Tag Archives: Capernaum

Sampling movies on SBS OnDemand

By © Jane Freebury

There is a trove of quality films to watch free-to-air on SBS OnDemand, 650 titles to revisit or catch up with.

An astounding range of quality films that SBS has curated in a variety of ways for niche appeal. Feature docos, movies about feisty females, movies for gay audiences, cinema classics, animation, and as yet little known ‘hidden gems’.

With so much bewildering choice, here are 15 titles I can recommend.

The category ‘the Oscar goes to’ guarantees a film that’s good on one level at least, having achieved an Oscar nomination, not necessarily for best film.

Incendies (Denis Villeneuve, 2010), an Oscar foreign language film nominee, is a powerful, atmospheric drama about Canadian siblings who travel to the Middle East to solve a family mystery. Villeneuve has since directed outstanding films like Blade Runner 2049 and Arrival, and his take on Dune is due to release this year.

The Motorcycle Diaries (Walter Salles, 2004) takes you along on a meandering road trip through South America with a young Che Guevara (Gael Garcia Bernal) as the Marxist revolutionary. It won an Oscar for its music, and could easily have won for cinematography.

Downfall (Oliver Hirschbiegel, 2004) is an account of the final days of Adolph Hitler and inner circle in his underground bunker. A provocative, thoughtful perspective on an arch-criminal guilty of heinous crime.

Talk to Her (2002), from the wonderful Spanish writer-director, Pedro Almodovar, whose unique vision creates a sensual, extravagant world of its own.

From the young Roman Polanski, Rosemary’s Baby (1968), stars Mia Farrow as a pregnant wife fearful that a coven of witches plans to steal her child. Its menacing atmosphere and disturbing psychology are unforgettable.

Alain Becourt with Jacques Tati in Mon Oncle

Mon Oncle (1958), a classic of French cinema created by Jacques Tati that won the best foreign language Oscar. It’s a witty, gentle send-up of bourgeois pretention that is a classic of comedy in any language.

In the ‘World Movies’ section there’s Anonymous (Roland Emmerich, 2011) with Rhys Ifans demonstrating surprising depth. This is a clever concoction for those who enjoy an enduring mystery. Did Shakespeare write Shakespeare? Of course, he did but it’s still good fun exploring who else might have done it.

Alicia Vikander and Mads Mikkelsen in A Royal Affair

A Royal Affair (Nikolaj Arcel, 2012). This story about a young queen of Denmark (Alicia Vikander) who falls for the court physician (Mads Mikkelsen), is a thoughtful, delicate romance that deserved more recognition on its release.

Merry Christmas, Mr. Lawrence (Nagisa Oshima, 1983), is a strange, striking film that features a mercurial performance from David Bowie as a British major in a Japanese prison of war camp in World War II.

A Woman at War (Benedikt Erlingsson, 2019) offers a light, whimsical touch on weighty subjects as a woman archer steps up to take on corporate vandals destroying the Icelandic environment.

Ali’s Wedding (Jeffrey Walker, 2017) is a terrific Australian comedy, a tricky genre to get right these days. At its heart is a smart, funny performances from co-writer and lead actor Osamah Sami as the dutiful young Muslim struggling with life choices.

Capharnaum/aka Capernaum (Nadine Labaki, 2018) is the powerful, haunting story of a 12 year old living in a Beirut slum who sues his parents for neglect. It’s said to have become the highest grossing Arabic films ever.

Filmed in the palace of Versailles itself, Farewell My Queen (Benoit Jacquot, 2013) it is told from the perspective of a court reader (Lea Seydoux). A sumptuous period drama on the last hours of Marie Antoinette in the French Revolution.

The niche category ‘Essential 70s’, revisits the decade when some of cinema’s top directors did their outstanding early work. The seventies are not well represented by the films in this SBS category, but it does offer two of the best.

The Conversation (1974) a highly esteemed thriller written and directed by Francis Ford Coppola. It lost the best film Oscar to The Godfather Part II, that Coppola also directed.

Serpico (Sidney Lumet, 1973) is based on the true story of a New York cop who exposed corruption among the force. Al Pacino is ferocious and righteous in the lead role, in what is still one of his best performances.

First published in the Canberra Times on 22 March 2020, and broadcast on ArtSound FM 92.7

*Featured image: Zain Al Rafeea and Boluwatife Treasure Bankole in Capernaum

Capernaum

M, 2 hours, subtitled

Dendy Canberra Centre, Palace Electric New Acton

4 Stars

Review © Jane Freebury

Set in contemporary Lebanon, Capernaum takes its name from a town that stood on the shores of the Sea of Galilee in biblical times.  With a nod to the past and to the future, it’s an intriguing title and an apt one. In the ancient languages of the region it meant ‘chaos’.

The opening shots are serene enough, high in the sky above the noise and confusion below. But wait, the first images look like encampments where roofs of plastic sheeting are secured by rubber tyres. A reminder that Lebanon hosts the highest number of refugees per capita in the world.

Capernaum is a mix of family melodrama and political activism, filmed on location in the jumble of disadvantage on the streets of Beirut. It is where Zain (played by Zain Al Rafeea) and his siblings spend most of their time, selling refreshments to boost the family income instead of attending school.

The parents are hopeless. Father, Selim (Fadi Youssef) does little but sit around, while the mother, Souad (Kawsar Al Haddad), has an ingenious method for smuggling drugs into prison in the laundry.

Even that doesn’t yield enough money. To Zain’s dismay, his parents sell off his precious sister, 11-year-old Sahar (Haita Izzam), to the weird adult son of their landlord. When they exchange her for a few hens and some help with the rent, it’s the trigger for 12-yer-old Zain to leave home.The boy’s forlorn journey to who knows where ends in a shanty town that is home to people without papers, like himself.

A young Ethiopian woman, Rahil (Yordanos Shiferaw), who he encounters at the funfair takes him in and he cares for her toddler son Yonas (gorgeous Boluwatife ‘Treasure’ Bankole) while she goes to work. The unlikely arrangement works well until the day Rahil doesn’t return home.

It leaves Zain and Yonas to fend for themselves, a terrifying prospect, with danger on all sides. The time these two spend together is the film’s emotional centre, captured with a weaving, subjective camera from Christopher Aoun that establishes powerful rapport.

Rapport and compassion is what this film from Nadine Labaki is all about. She explored the women’s perspective on the civil strife that has racked Lebanon for decades in her first feature, Caramel, set in a hairdressing salon. In this, her third feature, the examines the plight of children of displaced families, and the responsibility of parents towards the children that they give life.

The boy who plays Zain, Zain Al Rafeea, is himself a refugee who fled southern Syria with his family. There is a story about him on the UNHCR website. Neither he, nor any of the other performers in Capernaum were actors. As director Labaki puts it, her entire cast were simply playing ‘their own lives’.

The courtroom scenes that bookend the film, in which Zain sues his parents for gross neglect, are unlikely in reality. But they are a powerful and thought-provoking device to bring to bear on parental, and community, responsibility. Labaki has a small role here as Zain’s lawyer.

Capernaum makes a stirring plea for compassion and is such a visceral, potent experience that it has high impact. With amazing performances from its beautiful young leads, this is an exceptional testament to the will to live.

Jane’s reviews are also published by the Canberra Critics Circle, the Film Critics Circle of Australia, and broadcast on ArtSound FM 92.7