As a film enthusiast with a deep appreciation for stories that delve into the complexities of human relationships and societal issues, I found “Happy Holidays” to be an exceptional piece of cinema. Scandar Copti masterfully weaves together a tapestry of interconnected narratives, each one revealing layers of cultural and political dimensions that resonate deeply with the realities faced by many individuals living in Haifa, Israel.
Scandar Copti, a filmmaker from Palestine, presents the Israel-based “Happy Holidays,” a poignant family drama that offers a sharp look into societal and political issues related to gender and ethnicity. Similar to his Academy Award-nominated crime drama “Ajami” (co-directed with Yaron Shani), Copti’s second film explores a variety of characters – both Arab and Jewish – to create a complex image of life in Haifa, Israel’s third largest city.
The film “Happy Holidays” navigates between tension and happiness in portraying strained family relationships and complex courtships. Copti and cinematographer Tim Kuhn capture each interaction with an intimate, handheld style, making the audience feel like they’re part of a complicated family gathering. The story revolves around four members of an Arab family, who appear amicable in some scenes, but their hidden secrets suggest a culture of secrecy, shame, social pressure, and widespread prejudice.
The movie opens on the Jewish festival of Purim. A car accident leaves their grown daughter Frida, also known as “Fifi” (played by Manar Shehab), with a minor wound, causing the family to reunite. Although most events in the narrative aren’t matters of life and death, each character’s life and future becomes strikingly clear and significant, unfolding separately in distinct chapters.
The narrative begins with Fifi’s older brother Rami (played by Toufic Danial), as he learns that his Jewish girlfriend Shirley (Shani Dahari) has reconsidered their previous decision about an abortion, causing a rift between them. For Shirley, who is featured more prominently in a later chapter, this pregnancy brings about the challenge of dealing with familial concerns over the baby’s mixed ethnicity, particularly from her sister Miri (Merav Mamorsky). Despite her friendly demeanor, Miri’s interactions with Rami are marked by biting hostility, creating an uncomfortable contrast.
As the plot unfolds for Rami, the implications become more dire, reaching a peak of unjust accusations and racially motivated attacks. Yet, Copti refuses to limit Rami’s characterization solely as a victim shaped by one aspect of life. Daniel’s portrayal is noteworthy, showing a man who appears quick to anger, his rage tinged with casual misogyny and immature emotional burdens. Instead of sympathizing, we comprehend him fully.
Each family member’s narrative seamlessly blends into the next. Rami conceals both Shirley’s pregnancy and the recent attacks against him, as he attempts to assist his father Fouad (Imad Hourani) in overcoming a financial predicament that ultimately impacts Hanan (Wafaa Aoun), whose multifaceted maternal role is central to the story. She is portrayed as a savior, a scold, and everything in between, thanks to the rich complexity of Aoun’s performance. Hanan is determined to ensure her older daughter Leila’s (Sophie Awaad) wedding proceeds smoothly, which leads her to pressure Fifi into filing a medical insurance claim following the accident. This situation introduces additional complexities regarding family privacy and medical information.
Fifi’s tale is remarkably captivating due to its gradual unveiling throughout the movie. To hide her medical background, she suggests that her records were exchanged with someone else’s, thus postponing or perhaps preventing her mother from discovering more about her college life. As events unfold and this seeming confusion is addressed, Fifi also begins seeing Walid, a prominent doctor friend of Rami’s. Their relationship, though not clearly defined, brings joy to the family with its potential. However, Walid’s traditional views on Fifi lead to conflicts as well.
The phrase ‘Happy Holidays’ has different meanings and interpretations among Arab men and women due to varying social norms across genders and generations. However, the film’s broader cultural context sometimes strays from this patriarchal image. Racism experienced by Arab characters is a regrettably frequent aspect of their lives. Although Copti doesn’t explicitly address the militaristic institutions that fuel these conflicts, the Israeli military serves as a lingering shadow, particularly in scenes involving education.
Fifi, for instance, teaches kindergarten, where the children are brought up to adore Israel’s soldiers, and where she must pass through a security checkpoint that those in uniform are simply waved through. Miri, a staunch nationalist, is forced to deal with her high school-aged daughter’s depression over her impending military service. Another generational divide also manifests in the form of teenage classmates having their concerns over occupation dismissed by guest speakers in IDF uniform. This segment, while short, has the air of a caustic, parents-just-don’t-understand coming-of-age drama, except the central mother-daughter conflict is the act of contributing to war.
In “Happy Holidays,” silence carries a multitude of hidden messages. From the simmering disagreements among family members due to unsaid issues, to the quiet conformity expected during social gatherings for Arab Israelis, the film masterfully portrays characters and interpersonal relationships. This is achieved through extended, overlapping dialogues that grow more intense as they adhere closely to real-life dynamics. Essentially, it’s a movie about roles and performances in multiple dimensions. Each actor delivers an engaging performance, embodying characters who are themselves bound by societal expectations. The tension arises from the characters testing these unspoken boundaries, thereby creating the drama.
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2024-09-07 13:46