Nadine Labaki, Rami Malek hope to win Golden Globes awards

Labaki’s movie “Capernaum” – also spelt Capharnaüm – is nominated for best motion picture in the Foreign Language category. (File/AFP)
Updated 06 January 2019
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Nadine Labaki, Rami Malek hope to win Golden Globes awards

  • Lebanese director Nadine Labaki movie “Capernaum” is nominated for best motion picture in the Foreign Language category
  • American-Egyptian actor Rami Malek is favored to win Best Performance by an Actor in a Motion Picture in the drama category

As the run-up to the Golden Globes awards closes, Lebanese director Nadine Labaki and American-Egyptian actor Rami Malek are hoping to walk away with a win from the 76th annual ceremony.

Labaki’s movie “Capernaum” – also spelt Capharnaüm – is nominated for best motion picture in the Foreign Language category against Oscar-winning director Alfonso Cuaron.

The Lebanese drama is about a Syrian refugee’s difficult life in Lebanon who takes his parents to court.

The acclaimed filmmaker and actress took to social media to celebrate her first-ever Golden Globe nomination with a heartwarming video.

Meanwhile, American-Egyptian actor Malek is nominated for his lead role in “Bohemian Rhapsody” where he plays the role of Freddie Mercury.

Known for his breakthrough role Mr. Robot, Malek is favored to win Best Performance by an Actor in a Motion Picture in the drama category. The Mercury biopic sold $50 million at the Box Office.

Malek described Mercury as a complex character — a publicly bombastic yet privately shy individual with a highly unusual path to stardom.

“Freddie Mercury is synonymous with being otherworldly,” the actor said. “He was a revolutionary.”

The Golden Globes is also expected to be dominated by Bradley Cooper’s “A Star is Born.”

It’s expected to win best picture, drama, best actress for Lady Gaga and best song for Gaga’s “Shallow.”

 


Netflix Review: ‘Leila’ offers a frightening fictional glimpse into India under draconian rule

Netflix’s original six-episode series, “Leila,” is an unflinching look at a fictional futuristic India run under a draconian political, social and cultural structure. (Supplied)
Updated 19 June 2019
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Netflix Review: ‘Leila’ offers a frightening fictional glimpse into India under draconian rule

CHENNAI: Netflix’s original six-episode series, “Leila,” is an unflinching look at a fictional futuristic India run under a draconian political, social and cultural structure.

Adapted from Prayaag Akbar’s novel of the same title, and directed by Deepa Mehta (known for bold films such as “Fire,” “Earth” and “Water”), Shanker Raman and Pawan Kumar, “Leila” is set in 2047, a century after the country had gained independence from the British Empire, and is a daring take on what India could become if authoritarianism and radical forces had their way.

India, in “Leila,” is called Aryavarta, a dictatorial state ruled by Joshi (Sanjay Suri) with the help of a ruthless police force, where painful segregation of people on the basis of religion, caste and economic status is routine. They are separated by formidably tall walls to ensure purity of race.

Children of mixed parentage are whisked away from parents, and women who marry outside their religion are sent to places resembling concentration camps, where they are reformed and re-educated.

One of them is Shalini (Huma Qureshi), whose marriage to Rizwan (Rahul Khanna) outside her community is branded a crime. Her little daughter, Leila, is taken away, and her husband murdered.

The series follows the distraught mother as she goes looking for the girl. Hurt and humiliated by a draconian administration which relies on thugs and a highly intrusive surveillance system to maintain order, Shalini befriends a state-appointed minder, Bhanu (Siddharth).

Penned by Urmi Juvekar, Suhani Kawar and Patrick Graham, the series is slightly different from the book, and runs like a thriller showing chases, brawls for water (“Bandit Queen” director Shekhar Kapur had once wanted to make a movie on water wars, but could not) and torturous living conditions in filthy slums.

Qureshi portrays flashes of brilliance as a deeply troubled woman who pines for her child, but her character is often roadblocked in her quest by an unfeeling regime with a zero-tolerance approach to dissent.

Order is enforced through inhuman forms of punishment, and at one point Shalini has to roll over plates of half-eaten food.

With Netflix outside the purview of sometimes rigid Indian censorship rules, Mehta and the other directors have been able to present most graphically a scenario that is well within the realms of possibility.