Nadine Labaki &amp Essay Example

Sursock palaces, a Raouche coffee shop, and some alleys, the movie garnered great success when it was shown at the Empire movie theater. As a result, a sequel titled "Moughamarat Abu Abed" (The Adventures of Abu Abed), produced by Rachid Ali Chaabane, was eventually made. However, this period of glory was short-lived.

Despite his focus on immigration in his films, Pidutti had to stop making movies due to a lack of funding. He then turned to shooting weddings and current events with the help of photographer Georges Costi. This marked the beginning of Lebanese cinema, which would go through both success and failure, periods of turmoil as well as silence. In 1933, Lummar Film, established by Herta Gargour, created the first Lebanese sound film titled "Bayn Hayakel Baalbek" (In the Ruins of Baalbek). The movie was directed by Julio de Luca and Karam Boustany and included French subtitles.

Following their independence from France, Lebanese filmmakers started including local elements in their films, specifically highlighting rural life and folklore. This era also witnessed Lebanon's substantial economic expansion, with Beirut rising as the financial center of the Eastern Mediterranean region. The nation's flourishing economy, along with its multicultural and progressive society, made it an appealing choice for filming in the Arab World instead of Egypt, which had historically been the main location for such productions.

In addition, Lebanon had the best technical facilities for film production in the region. Lebanese cinema was closely linked to Egyptian cinema during the first half of the twentieth century, exporting many Lebanese actors and actresses. However, Lebanese cinema was overshadowed by the larger Egyptian film industry during the

1960s. Nevertheless, the situation would change when Egypt experienced a drain of its movie directors and intellectuals due to President Abdel Nasser's regime. In 1963, Nasser's regime prohibited all forms of freedom within Egypt and nationalized the film industry.

During this time, Egyptian filmmakers thrived in Lebanon, making use of the mesmerizing Lebanese landscape and contributing significantly to the local film industry. The success of this period resulted in the creation of numerous studios across the country, with Beirut emerging as a key center for distributing films. It attracted seven major American companies and 41 independent offices, defining it as the renowned Golden Age of Lebanese Cinema. Moreover, Lebanon became a favored destination for shooting international productions.

Although Egyptian and Western films achieved success in Lebanon, they had a detrimental effect on the growth of Lebanese cinema. At that time, Lebanese cinema was still striving to establish its unique identity. Nevertheless, the films created by the Rahbani brothers managed to revive the reputation of Lebanese cinema. Works such as Biya Al Khawatem (The Ring Seller) directed by Youssef Chahine and Safar Barlak and Bint El Hares (The Watchman's Daughter) directed by Henri Barakat featured the iconic Fairuz.

The Rahbani films focused on nostalgic themes portraying life in Mount Lebanon villages. This time marked the conclusion of a significant period—the golden age of Lebanese cinema—when Lebanon was renowned for its attractiveness, climate, and freedom. Lebanon was synonymous with openness during this era. However, film production dwindled as Lebanese movies were perceived as low-quality and were no longer acquired by Arab countries. Egyptian producers and actors gradually vanished from the Lebanese scene following the

restoration of stability in Egyptian cinema.

In the 1960s, Lebanese producers ceased their production and began distributing Egyptian and western films, causing Lebanon to lose out on opportunities in the growing film industry. Nevertheless, there was a desire to establish a new form of intellectually stimulating and thought-provoking cinema, influenced by the French New Wave movement. Consequently, commercially driven movies were replaced with an innovative aesthetic that aimed to depict the complexities of everyday life, incorporating social and political issues.

Despite the war in Lebanon, a surge of new filmmakers emerged during this period, with both women and men participating equally. Maroun Baghdadi, Jocelyn Saab, Borhane Alaouie, Heiny Srour, Randa Shahal Sabbag, and Jean Chamoun were among these filmmakers. The films produced at that time depicted the ongoing and seemingly endless war but lacked any clear resolution. Due to the prolonged conflict in Lebanon, several filmmakers from this era – including Jocelyn Saab, Jean Chamoun, Randa Chahal, and Maroun Baghdadi – decided to relocate to France.

Following the war, Beirut became a prominent hub for mass media production in the Arab world. [43] Alongside television, there was an endeavor to revive Lebanon's film industry, particularly by graduates of Lebanese film schools. During this time, funding for film production heavily depended on foreign support from Europe and the Lebanese Diasporas. The Cannes Film Festival witnessed a significant milestone in Lebanese filmmaking in 2007 when two female directors, Nadine Labaki and Danielle Arbid, showcased their films.

Labaki presented two films, Caramel and A Lost Man. A Lost Man is considered the most sexually explicit film made by an Arab director. Caramel had a

global release, including in the United States, United Kingdom, France, and Argentina. The growth in film production was noticeable in 2011 when Nadine Labaki's Where Do We Go Now? received multiple accolades such as the Prix Francois Chalais at Cannes, the people's choice award at the Toronto International Film Festival, and the audience award at the Films from the South Festival in Oslo, Norway.

Sony Pictures Classics has obtained the American rights to the film. The film was selected by Lebanon to compete in the "Best Foreign-Language Film" category at the Academy Awards. Furthermore, it received the Byarad d'Or at the Festival international du film Francophone de Namur in Belgium and won the Best Narrative Film award at the Doha Tribeca Film Festival. These two notable achievements have solidified Nadine Labaki's status as a prominent director and generated significant buzz about her.

Born on February 18th 1974 in Beirut, Nadine Labaki began her career by obtaining a degree in audiovisual studies at Saint Joseph University in Beirut. As part of her studies, she directed her graduation film, 11 Rue Pasteur, in 1997. The film received the Best Short Film Award at the Biennale of Arab Cinema at the Arab World Institute in Paris. In 1998, Labaki participated in an acting workshop at the Cours Florent in Paris. Afterward, she directed advertisements and music videos for well-known Middle Eastern singers, earning multiple awards for her work.

As a director, she took part in the Cannes Film Festival Residence to write Caramel, her first feature film in 2005. In 2006, she went on to direct and act as one of the main characters in

Caramel, which offers a unique perspective of Beirut. Instead of directly addressing Lebanon's political issues, she presents a comedic approach to the lives of five Lebanese women who live in Beirut and visit a beauty salon. They deal with love, sexuality, tradition, disappointment, and the everyday ups and downs of life.

The film premiered at the Cannes Film Festival in 2007 during the Directors' Fortnight. It achieved commercial success that summer and received global distribution. It also gained recognition at various film festivals, earning Labaki praise for her directing and acting skills. These accomplishments led to her being included in Variety's 10 Directors to Watch List at the Sundance Film Festival. In 2008, Labaki was honored by the French Ministry of Culture and Communication with the insignia of Chevalier in the Order of Arts and Letters. Later on, in 2010, Labaki directed and starred in her second feature film titled Where Do We Go Now?. This film humorously tackles a sensitive subject about a village where a church and mosque coexist while women strive to prevent their egoistic men from igniting a religious conflict.

The movie premiered at the Cannes Film Festival in 2011 under the "Un Certain Regard" category. It achieved international acclaim and received the Cadillac people’s choice award at the Toronto Film Festival. Additionally, it garnered numerous awards at festivals worldwide, including the Cannes Film Festival, San Sebastian International Film Festival, and Stockholm Film Festival.

The film Stray Bullet, directed by Georges Hachem in 2010, starred Nadine Labaki who is also known as an actress. Nadine Labaki also appeared in the French production Rock The Casbah, directed by Laila

Marrakchi, alongside Hiam Abbas and Lubna Azabal. Additionally, she has starred in other feature films such as Bosta and The Father And The Foreigner. Nadine Labaki is recognized as an auteur director with her iconic personality and style that shines through in every new feature she directs.

Throughout her movies, Nadine Labaki demonstrates visible techniques and certain character traits. These aspects are evident in her two feature films, Caramel and Where Do We Go Now? Caramel, released in 2007, is Labaki's first feature film as a director and actress from Lebanon. The film made its premiere on May 20 at the 2007 Cannes Film Festival, specifically in the Directors' Fortnight section. Its storyline revolves around the lives of five Lebanese women who confront challenges such as forbidden love, restrictive traditions, suppressed sexuality, the struggles of aging, and the conflict between duty and desire.

In Labaki's film, one standout aspect is its portrayal of a welcoming and all-encompassing Beirut, in contrast to the city ravaged by conflict. The movie delves into issues that resonate universally, while also shining a spotlight on Nadine's unwavering feminist identity. Nadine actively engages with the challenges faced by Lebanese women and empowers them through her profession, giving them a platform to express their worries and building personal bonds. Labaki skillfully weaves together the lives and stories of five distinct women within the backdrop of a hairdresser shop.

Nadine Labaki stands out for her attention to women across different age groups, not only teenagers or middle-aged women. She also delves into the experiences of older women, creating intriguing storylines for both the filmmaker and viewers. Labaki's focus on

women's freedom and independence appeals to women of all ages, as seen in her movie Caramel. In the closing scene, a young girl takes charge of her own destiny by cutting her hair and making a decision independently, conveying the idea that women should be allowed to follow their own desires.

Nadine's status as an auteur is reinforced by her attention to women, casting non-professional actors, and incorporating religious themes in her films. For instance, in Caramel, the character Layal is portrayed as devout with religious symbols in her car and pocket. The film's title alludes to a hair removal technique using sugar, water, and lemon juice.

The film Caramel, directed by Labaki, represents the juxtaposition of contrasting flavors such as sweet and salt, sweet and sour. This portrayal emphasizes the intricate nature of everyday relationships despite any difficulties that may arise. The connection between the main female characters prevails throughout the story. Filming for Caramel was finished shortly before the outbreak of the Israel-Lebanon war in July 2006. It premiered at Cannes exactly one year after production began. The movie was filmed in a converted clothes shop located in Beirut District's Gemmayzeh area, serving as the salon setting. Caroline Labaki, Nadine's sister, worked on costume design for this film.

The music for the movie was composed by Khaled Mouzanar, whom Labaki married shortly after the film's release. Caramel was distributed in over 40 countries and became the most internationally acclaimed and exposed Lebanese film to date. The film received critical acclaim, with 92% of critics giving it positive reviews, according to the review aggregator Rotten Tomatoes. Overall, Caramel is regarded as

an astute cultural study and a charming comedic drama from a talented newcomer.

According to Metacritic, the film has a rating of 70 out of 100 based on 17 reviews. In the US box office, it made just over $1 million with a limited release. However, globally it earned over $14 million, showing its profitability as a foreign film. The DVD release in the US was on June 17, 2008. Additionally, this film was Lebanon's official entry for the Best Foreign Language Film category at the 80th Academy Awards. Comparing Nadine Labaki’s two movies allows one to observe her distinctive style and identify shared elements between them.

One visible difference between Caramel and Where Do We Go Now movie is Nadine’s personal change in life. In Caramel, she is portrayed as an independent woman, while in Where Do We Go Now, she becomes a wife and a mother during filming. This change is reflected in her shift from focusing on individual women's problems and lifestyles to highlighting the struggles faced by mothers losing their children due to war and conflicts in the same neighborhoods. Where Do We Go Now? is a 2011 film by Lebanese director Nadine Labaki, which premiered at the 2011 Cannes Film Festival as part of Un Certain Regard.

Despite not being shortlisted for the 84th Academy Awards, Where Do We Go Now? was chosen to represent Lebanon and won the Cadillac People's Choice Award at the 2011 Toronto International Film Festival. It tells the story of a secluded Lebanese village where Muslims and Christians live together. Due to land mines, the village can only be accessed through a

small bridge. As civil unrest spreads throughout the country, the women in the village discover this danger and take action to protect their men. They disrupt the village radio and employ various methods with differing levels of success, ultimately destroying the village TV.

The village is slowly being dragged into escalating violence. However, the women are forming strong bonds and conspiring together to prevent their men from fighting. They even go as far as hiring Ukrainian dancers to entertain the men. Unfortunately, Nassim is killed in a skirmish between Christians and Muslims while running an errand in a nearby town. This presents the women with a significant challenge. In order to maintain control, they secretly drug the men with hashish-laced pastries and remove their weapons from the village. This ensures that there will be no further fighting during or after Nassim's funeral.

Nadine Labaki's movie showcases her distinctive filmmaking style, with the leading actresses taking center stage as heroes and mothers fighting for their children's safety. Unlike her previous works, Labaki uses dramatic sarcasm to balance out the melodramatic tone of the film, resulting in a more engaging experience for viewers. Furthermore, she revisits the theme of women's freedom explored in "Caramel," evident in a forest scene where the protagonist seeks solace and resolution from reality.

This movie, Where Do We Go Now, follows a similar path as Caramel by prominently featuring music as a crucial element of the story. However, it introduces a new aspect with Nadine's adjustment of the dancing scenes. There are two scenes in particular worth mentioning: the opening scene and the one between Nadine Labaki (Amal) and

her lover (Rabie) at the cafe. These scenes bring symphony and rhythm to the dialogue, creating a fresh and unique concept for the script and acting. The filming of Where Do We Go Now? took place over a period of 2 months, from 18 October until 18 December 2010. The film's music was composed by Khaled Mouzanar, who is also Labaki's husband.

Tania Saleh penned the lyrics for all the songs in the movie. The movie premiered at Cannes in May 2011 and was shot in various places, including Taybeh, a village near Baalbek. Taybeh was chosen because of its Church being close to a mosque. Other towns like Meshmesh, Douma, and Jeita's Church Al-Saydeh were also used as filming locations. Labaki's two films have impressed both critics and audiences, showcasing her skill in directing an amateur cast. Despite some of the actors lacking experience in front of the camera, Labaki achieved remarkable outcomes.

She possesses exceptional talent in acting, directing, and writing. She has created a distinct identity for herself and has become a champion for women's voices, stressing the importance of feminism. Her movies ardently advocate for women's rights and empowerment. Her perspective on human nature and the female experience extends beyond the horrors of war, establishing her as a prominent figure in the international film industry. We can expect to see even more extraordinary skills and potential from her in the coming years.