As a seasoned viewer with a diverse palette for world cinema, I must admit that “Hobal” has left me both captivated and thought-provoked. This Middle Eastern drama masterfully weaves together the intricate tapestry of a nomadic family’s struggle in the face of change, set against the looming backdrop of an impending war. The film’s visual storytelling is as striking as the desert landscapes it captures, and the performances are raw and authentic.
In the core of Abdulaziz Alshlahei’s compelling third film “Hobal,” lies a poignant paradox. This story revolves around a family that has historically sought refuge in the desert, under the guidance of Liyam (Ibrahim Al-Hasawi), a traditional leader who chooses to live secluded from urban life. However, unlike previous times when they could easily move whenever they wished, this dramatic narrative takes place during a period when escape from the future or from each other becomes increasingly challenging.
In “Hobal,” I found myself immersed in a tale set six months prior to the Gulf War in 1990, amidst the Middle East. As Battal, one of Liyam’s sons, struggled to catch a radio signal in the desolate wilderness, a news alert about the impending conflict was barely audible, overshadowed by the family’s internal strife. The illness of their teenage relative, Rifa, sparked a contentious debate within the family about a proposed trip to Kuwait, as Liyam hesitated to go due to his belief that the city was filled with sin. However, Rifa’s sickness, coupled with other portents of doom such as the impending war drumbeat, the death of his grandchild, and the disappearance of his son Majed, who left behind a young son, Assaf, intensified Liyam’s resolve to seek refuge elsewhere. The looming threat of war and the turmoil within his family became the most pressing concerns for this embattled patriarch.
In the movie “Hobal”, events progress rapidly and intensely from the very beginning, leaving little time for viewers to adjust. Just five minutes into the film, a heart-wrenching scene unfolds where a child is buried by her mother, followed immediately by a dog approaching the grave being ruthlessly shot. The director, Alshlahei, feels compelled to introduce each of the nine family members individually as the convoy of trucks moves across the sand dunes, attempting to distance themselves from the sorrowful incident. For viewers outside the region, these characters may symbolize shifts in society that Liyam has chosen to avoid, but for those not acquainted with the storyline, the early introduction can seem confusingly vague. Despite this initial confusion, the movie is worth waiting for as Rifa’s condition becomes a significant point of conflict within the family, with measles serving not only as a physical barrier between young and old but also as a test of their perspectives on modernity and progress.
As a film enthusiast, I find myself drawn to the captivating narrative of Rifa, a solitary figure, perched atop a flatbed truck amidst her family members huddled in their vehicles – a unique form of quarantine. Standing out amongst the outcasts, she isn’t truly alone; we all understand the weight of isolation. Liyam, raised as a devout servant of God, shoulders an immense burden: the role of an enigmatic final arbiter, whose authority is unquestioned yet elusive. This heavy responsibility seems to drive him into obscurity, forcing his loved ones to decipher his intentions and act accordingly.
As the health of patriarch Rifa deteriorates, a void in leadership becomes strikingly apparent. While there’s an abundance of self-assured women within the family, tradition dictates that only men step up to fill this role. An intriguing contrast unfolds between Rifa’s two surviving sons – Battal and Shannar. The former, Battal, is a thoughtful, responsible individual who, unfortunately, has seen his self-assurance crumble following a humiliating rejection of a marriage proposal by a potential father-in-law. This leaves him ill-prepared to assume the family mantle. On the other hand, Shannar, Liyam’s volatile son, yearns for power and a place at the head of the table. However, his lack of innate paternal instincts is evident as he shows little regard for Rifa, despite her being his own flesh and blood.
Cinematographer Mahmoud Youssef and production designer Adel Alshahrani give Alshlahei and writer Mufarrij Almajfel ample time to build all the complex relationship dynamics within the film, keeping viewers captivated by the visually stunning cinematography. The vibrant household they create and skillful framing techniques are striking, with one of the most powerful examples being the depiction of Assaf and Rifa’s bond, expressed through a two-way mirror that symbolically bridges the divide created by her illness when they are physically separated within their tent. This simple yet impactful scene also conveys a deeper message about the connections shared by the youngest characters, in contrast to those who are older, who struggle to maintain such clear and unencumbered relationships.
In simpler terms, the film “Hobal” critiques outdated thoughts, yet Alshlahei appears forward-thinking as he explores conflicting values from multiple perspectives. A mismatch of ideals influenced by age, gender, and faith can halt a family, but acknowledging these differences symbolizes progress.
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2024-12-18 05:16