In the provocative Lebanese film “The Insult,” a minor conflict over a gutter between two ordinary men in Beirut spirals and escalates to the level of national significance with the stability of the country hanging in the balance. The film, from director Ziad Doueiri (“West Beirut,” ‘‘The Attack”), on Tuesday became Lebanon’s first foreign language Oscar contender. It’s also, somewhat fittingly, caused a fair amount of controversy internationally, being banned in countries like Jordan. The insult in question begins as almost a misunderstanding.
A man tasked with bringing the apartments in one part of Beirut up to code, fixes an illegal drainpipe that has been leaking dirty water on himself and his workers. The owner tells him not to touch his apartment and smashes the newly installed pipe. The construction worker shouts an expletive at him. The rub is that one man, the construction worker Yasser Salameh (Kamel El Basha), is a Palestinian refugee. The other, the owner of the apartment Tony Hanna (Adel Karam), is a Lebanese member of the Christian Party. Everyday offenses and clashes of egos aren’t just annoyances.
In this context, they take on the weight of everyone’s history, prejudices and traumas. Tony, who runs hot through most of the film, is incensed by the Yasser’s swearing and becomes wholly obsessed with getting an apology — much to the bafflement of his very pregnant wife, Shirine (Rita Hayek). Yasser, subdued but proud to a fault, doesn’t think he’s done anything particularly wrong — it was Tony who smashed the pipe, after all — but his boss convinces him to apologize, reminding him that he’s a visitor in “their” neighborhood.
The apology couldn’t go worse. When Yasser arrives to Tony’s auto shop, Tony is listening to some anti- Palestinian rhetoric on the radio. Then Yasser fails to immediately apologize and Tony, once again, gets hot and says he wished Ariel Sharon would have “wiped you all out.” Yasser punches Tony in the ribs, and suddenly they’re dealing with an assault. The films shifts then to a tumultuous courtroom drama, first with both men representing themselves (to an unsatisfactory conclusion for Tony) and then with highpowered lawyers at their side who stoke the flames of the conflict just as each individual is starting to waver on whether it’s all worth it.
There is drama between the two lawyers too, a father and daughter arguing on opposite sides. The father, Wajdi (Camille Salameh) is a through-andthrough nationalist. The daughter, Nadine (Diamand Bou Abboud) is empathetic to the Palestinian plight. Mercifully for those not steeped in the history of the conflict, the smart script makes it easy to get wrapped up in the film without a deep understanding of the situation at the outset. “The Insult,” as far as I can tell, doesn’t appear to have any obvious agenda or bias, beyond empathy.
Each side gets impassioned and compelling arguments made on its behalf, and the audience becomes the de facto jury, weighing each new piece of evidence and revelation. The city and nation outside of the courthouse take notice of the increasingly inflammatory trial — protests in the streets, pundits debating on television, and the sense that violent conflict could break out at any moment. It’s quite a riveting and though-provoking journey, with compelling and nuanced performances all around, and, although it is quite serious, not without moments of levity.
PARIS: A Lebanese and a Syrian film director both made cinema history this week when their films became the first ever from their home countries to be nominated for Oscars. Ziad Doueiri’s Lebanese drama “The Insult,” was nominated for best foreign language film, while Syrian Firas Fayyad’s “Last Men in Aleppo,” which focuses on the work of the White Helmets volunteer rescuers, was nominated for best documentary. “The Insult,” set in Beirut, is about a verbal slanging match between two individuals that leads to a highly publicised trial highlighting the sectarian tensions simmering in Lebanese society. “It was such good news when we got it, because this is the first time Lebanon arrives to the Oscar and you know you offer a little bit of hope,” Doueiri told Reuters. “It’s like winning a medal, it’s like going to the Olympics and your team for the first time wins the bronze medal or the silver medal.” The film is the first from Lebanon to be nominated for an Oscar since the small Mediterranean country began submitting movies for consideration in 1978.
“The Insult” has been screened in Lebanon despite a boycott campaign prompted by the fact that Doueri made a previous film, “The Attack,” in Israel, with which his country remains in a technical state of war. Doueiri was subsequently arrested and questioned by a military court, but was not charged with any offence. The other nominees for best foreign language film include “A Fantastic Woman” from Germany, “Loveless” from Russia, “On Body and Soul” from Hungary and “The Square” from Sweden.
Fayyad, whose documentary follow the White Helmets group in a besieged Syrian city, told Reuters that he hoped the recognition would inspire others in his war-torn country. “Well, it’s really great. I’m proud about that. It opens the road for other filmmakers and artists to think that there’s nothing impossible, especially in a time (when) your country is destroyed, your resources are less, and the people who could stand with you are less,” he said, speaking in English. Syria first submitted a film for Oscar consideration last year, to no avail. “Last Men in Aleppo” faces competition from “Abacus: Small Enough to Jail,” “Faces Places,” “Icarus,” and “Strong Island.” Another film about the White Helmets, eponymously titled, won the Oscar for documentary short film in 2017. (Agencies)
By Lindsey Bahr