“Mediterranean Fever”: Film Review | skin 2022

Comic series by Palestinian-Israeli writer and director Maha Haji, winner of the Cannes “Certain Visions” contest. mediterranean fever It explores the complex friendship-enmity – it was called “Ira” – between two middle-aged neighbors skillfully played by Amer Hlehel and Ashraf Farah. Mainly concerned with domestic life, mental health, crime and class, this is one of those relatively rare characteristics on the part of Palestine and Israel that is not entirely steeped in politics, history and religion, only slightly saturated. (Although it was dedicated to the recently murdered journalist Shirin Abu Akleh, who was killed by Israeli soldiers earlier this month.)

The film’s very separation from the usual tougher themes may break commercially on both sides, but there’s no doubt that it strengthens Hajj’s reputation as an evil observer of modern Middle Eastern morality.

The main character is Walid (Hlehel, the front of Hajj Personal matters Like Hani Abu-Assad Idol s paradise now) He is married to a nurse, Ola (Anat Hadid) and is the father of several colleagues who are always in the background. An aspiring novelist, she recently turned down a paying job to make that dream come true. Despite being referred to a psychiatrist for depression, Valid resists taking medication for her. In fact, he is a rather treacherous and stubborn character, as illustrated in the scene where he refuses to sign in the ethnicity form because he insists he must specify his religion, Christian or Muslim. Simply describing himself as a Palestinian is not the solution, much to his chagrin.

Like many writers, Walid spends a lot of time at home, staring at a blank computer screen, distracted by things like TV news or noise from neighbors. This leads to a strained relationship with Jalal (Farah), the family man, who has just moved down the hall.

Jalal annoys Walid by playing drunk pop ballads at any time of day, knocks on Walid’s door late at night to borrow things, and has two big, dangerous dogs. And yet, he somehow avoids Walid’s obvious annoyance with him, as if he hadn’t even noticed; He maintains a lighthearted, easygoing kindness, seeing similarities between himself and Walid where others can only see the differences. Learning that Valid is a writer, Jalal happily exclaims that he also lives off his wife’s money and invites her for coffee and a homemade honey cake.

However, Jalali is not as immutable as it appears at first glance. For starters, he is more sophisticated than he looks, as indicated by the fact that he has named his dogs after famous Arab poets, although he has no interest in Palestinian identity and politics. Gradually it becomes clear that Jalal has a low level of connection to the criminal world. This intrigues the beautiful Walid, who asks if she can outshine Jalal on their daily walks, as he is likely writing a mystery.

They spend many days together, finally moving in as Jalal shakes off the people who owe him money to pay off the biggest and scariest mobsters he owes money to. Also, Jalal sometimes stops for quick games with his younger lover (Shaden Kanbura), whom Walid now feels like an accomplice. But over time, the two men develop a true friendship, strong enough that Walid asks Jalal to do him a big favor, which must also remain a secret.

Haji weaves the story with little blocks of jenga humor and neat vignettes, so smooth and delicate you barely notice when the tower starts to fall in fear, when the stakes are raised and the threat of violence becomes clearer. The last part moves effortlessly in a story that is sign, but a bit jarring, but it all happens without interruption thanks to the lead actors’ precisely controlled performances and the director’s deft touch. Publisher Veronica Lang’s pacing strikes a delicate balance between dark comedy and drama over the distance.