VENICE 2020: Gaza Mon Amour
venice 2020Arab Nasser and Tarzan Nasser's Gaza Mon Amour is an enriching and colossally warm drama-romance that explores the intricacies of life in a morbid and challenging political spectrum, albeit in uplifting and captivating results.
First and foremost, the romance plotline is one that takes on a lot more weight and poignancy against the stereotypical teen romance features. This story follows a romantic plot surrounding an older generation, but one that situates itself in a religious and war-torn country. The themes and thematic weight present are not only enlightening but dearly captivating due to the parameters of its circumstance.
The performance from Salim Dau as Issa and Hiam Abbass as Siham not only elevates this already intriguing material but cements the tenderness and warmth with an enriching and immersive pull. Ironically enough, it is what the performers do not say aloud that makes the material all that more profound. The writer/directors take a similar stance to what is a teenage romance with awkwardness, gossip and lust. Albeit turned on its head to wonderfully and comedically play with two characters in an older category.
Both performers have a wonderful authentic naivety, and there is, of course, the awkwardness between the two characters who have feelings for each other but are too afraid to commit. Dau conveys this bumbling affection with a delicate and beautiful nature. A loner and isolated individual, is how Dau conveys the seismic difference between being alone and then being in the presence of Abbass' Siham, is not only beautiful but intoxicating to behold.
Abbass also puts forward a sweet rendition of a woman slowly but surely swooned over Dau's affection. Abbass' performance is slightly more so limited due to the context of the plot, but with her relationship with daughter Leila (Maisa Abd Elhadi), the growing adoration and affection for Dau's Issa blossoms and is deeply felt.
That being said, as much as this is a heart-warming romance, it is also a piece of activist and political cinema. The balance between the central romantic plot and the political undertones are perfectly implemented. The political undertones never become overtones either, and both reinforce the story itself or small but integral junctures that have repercussions for character moments. All the while holding thematic and poignant weight.
The film also never runs the risk of going too deep into the conflict between Palestine and Israel either. Granted, it is an integral theme to the plot and directors Arab and Tarzan Nasser touch upon it with a health and poignant capacity but nevertheless are not afraid to say precisely what it is. If that is Palestine forces selling their own history to fund arms, or celebrating arms as national pride.
It is these themes that involve Dau's Issa that speak a thousand words. What do war and conflict speak and account for in the midst of a life without love or hope? Supporting characters wanting to flee and move on to a brighter world find Dau's stance of wanting to be in love and be enamoured with passion and remain in this place of conflict staggering. However, it is this very stance from writer/directors Arab and Tarzan Nasser that is the most heart-warming and powerful. It is not those who flee or move on that change the world but their predicament. It is those who stay and fight corruption and conflict with finding passion and adoration for who they are, where they are and what they love.
