Ajami

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Plot

Palestinian Scandar Copti and Israeli Yaron Shani collaborated on this independent drama, which examines how the troubled relationship between their countries colors everyday life in the Middle East. Nasri (Fouad Habash) is a teenager whose family is in crisis: his uncle got into an altercation with a local crime boss, and in reprisal, his cousin has been murdered. The shooters, it seems, originally intended to kill Nasri's younger brother, Omar (Shahir Kabaha), in lieu of the cousin. Abu Elias (Youssef Sahwani), a restaurateur and respected member of the community, steps in to negotiate. Omar agrees to make a cash payment to the gangsters to prevent further violence, but since he doesn't have the money, he raises it by dealing drugs. Abu has a daughter, Hadir (Ranin Karim), who works at his restaurant; she's fallen in love with Omar, but since she's Christian and he's Muslim, they can't acknowledge their feelings in public. Also working at the restaurant is Malek (Ibrahim Frege), a 16-year-old illegal immigrant who is looking for any kind of job to help pay for his mother's medical treatments. And elsewhere, Dando (Eran Naim) is a policeman drawn into the chaotic life of Binj (Scandar Copti), a suspected drug dealer who has been arrested for attacking a Jewish neighbor; Dando is also preoccupied with the fate of his brother, who has suddenly gone missing. Ajami won a special distinction award at the 2009 Cannes Film Festival. ~ Mark Deming, Rovi

Review

Ajami -- jointly directed by Scandar Copti, an Israeli-Arab filmmaker, writer, and actor, and Yaron Shani, a Jewish-Israeli filmmaker -- is a movie that pulls no punches and takes no sides while delineating in a somber (but cinematically engrossing) manner the layers of conflict and bitterness that afflict Israeli and Palestinian societies. It does so through a series of interlocking tragedies involving Arab, Christian, and Jewish families, where all three groups and their extended social relations come up against each other, mostly in Jaffa, a tough Arab community near Tel Aviv, and in Tel Aviv itself. The performances by the mostly nonprofessional cast coupled with the fluid direction and the distinctly nonlinear narrative give the entire movie the feel of a documentary, though the plot elements do fit together a little too neatly (one actually wishes that this movie ran slightly longer with a less smoothly delineated ending).



This verisimilitude is enhanced by the fact that the movie does not take sides in any of the levels of strife that are depicted. One gets a terrible sense of foreboding throughout the film, as the most innocent social interaction, driven by the best impulses on the part of the participants, can lead to serial deaths and revenge killings. Family relationships, among Arabs, Jews, and Christians, are depicted as stabilizing and destructive forces, and the violence, even in a cinematic world in which graphic and mass death are commonplace, is still depicted in startlingly graphic and shocking terms. Nonetheless, for all of the harshness of the movie's subject matter, the two directors have imbued their movie with a layer of gracefulness in the storytelling that makes one want to see this movie a second time, not only to take in the latter on a deeper level, but also to marvel at the manner in which the interlocking pieces of the violent puzzle do fit together so naturally (if a little too neatly); the sense of doom here, and the interlocking narrative chunks (broken down into chapters) reminds one of American film noir classics such as Stanley Kubrick's The Killing and, to a lesser degree, Abraham Polonsky's Force of Evil, but Copti (who also plays a small but key supporting role) and Shani, have carried the storytelling into nonlinear territory beyond anything seen in classic noir. Their achievement -- this is the first primarily Arab-language movie to get so high-profile a release in Israel and, even more importantly, outside of Israel -- has been honored with an Academy Award nomination and a ton of rave festival notices from around the world; and for once, the hype is justified. The entire cast, nonprofessional though most of them are, deserves accolades as well. Among the elements that Hollywood may notice will be the presence of the hauntingly beautiful Ranin Karim in the role of Hadir, but if she takes her acting seriously, she'll stay away from the offers that undoubtedly will be coming her way. ~ Bruce Eder, Rovi

Cast

  • Shahir Kabaha - Omar
  • Ibrahim Frege - Malek
  • Fouad Habash - Nasri
  • Youssef Sahwani - Abu Elias
  • Scandar Copti - Binj
Ghassan Ashkar - Nasri's Uncle; Eran Naim - Dando; Nisrin Rihan - Ilham; Ranin Karim - Hadir; Sigal Harel - Dando's sister

Credit

Thanassis Karathanos - Co-producer, Scandar Copti - Director, Yaron Shani - Director, Scandar Copti - Editor, Yaron Shani - Editor, James Richardson - Executive Producer, Allan Niblo - Executive Producer, Rupert Preston - Executive Producer, Rabiah Buchari - Composer (Music Score), Yoav Sinai - Production Designer, Boaz Yakov - Cinematographer, Mosh Danon - Producer, Talia Kleinhendler - Producer, Kai Tebbel - Sound/Sound Designer, Itai Elohav - Sound/Sound Designer, Matthias Schwab - Sound/Sound Designer, Scandar Copti - Screenwriter, Yaron Shani - Screenwriter

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Ajami

Arabic-language Theatrical poster
Directed by Scandar Copti
Yaron Shani
Produced by Moshe Danon
Thanassis Karathanos
Talia Kleinhendler
Written by Scandar Copti
Yaron Shani
Starring Fouad Habash
Ibrahim Frege
Scandar Copti
Shahir Kabaha
Eran Naim
Music by Rabih Boukhari
Cinematography Boaz Yehonatan Yaacov
Editing by Scandar Copti
Yaron Shani
Release date(s) 22 May 2009 (2009-05-22) (Cannes)
Running time 120 minutes
Country Israel
Language Arabic
Hebrew
Budget $1 million
Box office $2.2 million

Ajami (Arabic: عجمي‎; Hebrew: עג'מי‎) is a 2009 Arab/Jewish collaboration drama film. Its plot is set in the Ajami neighborhood of Jaffa.

Contents

Overview

Written and directed by Scandar Copti (a Palestinian, born and raised in Yafa) and Yaron Shani (a Jewish Israeli), Ajami explores five different stories set in an actual impoverished Christian-and-Muslim Arab neighborhood of the Tel Aviv - Jaffa metropolis, called Ajami. The many characters played by non-professional actors lend the story the feel of a documentary. The Arab characters speak Arabic among themselves, the Jewish characters speak Hebrew among themselves, and scenes with both Arab and Jewish characters are a naturalistic portrait of characters using both languages, as they would in real life. The film was co-produced by French, German and Israeli companies – Inosan Productions, Twenty Twenty Vision, Israel Film Fund, Medienboard Berlin-Brandenburg, ZDF, Arte, World Cinema Fund.[1]

In Israel the film was very well received, and won the Ophir Award for Best Film, defeating Golden Lion Award-winner Lebanon. It has been compared to Pier Paolo Pasolini's early films, and to more recent crime films such as City of God and Gomorra.

Ajami was the first predominantly Arabic-language film submitted by Israel for the Academy Award for Best Foreign Language Film, and it was nominated for the award.[2] It lost to El secreto de sus ojos (Argentina). It was the third year in a row that an Israeli film was nominated for an Academy Award.

Plot

There are five story lines which are presented in a non-linear and non-chronological fashion. Some of the events are shown multiple times from different perspectives. Impressions are created of characters, positive and negative, which, subsequently, turn out to be incorrect. A young Israeli Arab boy, Nasri, who lives in the Ajami neighborhood of Jaffa, narrates the film.

As the movie opens, Nasri's neighbor is killed in a drive-by shooting while working on a car in the street. The hit man had intended to kill Nasri's older brother Omar, as revenge for Nasri's uncle's shooting and severely injuring of a Bedouin gang member and extortionist. A leading member of the Jaffa community, Abu Elias, brings Omar to a Bedouin court session, in which a "judge" decides that Omar has to pay tens of thousands of dinars - equivalent to tens of thousands of dollars - to end the chain of revenge killings of which he could be the next victim. A young Palestinian (from the area of Nablus), Malek, is illegally employed in Abu Elias's restaurant. and is desperate to make enough money for his mother's bone marrow transplant surgery. Omar has also another problem: he is Muslim and in love with Abu Elias's daughter, Hadir, who is a Christian. Abu Elias, who owns the restaurant where Omar and Malek work) does not approve of their relationship. Binj (played by co-director Copti), a cook at the restaurant, is forced by his brother to hold drugs for him when a neighborhood dispute over bleating sheep results in the stabbing of a Jewish Jaffa neighbor. Binj's house is searched by the police, who are called away and do not find the drugs. When he is found dead and the house ransacked, it appears he was murdered. We later learn that Binj died of a drug overdose after throwing away the remaining drugs and replacing them with sugar. Malek, thinking the drugs are real, takes them and, with Omar, tries to sell them. Abu Elias learns of their plans and sets a trap so that Omar will be caught trying to sell the drugs and be arrested, thus ending the relationship with Abu Elias's daughter. Abu Elias fires Malek but does not want him to be caught in the trap, and warns him what is going to happen. Malek, not convinced, wants to go anyway because he needs the money for his mother's operation, therefore Abu Elias advises him to go along with Omar, but not touch the drugs, then the police will let him go. Omar's younger brother Nasri insists on accompanying Omar and Malek because he is worried that something will happen to Omar. When they get to the place where they will meet the "drug dealers" (in fact, the police), Nasri is told to stay in the car. At Malek's urging, Omar leaves his gun in the car. The officers discover the drugs are fake. One of the officers, Dando, sees Malek with a pocket watch that he thinks belonged to his brother Yoni (who had been murdered in what police take to be a "nationalist" killing) and suspects that Malek had a hand in killing him (in fact, Malek had bought the watch as a gift for Abu Elias). Nasri, who hadn't stayed in the car but followed behind Omar and Malek instead, sees Dando aiming his gun at Malek and, not realizing they are police, he shoots Dando and is then shot and killed by another officer. Thus, Nasri's dread of future tragedy, predicted at the beginning of the film, is fulfilled as the story arcs come together in the last scene.

Awards

See also

Notes

References

  • Ajami on Free TV Movie Database

External links


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Mentioned in

Hasan Al-Ajami (World Artist, 2000s)
Robert Davi (Actor, Writer, Director, Action/Drama)