In addition to a range of films from the Arab world, the 8th Abu Dhabi Film Festival has been showcasing award-winning movies from other festivals, including Cannes winners Winter Sleep and Leviathan (above); Venice winners A Pigeon Sat on a Branch Reflecting on Existence, The Look of Silence and Hungry Hearts; Berlin winners Black Coal Thin Ice and Stations of the Cross; Sundance winners Whiplash and 20,000 Days on Earth; plus the likes of Two Days One Night, 99 Homes, Return to Ithaca, The Homesman, '71, Men Women & Children, Miss Julie. It's impossible to see everything, but I've given it a good try!
Leviathan has been winning awards since it premiered at Cannes (and won best screenplay) in May. I missed it at the London Film Festival (where it won best film), but knew I'd have a chance to catch up with it here. Worth the wait, this is a staggeringly clever exploration of power, specifically the church and state, with a plot that is clearly inspired by the biblical story of Job. Lyrical photography and open performances make it utterly gripping as the story of a man who calls in an old friend to help when the local mayor decides to demolish his family home. Plot wrinkles abound, making no one heroic. Everyone is deeply flawed, but not everyone pays the consequences. And the themes resonate far beyond the rural Russian setting. It's a stunner of a film that's sure to scoop more accolades before the awards season wraps up.
The Man From Oran, from Algeria, is a period drama set at two points during the nation's struggle for independence. In the late 1950s two friends become involved in the fight against the French colonial rulers, which turns both of their lives upside-down as they rise to positions of power in the new government: one begins making morally dubious decisions while the other struggles to live with past events. This story is involving and complex, but later events set in the mid-1980s are a bit more muddled, partly due to how the screenplay requires previous knowledge of Algeria's culture and history and partly because the timescale is badly handled (apart from some iffy make-up, a child born in 1958 appears to be a surly teen in 1987). But the film is well-acted and shot in a vivid '70s noir style.