The Guardian has  published a list of the top 10 Arab movies and they featured Zeina Daccache’s Twelve Angry Lebanese on the list, with nine other Egyptian movies of which I haven’t heard.

The list’s author justified their choice for choosing the movie in it being deeply moving and full of humanity. I have to wonder why that movie hasn’t made a splash in Lebanon:

I was on the jury when this won the top documentary award at Dubai in 2009. The director is a young Lebanese drama-therapist who put on a production of 12 Angry Men inside Lebanon’s most notorious prison and filmed the long protracted process. The film was partly an attempt to reform the country’s criminal and penal laws and improve prison living conditions. It also enabled Daccache to extend her drama-therapy work to prisons across Lebanon, and she had started working in Syria shortly before the current conflict began. It is deeply moving and full of humanity, particularly in the way it describes the process of lifting men from a profound states of despair into a renewed desire to live and build a different future for themselves.

As a follow-up to that list, The Huffington Post wouldn’t take it. As such, they published their own list of 6 movies they believe The Guardian missed and included Ziad Doueiri’s The Attack and Nadine Labaki’s Caramel.

On the latter, the author wrote:

Labaki’s film was my in. I’m a relative newcomer to the magical world of cinema from MENA, having been brought up on a mixture of Woody Allen, the works of Fellini and Visconti, all sprinkled with a bit of Lina Wertmüller, and Caramel got me hooked from the first frame. It’s sensual, full of life and each time I watch it, it makes me proud to be a woman. It’s also the reason I yearned to travel to Beirut, and once I got there, I could see Labaki’s lushly constructed characters at every turn. I may be a romantic, but it’s a must watch for anyone who has yet to discover the beauty of Lebanese cinema. And its people. Labaki’s follow up, Where Do We Go Now? is also a greatly entertaining lesson in peace.

On The Attack:

Showcased at the Dubai Film Festival last December, Doueiri’s film is currently screening across the U.S.. The tragic story, of a Palestinian surgeon who discovers his marriage may not have been what it seemed, was what engulfed emotionally, at first. But then the absurd politics that enveloped the project really drove its profound meaning home for me. Lebanon banned the film because Doueiri had “snuck” into Israel to film his project, which of course was indispensable to the truthfulness of the story. A Gulf film organization distanced itself from The Attack though it had partly financed it in development. Of course, Doueiri is now having the last laugh, because his film has been winning prizes and hearts around the world, but The Attack remains a great example of why watching a film is almost always better than watching the news.

Lebanese filmmakers seem to be doing a rather fine job at having their works make a dent abroad.  It’s great to see Lebanese cinema getting such recognition abroad, especially with movies that are not what we’ve come to believe our filmmakers only know how to make.

It is sad that a movie such as The Attack will not be screened here for the most absurd reasons. I had the chance to watch the movie while on a trip to Paris and while I wasn’t as engrossed by it as the French with whom I shared the theatre or other Lebanese who found it highly engaging, I could appreciate the need for such a movie especially given the intense discussion it spurred with the Lebanese who watched the movie with me.

I believe that’s what cinema should do: spring up debate and discussion, especially in this country and specifically when it comes to topics that are still considered so taboo that discussing them can have “treason” plastered all over you. It seems those foreigners appreciate our movies more than we do.