The Insult

2017

Drama / Thriller

0
Rotten Tomatoes Audience - Upright 89%
IMDb Rating 7.8 10 0 5829

Synopsis


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Director

Cast

as Tony Hanna
as Yasser Salameh
as Wajdi Wehbe
as Nadine Wehbe
720p
914.72 MB
1280*536
Arabic
R
23.976
01 hr 52 min
P/S 4 / 180

Movie Reviews

Reviewed by rickblaine34 10 / 10

WHAT A TRIUMPH! WHAT A TOUR-DE-FORCE!

What a tour-de-force! What a triumph! What a masterpiece! I haven't seen such a powerful movie in years. This is the kind of movie you come across so very rarely, that shakes you to your very core, makes the art of cinema worthwhile and reminds you why you fell in love with the motion picture in the first place.

Reviewed by Georges Nahas 10 / 10

It all began with an insult...

The Insult is the definition of a great cinematic achievement. It is the new movie directed by Ziad Doueiri and tells the story of Toni a Christian Lebanese who got into a fight from an insult blown out with a Palestinian plumber. Haunted by their past and the civil war, they went really far with it and the movie took unexpected turns and surprises. Doueiri and Touma wrote a splendid courtroom drama script that is really tense, exciting and really fair for the two sides. It reminded me of the great Sidney Lumet movies with a touch of political background. That film has great characters rich with backup stories and it wouldn't be great without the marvelous cast. Each actors gave an Oscar worthy performance. Thumbs up for Karam, Hayek and Diamand Bou Abboud. I must give credits to Camille Salemeh because he led the show for sure! Doueiri worked hard on letting the actors give their best for the characters. Cinematography and score were also on a high level here! Doueiri is a superb director. His debut West Beirut has always been every Lebanese's favorite. The Insult was competing in Venice (It won best actor for Kamel Basha and had a 5 minutes standing ovation), Telluride, TIFF and it the official submission for Lebanon at the Oscars for best foreign language movie. Daring, bold and smart, this movie is big step forward for the Lebanese cinema.

Reviewed by maurice yacowar 10 / 10

Exchange of insults confirms deep historic hatreds.

The original Lebanese title, "Case No. 23," plays to the domestic audience because it emphasizes the courtroom drama. That's the personal story.
The English translation works better for the international audience. The broader reference suggests the film's application to the whole of the warring Middle East. That society is so obsessed with honour that it is paralyzed by any "Insult," real or perceived. The Palestinians' shame at the Naqba, their failure to have prevented the creation of Israel, still prevents their negotiation of a peaceful coexistence.
Israel hovers at the margin here, cited as the Arabs' common demon. Ariel Sharon is a curse. The Palestinians' ultimate insult is to declare the Christian Arab a Zionist - or at least, an enabler of Israel. The film's central insults are exchanged by a Christian Arab mechanic, Tony, and a Palestinian refugee, construction foreman Yasser.
Their war starts small enough: Tony has an illegal pipe, which soaks Yasser. After insulting Tony Yasser repairs the pipe, which Tony smashes.
Both heroes find our understanding. The Palestinian may be given the greater sympathy and he's played as a more thoughtful, flexible figure. But the revelation of the Christian Tony's past enhances his character too. Both men prove victims of their respective people's history. For both, their history tempts them to blame all their own failure son that unfortunate history and their old enemy.
The two trial scenes are superb drama. In each the magistrate conducts an intensive, searching examination of the case. The first bogs down when neither the plaintiff nor the accused stoops to repeat the insult that prompted Yasser's attack.
The second trial reaches the same conclusion but with more satisfactory effect. Indeed, the losing side now seems as satisfied with the verdict as the winner. That's because Tony has had his story told too, his anger and indignation explained in context. In the lawyers' summary, each makes the other's case. The antagonism turns into understanding.
Apart from the trials, the principals' true reconciliation happens in two scenes outside the court, before the verdict. In the first Tony casually helps his enemy restart his car. In the second, Yasser baits Tony into punching him, so he goes into the court with his own aching pair of ribs. An eye for an eye, a rib for a rib. At the end, after all the screaming, indignation and violence, the reconciliation is the men's silent, long-distance lock of the eyes.
Both heroes - and their respective gangs of followers - carry the weight of history. Both have suffered violence, prejudice, victimization, which their self-respect challenges them to remember. Both men suffer increasing and increasingly harsh consequences for their intransigence.
The film's message is the need to acknowledge the historic conflict, to recognize the long period of inhumane abuse, but to turn the page, to move on, to find a way to make a mutually respectful peace. Again, the implication is that this message extends beyond the film's conflict between Palestinian and Christian to include the Jewish state as well.
There's an additional frisson when Yasser's lawyer is revealed to be Tony's more famous lawyer's daughter. This generational tension replays the theme of moving on from the past. Both the woman lawyer and the woman chief judge tacitly personify the new Middle East, the emergence of empowered womanhood in that archly patriarchal society.

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