis: A politically-charged fable, featuring mostly non-professional actors, about a child who launches a lawsuit against his parents. Opens in US theaters on December 14th, 2018.
youtube
What Are You Gonna Do When the World's On Fire? (2018). Directed by Roberto Minervini. Synopsis: The story of a community of black people in the American South during the summer 2017, when a string of brutal killings of black men sent shockwaves throughout the country. US release date is TBA.
youtube
Anna and the Apocalypse (2018). Directed by John McPhail. Written by Alan McDonald and Ryan McHenry. Starring Ella Hunt, Malcolm Cumming, Sarah Swire. Synopsis: A zombie apocalypse threatens the sleepy town of Little Haven - at Christmas - forcing Anna and her friends to fight, slash and sing their way to survival, facing the undead in a desperate race to reach their loved ones. Opens in US theaters on November 30th, 2018.
youtube
Why Are We Creative? (2018). Directed by Hermann Vaske. Synopsis: A documentary in which such creative minds as David Lynch, Stephen Hawking, Angelina Jolie and David Bowie attempt to ask the titular question. US release date is TBA.
youtube
At Eternity's Gate (2018). Directed by Julian Schnabel. Written by Jean-Claude Carrière and Julian Schnabel. Starring Willem Dafoe, Rupert Friend, Oscar Isaac. Synopsis: A look at Vincent van Gogh's time in Arles. Opens in US theaters on November 16th, 2018.
youtube
Quincy (2018). Directed by Alan Hicks and Rashida Jones. Synopsis: An intimate look into the life of icon Quincy Jones. A unique force in music and popular culture for 70 years, Jones has transcended racial and cultural boundaries; his story is inextricably woven into the fabric of America. Debuts on Netflix on September 21st, 2018.
youtube
Captive State (2019). Directed by Rupert Wyatt. Written by Erica Beeney and Rupert Wyatt. Starring Vera Farmiga, Machine Gun Kelly, Madeline Brewer. Synopsis: Set in a Chicago neighborhood nearly a decade after an occupation by an extra-terrestrial force, Captive State explores the lives on both sides of the conflict - the collaborators and dissidents. Opens in US theaters on March 29th, 2018.
youtube
The Beach Bum (2019), red band trailer. Written and directed by Harmony Korine. Starring Matthew McConaughey, Snoop Dogg, Isla Fisher. Synopsis: A rebellious stoner named Moondog lives life by his own rules. Opens in US theaters on March 22nd, 2019.
youtube
Teen Spirit (2018). Written and directed by Max Minghella. Starring Elle Fanning, Rebecca Hall, Millie Brady. Synopsis: Violet is a shy teenager living in the Isle of Wight who dreams of pop stardom as an escape from her small town and shattered family life. With the help of an unlikely mentor, Violet enters an international singing competition that will test her integrity, talent and ambition. US release date is TBA.
youtube
Kursk (2018). Directed by Thomas Vinterberg. Written by Robert Rodat. Starring Léa Seydoux, Colin Firth, Matthias Schoenaerts. Synopsis: The film follows the 2000 K-141 Kursk submarine disaster and the governmental negligence that followed. As the sailors fight for survival, their families desperately battle political obstacles and impossible odds to save them. US release date is TBA.
youtube
One Nation, One King (2018). Written and directed by Pierre Schoeller. Starring Gaspard Ulliel, Adèle Haenel, Olivier Gourmet. Synopsis: In 1789, a people is entered into revolution. Let us hear it. It has things to say to us. A people and its king crosses the destinies of men and women of the people, and historical figures. Their meeting place is the any young National Assembly. At the heart of the history, there is the fate of the King and the emergence of the Republic. US release date is TBA.
youtube
Viper Club (2018). Directed by Maryam Keshavarz. Written by Maryam Keshavarz and Jonathan Mastro. Starring Matt Bomer, Damian Young, Susan Sarandon. Synopsis: A war correspondent gets taken hostage while on assignment, prompting his mother, impatient with the government's lack of concern, to take matters into her own hands. Opens in US theaters on October 26th, 2018.
youtube
Instant Family (2018). Directed by Sean Anders. Written by Sean Anders, John Morris. Starring Rose Byrne, Mark Wahlberg, Isabela Moner. Synopsis: A couple find themselves in over their heads when they adopt three children. Opens in US theaters on November 16th, 2018.
youtube
The Wind (2018). Directed by Emma Tammi. Written by Teresa Sutherland. Starring Miles Anderson, Caitlin Gerard, Julia Goldani Telles. Synopsis: A plains-woman is driven mad by the harshness and isolation of the untamed land. US release date is TBA.
youtube
F--- You All, The Uwe Boll Story (2018). Directed by Sean Patrick Shaul. Synopsis: Behind the lens with the most hated man in Hollywood. US release date is TBA.
youtube
22 July (2018). Written and directed by Paul Greengrass (based on the book by Åsne Seierstad). Starring Anders Danielsen Lie, Thorbjørn Harr, Jonas Strand Gravli. Synopsis: In Norway on 22 July 2011, right-wing terrorist Anders Behring Breivik murdered 77 young people attending a Labour Party Youth Camp on Utøya Island outside of Oslo. A three-part story about the survivors of the attacks, the political leadership of Norway, and the lawyers involved. Debuts on Netflix on October 10th, 2018.
youtube
The Ballad of Buster Scruggs (2018). Written and directed by Joel Coen and Ethan Coen. Starring Tim Blake Nelson, Liam Neeson, Zoe Kazan. Synopsis: An anthology western following six different storylines centering on a man named Buster Scruggs. Opens in US theaters on November 16th, 2018.
youtube
Why "America to Me" is Must-See TV
Matt writes: "America to Me," the new series from Kartemquin Films directed by Steve James ("Hoop Dreams," "Life Itself") and currently airing every Sunday on STARZ is an extraordinary achievement on every level. Brian Tallerico awarded the 10-part epic four stars while Allison Shoemaker interviewed James about how he and the show's essential segment directors (Bing Liu, Rebecca Parrish, Kevin Shaw) went about examining racial disparities at Oak Park and River Forest High School. I also conducted an in-depth roundtable discussion with editors Leslie Simmer, David E. Simpson and Alanna Schmelter about their process for assembling such a mammoth documentary.
youtube
Effie T. Brown on Project Involve
Matt writes: Effie T. Brown, the acclaimed producer of "Real Women Have Curves" and "Dear White People," spoke with me about the 25th anniversary of Film Independent's vital Project Involve program, which will be celebrated at a benefit dinner on Saturday, September 22nd, in Los Angeles. Click here for our full conversation.
Free Movies
A Girl in Every Port (1928). Written and directed by Howard Hawks. Starring Victor McLaglen, Robert Armstrong, Louise Brooks. Synopsis: Two sailors with a rivalry over chasing women become friends. But when one decides to finally settle down, will this mysterious young women come between them?
Watch "A Girl in Every Port"
Hell's Angels (1930). Directed by Howard Hughes. Written by Joseph Moncure March. Starring Ben Lyon, James Hall, Jean Harlow. Synopsis: Brothers Monte and Ray leave Oxford to join the Royal Flying Corps. Ray loves Helen; Helen enjoys an affair with Monte; before they leave on their mission over Germany they find her in still another man's arms.
Watch "Hell's Angels"
Nothing Sacred (1937). Directed by William A. Wellman. Written by Ben Hecht. Starring Carole Lombard, Fredric March, Charles Winninger. Synopsis: An eccentric woman learns she is not dying of radium poisoning as earlier assumed, but when she meets a reporter looking for a story, she feigns sickness again for her own profit.
Watch "Nothing Sacred"
from All Content https://ift.tt/2xvvbtE
0 notes
Text
Crítica – ‘Cafarnaúm’
Póster de ‘Cafarnaúm’
Título original: Capharnaüm
Año: 2018
Duración: 120 min.
País: Líbano
Dirección: Nadine Labaki
Guión: Nadine Labaki (Historia: Labaki Jihad Hojeily)
Música: Khaled Mouzanar
Fotografía: Christopher Aoun
Reparto: Zain Al Rafeea, Yordanos Shiferaw, Boluwatife Treasure Bankole,Kawthar Al Haddad, Fadi Kamel Youssef, Cedra Izam, Alaa Chouchnieh,Nour el Husseini, Elias Khoury, Nadine Labaki
Productora: Coproducción Líbano-Estados Unidos-Francia; Les Films des Tournelles
Género: Drama
Cafarnaúm es la historia de Zain (Zain Al Rafeea), un chico libanés de 12 años que decide denunciar a sus padres. ¿Por qué? Aunque en el argumento se explica, recomendamos no saber mucho más de la película y entrar más en ella. Ésta premisa abre distintos debates sobre la pobreza que se vive en Líbano, los niños y niñas de la miseria que maduran a golpe de necesidad, la dejadez del Gobierno en ayudar a éstas familias y sobre los padres y madres que tienen hijos sin poder permitírselo.
Cafarnaúm es una de las nominadas a Mejor Película Extranjera en los Premios Óscar 2019 – sí, ésa categoría en la que Mejor Película tiene mucho que envidiar – y, además, alza a su directora, Nadine Labaki, en el rango de ser “la primera…” en algo. En éste caso, Labaki es la primera mujer libanesa (ni más ni menos) en estar nominada en los conocidos premios de Hollywood.
No es para menos: Labaki construye toda una narrativa asfixiante. Una narrativa que muestra que ser pobre, niño/a y vivir en Líbano es una muerte prematura en vida. Labaki no escatima en mostrar continuamente la desdicha del protagonista. Ésto le ha valido numerosas críticas, ya que ese tipo de vida se muestra con crudeza. Parece ser que, o te ponen a niños y niñas bailando en los créditos como en Slumdog Millionaire (Danny Boyle, 2008), o te enfadas porque es demasiado duro. Bueno, quizás en ambos casos las vidas de muchas personas son así, molesta mucho verlo y es fácil vivir en la ignorancia. Pese a todo, bien es cierto que el guión contempla un pequeño rayo de luz entre tantas desgracias, por lo que dicho efecto se puede trasladar aquí.
Fotograma de ‘Cafarnaúm’
Sea como fuere, Cafarnaúm rezuma verdad por todos los poros. La dirección de Labaki se muestra segura y aprovecha la cámara en mano para crear ese ambiente tosco. En el guión, también trata lo que es ser niña gracias al personaje de la hermana de Zain, brillantemente interpretada por Cedra Izam.
Como pasara en la ya nombrada Slumdog Millionaire, los protagonistas destacan sobre cualquier aspecto. En éste caso, reconocemos que Zain Al Rafeea supera con creces cualquier actuación infantil/adolescente que hayamos visto en mucho tiempo. Pero no sólo él: el bebé que le acompaña (en realidad es una niña llamada Boluwatife Treasure Bankol) consigue una dinámica brutal entre ambos. Hablamos de que en dos horas y cuarto son capaces de llevar una película ellos solos. Las circunstancias, la ira de Zain, los llantos, la complicidad… Es digno de ver lo bien que están ambos.
También van bien cubiertos con la magnífica actuación de Yordanos Shiferaw, una etíope que fue descubierta por casualidad igual que sus compañeros. Él, un refugiado sirio que gracias a la película fue trasladado a Noruega con su familia; ella, una refugiada etíope que fue arrestada durante el rodaje; y una bebé cuyas últimas noticias son que, finalmente, fue devuelta junto a su madre a Etiopía.
Fotograma de ‘Cafarnaúm’
¿Quiénes mejor que ellos pueden contar una historia así?
Esperamos de corazón que historias así visibilicen y ayuden al menos a aquellos que han formado parte de la película a tener una vida mejor. No queremos que hagan como en Slumdog… y abandonen a los niños y niñas a su suerte tras pasearlos por galas.
Lo mejor: Lo bien que se desenvuelven en la cámara los dos pequeños protagonistas, quienes nunca habían actuado previamente. El ambiente sobrecargado te adentra por completo a ese “mundo”.
Lo peor: Que niños y niñas tengan que vivir situaciones así.
Nota: 8,5/10
La entrada Crítica – ‘Cafarnaúm’ aparece primero en 35 Milímetros.
from WordPress https://35milimetros.es/critica-cafarnaum/
0 notes
