Review: Capharnaüm helps bring awareness
There sometimes seems a disconnect between the comfort and convenience we experience in our everyday lives and the struggle of those living in conflict-filled places, where many individuals may find themselves displaced from not only their homes but from any chance of forming a sense of identity. For many of us, having to prove who we are is easy and straightforward, simply flash an identification card and it grants access to venues, allows movement across borders and access to social services. For many who find themselves displaced due to conflict however, this is not the case.
Opening and closing with a bird’s eye view of Lebanon, director Nadine Labaki’s Capharnaüm invites us to observe the many societal issues that may arise from conflict and asks audiences to consider the consequences of their choices. At first, audiences are mere observers watching from a distance; the use of wide angles and over-the-shoulder shots scan the hub of activity that runs throughout the city, but this observation quickly turns to empathy as audiences become witnesses to the life stories of those contained within the city’s walls. The film follows the life of Zain (Zain Al Rafeea), a 12 year old refugee from Syria living in Lebanon and the hardships he has to endure, painting a deeply personal portrait of his own experience of living as a Syrian refugee in lebanon for 8 years, which is strengthened by the choice of handheld camera and casting of amateur actors who draw on their own experiences to bring authenticity to the story. In addition to this, Labaki’s choice to share Zain’s name with the character he portrays on screen seems to blur the line between fact and fiction bringing the script closer to reality.
The film’s title, Capharnaüm, translates to mean chaos, which seems appropriate for the film’s setting, a war-torn country and the chaos that is soon to follow. Muted, desaturated yellows and greys colour the film painting a harsh reality; the impact of failed social systems, the restrictions to one’s basic needs, the lack of proper parental care, loss of childhood, and more importantly when a child’s sense of identity or chance to belong is removed from them through no fault of their own. Labaki’s script is simply powerful, she makes her audience consider the consequence of conflict and the price of chaos through letting us witness the life story of Zain, a 12 year old kid and Rahil (Yordanos Shiferaw), a illegal immigrant with a baby to care for. Both Zain and Rahil, subject to legal process, are powerless from being arrested, needing to validate their identity through documentation much like we do today. Labaki’s Capharnaüm invites us to consider whether the existence of a piece of paper is the only thing that validates one’s identity or if humans are more than mere statistics and documentation. When categorising certain groups of people, such as immigrants and refugees, and quantifying them as legal or illegal through documentation, it separates and dehumanises them to mere numbers.
In some sense, whilst films such as Capharnaüm may be seen a representation or dramatisation of societal issues, it is important to consider how on-screen representation of characters such as Zain and Rahil in films can help audiences empathise with those who live differently to them. Stories like Capharnaüm help bring awareness that the impact our actions as individuals may have on others and paints a reality that almost repairs the disconnect felt between the two groups, hopefully bringing audiences closer and bridging the gap between to those who may feel displaced.
The film is released in Australia on February 7, 2019. For other countries, please check local listings.
Review by Addy Fong.
