'Gaza mon amour' is one of the greatest unexpected joys that cinema has given us in the past few years.
It is unfortunately all too fair to assume any picture coming out of Palestine, or set in Gaza or the occupied West Bank, is going to be dour and dispiriting; consider Farah Nabulsi's award-winning short film 'The present,' for example, or Najwa Najjar's 'Eyes of a thief.' I think it's unavoidable in some capacity, and there are indeed elements here of the tenor we would expect. In sidelong but definitive glances we see the austere, impoverished conditions that are enforced in Gaza through Israeli oppression, not to mention facets of the social and political realities thereof, and the constant threat of bombing. Cuts to electricity, for example, are such a regular occurrence even just in this feature that one may as well be anticipating the next sunrise. And yet these aspects and the nature of the visuals are merely the setting, and very pointedly not the whole story. They're not the story at all, in fact, and Tarzan and Arab Nasser instead treat us to a romantic comedy-drama that's stirring, heartfelt, and altogether lovely. Pure comedies sometimes fail to make me laugh as much as this did, and at the same time the movie is both compelling and heartwarming. I was uncertain of what to expect when I sat to watch, but I couldn't be more pleased with how good it is!
If I have any possible criticism to impart it might be that even for as smart as it is, the writing could have been tightened and refined. This could have been the tale strictly of Issa, and Siham, and the burgeoning romantic inclinations, by which I mean to say that other notions aren't as strong or important even as they are ultimately woven in as welcome (underhanded or ancillary) components of the tapestry. Be that as it may, that's the nearest I can come to any words of a negative connotation, and by and large everything here is so fantastic that any such subjective perceptions don't truly count for anything when weighed against the high quality 'Gaza mon amour' otherwise represents. It's hard to even pick out one part that I like more than another, for from top to bottom the title is such a pleasure. The more plainly dramatic elements accentuate the setting - obliquely spotlighting the most urgent human and humanitarian factors - and establish the scenario in which the other narrative ingredients are allowed to unfold. Some of the humor is wry or cheeky, and some of it is simply shrewd and fun; sometimes we're greeted with situational comedy, or tinges of witty repartee in the dialogue, and sometimes the screenplay brashly toys with the reality of Israeli occupation and enforcement. The romance is treated lightly in the Nassers' screenplay, yet is thusly made to feel more natural and believable than has sometimes been the case in Hollywood romances, even as some bits and pieces here are recognizable from their common dispensation in any such genre piece. Stir the drama, comedy, and romance together, and the outcome is nothing less than marvelous for as carefully and lovingly as the Nassers crafted their script.
Even as we may be well removed geographically and culturally from the characters they are perfectly believable and relatable, as much as if they were right next door (maybe more so, am I right?). The dialogue and scene writing alike are simple and unsophisticated as they present, yet deceptively rich as they serve to amplify, cement, and/or lay the groundwork for the gently varying flavors that we sample in these eighty-seven minutes. And while one may reasonably nitpick the details a little, the plot is splendid: familiar in the broadest of terms, yes, but given new vitality by the totality of the context in which it's set. From the unassuming beginning through to the pure, wholesome ending - and one last scene, equally impertinent and sweet - the tale may verge on less glad tidings, but nevertheless stand as a small beacon of light in a time, and a place, where the lights are under constant threat both literal and proverbial of going out. Yet for as much as I've emphasized the writing, and the experience as a whole, there is really nothing here that isn't done well. Led by Salim Daw and Hiam Abbas as Issa and Siham, the cast are a delight in and of themselves, commanding the down-to-Earth roles with a graceful, natural ease that reflects how 'Gaza mon amour' could just as well be playing out as a human interest news story rather than a fiction invented by the Nassers. The filmmakers' direction is firm yet supple in orchestrating every shot and scene, and further indicates their keen vision as no few sights to greet our eyes, seen through Christophe Graillot's vivid cinematography, look like they could be pulled directly from a celebrated photojournalist's portrait of conditions and daily life in Gaza.
While staying to the background, all the same Andrew Matthias' score is a treasure while lending light, tasty, tasteful complement to the mood at any time. From unembellished costume design to solid production design, and pristine sound design, everything here looks and sounds terrific: calculated and finessed, yet drawn from the everyday lived truths of a people and painted in plainspoken, stark hues. Pair these facets with the tender, enchanting love story and clever humor, and the candid performances of the actors, and when all is said and done the picture is nothing less than superb. Knowing nothing about it ahead of time I still assumed I would appreciate it, and I'm so thrilled with what Tarzan and Arab Nasser conjured. Not only is the flick well made in every capacity, and engrossing and satisfying, but it's also earnestly enjoyable, uplifting, and rewarding, and those are among the last words I'd have thought I'd be using to describe it. I could scarcely be happier with how excellent 'Gaza mon amour' is, and I'm sad that it hasn't had more recognition and visibility in the time since it was released. This is well worth seeking out, and I'm pleased to give it my very high, hearty, and enthusiastic recommendation!
It is unfortunately all too fair to assume any picture coming out of Palestine, or set in Gaza or the occupied West Bank, is going to be dour and dispiriting; consider Farah Nabulsi's award-winning short film 'The present,' for example, or Najwa Najjar's 'Eyes of a thief.' I think it's unavoidable in some capacity, and there are indeed elements here of the tenor we would expect. In sidelong but definitive glances we see the austere, impoverished conditions that are enforced in Gaza through Israeli oppression, not to mention facets of the social and political realities thereof, and the constant threat of bombing. Cuts to electricity, for example, are such a regular occurrence even just in this feature that one may as well be anticipating the next sunrise. And yet these aspects and the nature of the visuals are merely the setting, and very pointedly not the whole story. They're not the story at all, in fact, and Tarzan and Arab Nasser instead treat us to a romantic comedy-drama that's stirring, heartfelt, and altogether lovely. Pure comedies sometimes fail to make me laugh as much as this did, and at the same time the movie is both compelling and heartwarming. I was uncertain of what to expect when I sat to watch, but I couldn't be more pleased with how good it is!
If I have any possible criticism to impart it might be that even for as smart as it is, the writing could have been tightened and refined. This could have been the tale strictly of Issa, and Siham, and the burgeoning romantic inclinations, by which I mean to say that other notions aren't as strong or important even as they are ultimately woven in as welcome (underhanded or ancillary) components of the tapestry. Be that as it may, that's the nearest I can come to any words of a negative connotation, and by and large everything here is so fantastic that any such subjective perceptions don't truly count for anything when weighed against the high quality 'Gaza mon amour' otherwise represents. It's hard to even pick out one part that I like more than another, for from top to bottom the title is such a pleasure. The more plainly dramatic elements accentuate the setting - obliquely spotlighting the most urgent human and humanitarian factors - and establish the scenario in which the other narrative ingredients are allowed to unfold. Some of the humor is wry or cheeky, and some of it is simply shrewd and fun; sometimes we're greeted with situational comedy, or tinges of witty repartee in the dialogue, and sometimes the screenplay brashly toys with the reality of Israeli occupation and enforcement. The romance is treated lightly in the Nassers' screenplay, yet is thusly made to feel more natural and believable than has sometimes been the case in Hollywood romances, even as some bits and pieces here are recognizable from their common dispensation in any such genre piece. Stir the drama, comedy, and romance together, and the outcome is nothing less than marvelous for as carefully and lovingly as the Nassers crafted their script.
Even as we may be well removed geographically and culturally from the characters they are perfectly believable and relatable, as much as if they were right next door (maybe more so, am I right?). The dialogue and scene writing alike are simple and unsophisticated as they present, yet deceptively rich as they serve to amplify, cement, and/or lay the groundwork for the gently varying flavors that we sample in these eighty-seven minutes. And while one may reasonably nitpick the details a little, the plot is splendid: familiar in the broadest of terms, yes, but given new vitality by the totality of the context in which it's set. From the unassuming beginning through to the pure, wholesome ending - and one last scene, equally impertinent and sweet - the tale may verge on less glad tidings, but nevertheless stand as a small beacon of light in a time, and a place, where the lights are under constant threat both literal and proverbial of going out. Yet for as much as I've emphasized the writing, and the experience as a whole, there is really nothing here that isn't done well. Led by Salim Daw and Hiam Abbas as Issa and Siham, the cast are a delight in and of themselves, commanding the down-to-Earth roles with a graceful, natural ease that reflects how 'Gaza mon amour' could just as well be playing out as a human interest news story rather than a fiction invented by the Nassers. The filmmakers' direction is firm yet supple in orchestrating every shot and scene, and further indicates their keen vision as no few sights to greet our eyes, seen through Christophe Graillot's vivid cinematography, look like they could be pulled directly from a celebrated photojournalist's portrait of conditions and daily life in Gaza.
While staying to the background, all the same Andrew Matthias' score is a treasure while lending light, tasty, tasteful complement to the mood at any time. From unembellished costume design to solid production design, and pristine sound design, everything here looks and sounds terrific: calculated and finessed, yet drawn from the everyday lived truths of a people and painted in plainspoken, stark hues. Pair these facets with the tender, enchanting love story and clever humor, and the candid performances of the actors, and when all is said and done the picture is nothing less than superb. Knowing nothing about it ahead of time I still assumed I would appreciate it, and I'm so thrilled with what Tarzan and Arab Nasser conjured. Not only is the flick well made in every capacity, and engrossing and satisfying, but it's also earnestly enjoyable, uplifting, and rewarding, and those are among the last words I'd have thought I'd be using to describe it. I could scarcely be happier with how excellent 'Gaza mon amour' is, and I'm sad that it hasn't had more recognition and visibility in the time since it was released. This is well worth seeking out, and I'm pleased to give it my very high, hearty, and enthusiastic recommendation!