Screen Savers: The best TV shows of 2018

The best TV shows of 2018. (Shutterstock)
Updated 13 December 2018
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Screen Savers: The best TV shows of 2018

  • Lineup of some of the best shows of 2018
  • From psycho killers to stellar spin-offs

DUBAI: From psycho killers to stellar spin-offs via dark comedy and romantic drama, here are the programs that we wasted the most work hours discussing this year. Warning: There will be spoilers.

The Handmaid’s Tale (Season Two)
After a first season that stayed fairly true to Margaret Atwood’s source novel, the dystopian drama took the theocratic Republic of Gilead into uncharted — and even bleaker, harder-to-watch — territory in its second season. Not everyone was on board (“The attempts to add more color and detail … ultimately register as brief pauses from the main event rather than necessary, interconnected sidebars,” wrote Vulture’s Jen Chaney), but, for us, season two more than justified its existence with its knuckle-whitening tension and of-the-moment examination of social issues.

Killing Eve
An unexpected, and hard-to-categorize, hit, “Killing Eve” mixed smart storytelling, thrilling action set-pieces and comedy (both dark and silly) to great effect, further boosting the reputation of showrunner Phoebe Waller-Bridge. Jodie Comer was a revelation as the paradoxically deadly-but-vulnerable assassin Villanelle, and Sandra Oh portrayed MI5 officer Eve Polanski’s confused love-hate obsession with her brilliantly.

Al Hayba (Season Two)
Director Samer Al-Barkawi’s drama about the arms-smuggling Sheikh El Jabal clan in a village on the Lebanon-Syria border was one of the big hits of Ramadan 2017, so expectations were high for this year’s follow-up (a prequel to the first season). The complex plot kept audiences gripped; Syrian actor Taim Hassan drew plaudits for his reprisal as the head of the clan; and Nicole Saba proved a solid replacement for season one star Nadine Njeim. A bit of social-media controversy (in which — shocker! — people online seemed to confuse fiction and fact) only made this more of a must-see.

Better Call Saul (Season Four)
Remarkably, this spinoff from what is widely regarded as one of the peaks of “peak TV” — “Breaking Bad” — looks like it may actually come close to eclipsing the dizzy heights reached by its parent show. Bob Odenkirk’s portrayal of Jimmy McGill’s transformation into the morally bankrupt Saul Goodman continues to dazzle, and the emotional back-and-forth between Jimmy and his girlfriend Kim (the excellent Rhea Seehorn) is the show’s dark heart. This season, too, had a payoff as brutal as anything “Breaking Bad” produced.

Atlanta (Season Two)
With his alter-ego Childish Gambino’s “This is America” and the sophomore season of this hip-hop comedy, Donald Glover proved himself one of 2018’s most powerful social commentators. Funny, frightening and thought-provoking, “Atlanta” built on its surprising, weird debut season to tackle heavy topics with surreal and subtle humor.

Bodyguard
Show creator Jed Mercurio had already proven with “Line of Duty” that he has a knack for gripping, jeopardy-heavy thrillers with jaw-dropping cliffhangers (and a penchant for killing off lead characters), so the success of “Bodyguard” — described by The Guardian as “a modern take on a hero’s fable” — wasn’t a huge surprise. Keeley Hawes was superb as ambitious home secretary Julia Montague and Richard Madden played her police protection officer David Budd with a compelling blend of hard-edged heroism and morally compromised frustration.

Tareeq
Nadine Njeim switched from “Al Hayba” to another Ramadan hit, this romantic drama also starring Syrian actor Abed Fahd as lovers Ameera and Jaber respectively. The moving story saw Jaber struggling to come to terms with the loss of his family in a car crash and unexpectedly falling for Ameera, a poor young law student. More than just a simple love story, “Tareeq” tackled themes of loss, class prejudice, and sacrifice.

The Americans (Season Six)
It’s pretty rare for a well-loved TV show to wrap up with a satisfactory climax (remember “Lost”?), but “The Americans” — a downbeat, tense tale of Russian deep-cover agents in Reagan-era America — did it brilliantly, continuing the hugely engaging spy-thriller plot while equally successfully presenting an intense examination of a couple caught between loyalties to their homeland, their kids, their new home, and each other. All topped off with a powerful, slow-burn of a tragedy as parents and kids are separated, not always by choice.

Barry
Another show based around the life of an assassin that, like “Killing Eve,” covers comedy and drama by keeping the best bits of both genres to the fore. Bill Hader once again proved his acting chops (often by pretending to be unable to act) as the titular hitman trying to escape his violent life and begin anew. Henry Winkler was typically superb as his acting coach, and each episode had belly laughs and gut-wrenching violence aplenty.

Sacred Games
This tense, dense Indian thriller won critical acclaim for its thoughtful storyline and stellar performances from the whole cast. Saif Ali Khan was superb as cynical police officer Sartaj Singh, promised (via an anonymous tip-off) the opportunity to finally capture the powerful underworld boss Ganesh Gaitonde (the outstanding Nawazuddin Siddiqui), only to find himself caught up in a wide-ranging conspiracy that goes way beyond Mumbai’s gangland.

Homecoming
Julia Roberts made her small-screen debut in this compelling psychological thriller, adapted from the popular podcast about social worker Heidi Bergman helping a soldier adapt to life after deployment, and directed by “Mr. Robot” creator Sam Esmail. The time-hopping story was shot unusually (but successfully) by Esmail, with Bergman’s future life as a waitress presented in vertical frame. This apparent gimmick paid off beautifully in a scene where she suddenly regains her memory of her time as a social worker, and the screen expands to full-width.

Tango
The talented quartet of Levantine actors Bassel Khayyat, Bassem Moughnieh, Daniella Rahme and Dana Mardini, directed by Rami Hanna, made this one of 2018’s must-see Arabic dramas. Married couples Sami and Farah and Omar and Lina are long-term friends, sharing a passion for tango dancing. When Farah is killed in a car accident that leaves Omar in a coma, it becomes clear the two were having an affair. What follows is an emotionally fraught depiction of how their spouses deal with the fallout.

Babylon Berlin
Beautifully shot and wonderfully acted, this German crime drama, set in 1929 Berlin, was hugely ambitious, but successfully so. Volker Bruch excelled as Inspector Gereon Rath — the emotionally and mentally damaged self-medicating war veteran sent to Berlin to investigate an extortion racket and stumbling on a bigger conspiracy — but was regularly overshadowed by scene-stealing Peter Kurth as the morally ambiguous, often revolting Detective Chief Inspector Bruno Wolter.

 


INTERVIEW: Lebanese filmmaker Nadine Labaki on heading a Cannes jury and the surprise success of 'Capernaum' in China

Updated 24 May 2019
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INTERVIEW: Lebanese filmmaker Nadine Labaki on heading a Cannes jury and the surprise success of 'Capernaum' in China

  • Labaki is currently serving as the president of the Un Certain Regard jury, the first Arab to do so
  • “Capernaum” has become an unexpected blockbuster in China, reportedly grossing $44 million in just over two weeks

DUBAI: The success that Lebanese director Nadine Labaki’s third film, “Capernaum,” continues to find across the world is astounding — even to her. Just one year ago, “Capernaum” won the Jury Prize at the Cannes Film Festival — a jury chaired by Cate Blanchett — after a 15-minute standing ovation. The film went on to be nominated for both a Golden Globe and an Academy Award for Best Foreign Film, with Labaki becoming the first woman from the Arab world to receive that honor. Now, perhaps most surprisingly, “Capernaum” has become an unexpected blockbuster in China, reportedly grossing $44 million in just over two weeks.
“It’s crazy! I can’t believe it! I really can’t. Why there? It’s all very new, so I still don’t know what it means exactly, but we’re soon going to find out,” Labaki tells Arab News in Cannes.
With its success in China, along with the US, Middle East and across Europe, “Capernaum” has reportedly become the highest grossing Arabic-language film in history.
“There’s been rumors going on for the past two to three days, and it’s like, ‘What?’ I still can’t believe it. It’s living proof that an Arab film with no actors can actually be a box office hit — can actually return money, make money for investors. You know how much we’re struggling in the Arab world to make films, find money, find funding, find investment. Especially for a Lebanese film,” Labaki says.
Labaki was in China just one month ago to show the film at the Beijing International Film Festival, and although the film got a rousing response in the room, she didn’t feel the reaction was any stronger than anywhere else the film has shown.
“Maybe it’s because there’s more than a billion people in China, but even the distributor is saying it’s working like any big blockbuster movie,” says Labaki.
The Chinese release of the film has one major difference from other cuts. The original version of the film tells the story of a young boy named Zain El Hajj (played by Zain Al-Rafeea) struggling to survive on the streets of Lebanon with the help of a young Ethiopian immigrant named Rahil and her undocumented infant son Yonas, dreaming of escaping as a refugee to Sweden. The story is not far from Al-Rafeea’s real-life situation at the time — he is a Syrian refugee. Since the film’s release, though, Al-Rafeea and his family have been relocated to Norway, something the Chinese release includes at the end of the film as a short visual report.
“The film ends on his smile, and in a way there’s (now) a continuation of real life in that story. This is really happening, it’s not made up,” says Labaki. “That’s why we’re making a documentary around the film. Maybe it’s a way of comforting people, knowing that he’s alright, he’s good, he’s in a better place. Deep down, people know this kid is going through this in his real life, they know he’s not just an actor in this film.
“I think it’s comforting to know Zain is in a different place now. He’s travelled. He was dreaming of going to Sweden the whole time, and now he’s really in Norway. He has a new life, a new beginning, a new house. He’s going to school, all his family is with him,” she continues. “It’s a complete shift of destiny. Maybe the fact the distributor added this report after the film made people understand that this is a real story and a real struggle, and not just another film.”
Though this is a huge moment for Arab film in general, Labaki doesn’t believe that the success of “Capernaum” necessarily signals a greater appetite for Arab cinema worldwide.
“I don’t think it’s about (where the film comes from). It’s about good films. It has nothing to do with the identity of the film or the country it’s coming from, really. It doesn’t mean if this film worked in China that another Arab film will work in China,” she says. “Maybe there’s going to be more hope for Lebanese cinema in the sense that investors will be less afraid to invest in Lebanese films, but it’s about the script, the filmmaker, the craft, the know-how. This is what gives confidence to somebody.”
Speaking to Arab News at the renowned Hotel Barrière Le Majestic Cannes on one of the busiest days of the film festival, Labaki is currently serving as the president of the Un Certain Regard jury, the first Arab to do so. Labaki began her relationship with Cannes in 2004, writing and developing her first feature, “Caramel,” at the Cinéfoundation Residency before showcasing the film at the Director’s Fortnight in 2007. Both of Labaki’s subsequent films — “Where do We Go Now?” in 2011 and “Capernaum” in 2018 — debuted at the festival, each in increasingly competitive categories.
“I feel like I’m their baby, in a way. With a baby you start watching their first steps, see them grow, protect them, push them… They’ve accompanied me in this journey, and recognized and encouraged me. It’s great — I really love this festival. I think it’s the best festival in the world. I like the integrity they have towards cinema. You feel that watching a film in Cannes, you know that you’re not going to watch just anything — there’s something in there for you to learn from, to be surprised by, to be in awe of. There’s always something about films that are shown in Cannes,” says Labaki.
In approaching her role as head of the jury, Labaki is focusing on connecting with the films, and taking on the perspective of myriad filmmakers from across the world.
“I don’t watch films as a filmmaker. Never,” she says. “I watch the film as a human being… I don’t like the word jury. I don’t like to judge because I’ve been there — I’m there all the time. I’ve been in those very difficult situations, very fragile situations, where you’re making a film, where you’re doubting, where you don’t know, where you don’t have enough distance with what you’re doing, and you don’t have the right answers and you’re not taking the right decisions.”
Just as her own films have become increasingly focused on the problems facing Lebanese society, Labaki believes that contemporary film cannot help but be political, and must accept its role as a commentary on the world we live in — something that she feels she’s seen in the films in her category.
“Cinema is not just about making another film; it’s about saying something about the state of the world right now. Until now, every film we’ve seen is (doing that). That doesn’t mean that cinema that is just art for art’s sake is not good — there are so many different schools — but I feel we’re becoming so much more responsible for this act,” she says. “You become an activist without even knowing you’re becoming an activist, and saying something about the state of the world. It’s important.”