“The Insult,” Lebanon’s first-ever Academy Award nomination for best foreign-language film, centers around a small slight that escalates until the eyes of a nation are turned toward it.
The problems begin with a leaky illegal drainpipe on Lebanese Christian auto mechanic named Tony’s (Adel Karam) Beirut balcony. When it drips water unto a construction crew working below, Palestinian Muslim refugee Yasser (Kamel El Basha) patches it. Enraged a stranger has tampered with his property Tony undoes the work and demands an apology. “He thinks he’s a hotshot but he’s not.” Tony rants. “He better apologise for insulting me.” When the men meet Tony, who is revealed as a fan of anti-Palestinian Christian leader Bachir Gemayel, blurts out “I wish Ariel Sharon had wiped you all out.” A physical confrontation leads to a court trial which becomes a media sensation.
Writer-director Ziad Doueiri, who worked as a camera assistant under Quentin Tarantino on “Pulp Fiction” and “Jackie Brown,” uses the small story of two men and a disagreement to shine a light on an old and continuing deadlock in the Middle East. Buoyed by terrific performances—El Basha won the Best Actor prize at the Venice Film Festival—the film comments on the Lebanese civil war in microcosm. Boiling the country’s history of unrest between Sunni Muslims and Christians down to a personal story puts a human face on a huge problem. Doueiri humanizes the conflict metaphorically, showing the effects of dehumanizing rhetoric and hate.
“The Insult” is a serious, powerful film that offers not only emotion but also empathy.
We’re celebrating everyone’s favourite award show in true Drake style. Put on your best threads + play our Oscar pool while snacking on free popcorn from the Drake kitchen. Did we mention the evening is hosted by cinema king Richard Crouse? Meet us here + challenge your friends in a match of cinematic trivia. There’s great prizes to be won + even a special bubbly menu to choose from, while cheering on your picks from the silver screen.
How did director J.C. Chandor convince screen legend Robert Redford to drop everything and star in a one man movie?
“He has a good ego on him, so he loved it,” says Chandor. “Just kidding. Actually he does have an ego, but he knows it, which is partially what makes him great.”
In All is Lost Redford plays a character called “our man,” a sailor on a solo yacht trip on the Indian Ocean. When his thirty-foot boat collides with an abandoned shipping container he must use all his resources to survive.
The actor is alone on camera for the entire film, battling the elements and facing his fate.
“I think he realized it was a wonderful time in his life to get rid of all the distractions,” says Chandor. “He has an unbelievably complicated and interesting life with Sundance, the Sundance Institute, his non profit work and directing.
“His life is a bit of a race but he came to Mexico for two-and-a-half months [to shoot the film]. His personal secretary was the only one who knew how to get in touch with him so all that other stuff faded away and for a two-and-a-half month period we went on this very intense journey.
“By the end of it we had gone someplace together, as a crew, an actor and a director. He really loved exposing himself both emotionally and as a performer more than he ever had.”
Critical reaction has been strong and Redford’s name is being tossed around as a shoo in for a Best Actor Oscar nomination.
“He was able to do these very complex emotional transitions but you don’t just see the shift [as a viewer] you actually feel like you’ve been on a little bit of the journey with him.”
It is a raw, emotional performance unlike anything Redford has done before on screen. In his virtually wordless performance the actor becomes a blank canvas that viewers may project their own notions of the meaning of life death and everything in between.
“If the film is working for you you’ll see the man go, ‘Don’t freak out, pull yourself together,’” Says Chandor. “[Redford] and I talked a lot about that. We are not people that have that kind of dialogue out loud so we internalized it. Our hope was that by internalizing it we would create a far more open book for the audience to bring their own hopes and fears to it. What you’re dealing with is one person coming to grips with death, alone.”
“The Insult,” Lebanon’s first-ever Academy Award nomination for best foreign-language film, centers around a small slight that escalates until the eyes of a nation are turned toward it.
