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

1 / 2
Nadine Labaki with "Capernaum" star Zain Al-Rafeea in California. (File/Getty Images)
2 / 2
Nadine Labaki at the Cannes Film Festival on May 16, 2019. (Getty Images)
Updated 24 May 2019
0

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.”


Lefaucheux revolver ‘Van Gogh killed himself with’ up for auction

Updated 17 June 2019
0

Lefaucheux revolver ‘Van Gogh killed himself with’ up for auction

  • Van Gogh experts believe that he shot himself with the gun near the village of Auvers-sur-Oise north of Paris
  • The seven-millimeter Lefaucheux revolver is expected to fetch up to $67,000

PARIS: The revolver with which Vincent van Gogh is believed to have shot himself is to go under the hammer Wednesday at a Paris auction house.
Billed as “the most famous weapon in the history of art,” the seven mm Lefaucheux revolver is expected to fetch up to $67,000 (€60,000).
Van Gogh experts believe that he shot himself with the revolver near the village of Auvers-sur-Oise north of Paris, where he spent the last few months of his life in 1890.
Discovered by a farmer in 1965 in the same field where the troubled Dutch painter is thought to have fatally wounded himself, the gun has already been exhibited at the Van Gogh Museum in Amsterdam.
While Art Auction, who are selling the gun, say there is no way of being absolutely certain that it is the fatal weapon, tests showed it had been in the ground for 75 years, which would fit.
The Dutch artist had borrowed the gun from the owner of the inn in the village where he was staying.
He died 36 hours later after staggering wounded back to the auberge in the dark.
It was not his first dramatic act of self-harm. Two years earlier in 1888, he cut off his ear before offering it to a woman in a brothel in Arles in the south of France.
While most art historians agree that Van Gogh killed himself, that assumption has been questioned in recent years, with some researchers claiming that the fatal shot may have been fired accidentally by two local boys playing with the weapon in the field.
That theory won fresh support from a new biopic of the artist starring Willem Dafoe, “At Eternity’s Gate.”
Its director, the renowned American painter Julian Schnabel, said that Van Gogh had painted 75 canvasses in his 80 days at Auvers-sur-Oise and was unlikely to be suicidal.
The legendary French screenwriter Jean-Claude Carriere — who co-wrote the script with Schnabel — insisted that there “is absolutely no proof he killed himself.
“Do I believe that Van Gogh killed himself? Absolutely not!” he declared when the film was premiered at the Venice film festival last September.
He said Van Gogh painted some of his best work in his final days, including his “Portrait of Dr. Gachet,” the local doctor who later tried to save his life.
It set a world record when it sold for $82.5 million in 1990.
The bullet Dr. Gachet extracted from Van Gogh’s chest was the same caliber as the one used by the Lefaucheux revolver.
“Van Gogh was working constantly. Every day he made a new work. He was not at all sad,” Carriere argued.
In the film the gun goes off after the two young boys, who were brothers, got into a struggle with the bohemian stranger.
Auction Art said that the farmer who found the gun in 1965 gave it to the owners of the inn at Auvers-sur-Oise, whose family are now selling it.
“Technical tests on the weapon have shown the weapon was used and indicate that it stayed in the ground for a period that would coincide with 1890,” it said.
“All these clues give credence to the theory that this is the weapon used in the suicide.”
That did not exclude, the auction house added, that the gun could also have been hidden or abandoned by the two young brothers in the field.
The auction comes as crowds are flocking to an immersive Van Gogh exhibition in the French capital which allows “the audience to enter his landscapes” through projections on the gallery’s walls, ceilings and floors.
“Van Gogh, Starry Night” runs at the Atelier des Lumieres in the east of the city until December.