fatenridene
Joined Nov 2021
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Reviews1
fatenridene's rating
The Italian movie "Perfetti sconosciuti", made in 2016 by Paolo Genovese, has yet entered on Guinness book since July 2019 as the most remade movie in the cinema history, and continuous to attract the care of filmmakers from the four corners of the world. We are yet in the 22nd remaking, and it is Arabic (a Lebanese/Egyptian/UAE co-production), the same story with a new specific breath: an Arabic eastern aura.
The reason of remaking a yet successful movie maybe a tandem triumph and a double celebrity path, either for the first team of the masterpiece which makes more audience try to discover it, having viewed the remaking, or for the adapting team, for which yet fans of the first story will try to compare the remaking with the original one, then will know the new team.
One location movie means that the whole tale is shot in the same place/room, and this is the case of "perfect strangers", 80% of which acts take place on the eating table, in addition to some shots in the kitchen, the balcony, the bathroom and the parking in front of the house. Some reviewers think that the one location movies rely on the dialogue, and we can contradict such a perspective if we take into consideration the plurality of possible view angles and lightening levels that a filmmaker asks the DOP and the DOL to do in the shots, and which can make the film makings different from one another.
We should finish by saying that: if taboo subjects are not treated through fiction feature films (and specially the Arabic ones*) as a means of sensitization for a society, this later will still be silent in living with social problematics such as homosexuality, marital betrayal, and the remnants of hormonal transformation of adolescents, and will never take initiative to find a solution to such matters. But once a fiction film handles with such social issues, having a so righteous level of aesthetic choices and so virtuous criteria of an Arabic movie that competes or even looks better than its international contestants, the spectators will be so influenced that many parts of the civil society will move to make life better.
-------------- *Arabic brilliant filmmaker (Wissem Samira) and protagonists (Mona Zaki, Nadine Labaki and others)
The reason of remaking a yet successful movie maybe a tandem triumph and a double celebrity path, either for the first team of the masterpiece which makes more audience try to discover it, having viewed the remaking, or for the adapting team, for which yet fans of the first story will try to compare the remaking with the original one, then will know the new team.
One location movie means that the whole tale is shot in the same place/room, and this is the case of "perfect strangers", 80% of which acts take place on the eating table, in addition to some shots in the kitchen, the balcony, the bathroom and the parking in front of the house. Some reviewers think that the one location movies rely on the dialogue, and we can contradict such a perspective if we take into consideration the plurality of possible view angles and lightening levels that a filmmaker asks the DOP and the DOL to do in the shots, and which can make the film makings different from one another.
We should finish by saying that: if taboo subjects are not treated through fiction feature films (and specially the Arabic ones*) as a means of sensitization for a society, this later will still be silent in living with social problematics such as homosexuality, marital betrayal, and the remnants of hormonal transformation of adolescents, and will never take initiative to find a solution to such matters. But once a fiction film handles with such social issues, having a so righteous level of aesthetic choices and so virtuous criteria of an Arabic movie that competes or even looks better than its international contestants, the spectators will be so influenced that many parts of the civil society will move to make life better.
-------------- *Arabic brilliant filmmaker (Wissem Samira) and protagonists (Mona Zaki, Nadine Labaki and others)