Palestinian Kamel al-Basha Wins Top Acting Prize at Venice Film Festival


Venice – Palestinian actor Kamel al-Basha won the top acting prize at the 74th edition of the Venice Film Festival on Saturday.

He earned the prize for the Lebanese film, “The Insult,” which also stars Lebanon’s Adel Karam.

The fact that this is the movie’s only award is an indication that it was discussed thoroughly by the jury, chaired by actress Annette Bening, before granting Basha the festival’s top acting honor.

The Golden Lion was awarded to critics’ favorite “The Shape of Water,” a dark fantasy directed by Mexico’s Guillermo del Toro and starring Sally Hawkins.

A trial is the common factor between three films that were in competition at the Venice festival, two of which earned prizes. The movies are Lebanon’s “The Insult”, France’s “Custody,” and Japan’s “The Third Murder.” The Lebanese movie was undoubtedly the best because it managed to avoid being political while addressing a strictly political issue.

The film focuses on two victims, each of whom claims that they were the victim of the other. The first is a Lebanese man, played by Karam, who is influenced by hateful sectarianism directed against Palestinians, believing that the entire system in Lebanon works for them and not the Lebanese people. The second is a Palestinian, played by Basha, who works for a municipal company when the Lebanese man dumps a bucket of water on him and then insults him. The rest of the movie depicts the ensuing trial between Karam and Basha’s characters.

Perhaps the prize went to Basha, who is a professional theater actor living in Jerusalem, because he deserves it for being Palestinian. This is likely because the Israeli film “Foxtrot”, which criticizes the Israeli military, won the festival’s Grand Jury Prize. The Venice jury and its chair, Bening, was mainly comprised of left-leaning members, which also fell in Basha’s favor. This does not undermine his acting achievement, which is fully deserved as he expressed the quiet despair endured while living in Lebanon.

Karam, in contrast, is an open book from the onset of the movie. This is not his fault as it would be difficult to portray him as a gray character given the negative values he stands for. Director Ziad Douery succeeded in allowing the audience to feel some empathy towards the character.

Given its film festival success, it seems likely that Lebanon will submit “The Insult” as a nominee for the Best Foreign Film category at next year’s Academy Awards. It remains to be seen if it will be selected from among the several dozen films that will be submitted from around the world.

Iranian Filmmaker Beats the ‘Drum’ to an Oppressive Regime

Palm Springs- Living under the mercy of an oppressive regime, which either has its citizens be blindly obedient or brutally punished, Iranian director Kaiwan Karimi released another bold film ‘Tabl,’ otherwise known as ‘Drum’ reaffirming the rights for artists to express progressive ideas.

With French sponsorship, Karimi’s production stresses his right as an ordinary citizen to enjoy the freedom of expression. He challenged authorities, who in 2015 ordered jailing him for a cold six years.

Karimi later spent a single year in prison, after international intellectuals added their weight to his case. However, the director still had to fulfill other penalty verdicts he received, such as enduring ruthless 223 lashes, paying a $650 fine, and being barred from every making another film in Iran.

The filmmaker served his sentence over a documentary he directed on political graffiti in Iran, his French production company Les Films de l’Apres-Midi.

The 31-year-old filmmaker ran into trouble with Iran’s powerful Revolutionary Guards over a film he directed called “Writing on the City.” The documentary details the history of political graffiti in Iran, starting from the country’s 1979 Islamic revolution to its contested election in 2009.

Karimi’s case is but one of many in Iran today, but the Kurdish-Iranian filmmaker’s cause has helped him receive moral support from three internationally renowned film festivals in San Sebastian, Cannes and Venice.

Like the famous Iranian screenwriter Jafar Panahi, Karimi was sentenced to house arrest and banned from doing what he loves, making movies.

In Karimi’s ghostly Tehran of ‘Tabl,’ it is impossible to tell day from night—or good from evil.

The film opens with a breathtaking scene of a night swept by a deafening silence across closed city markets—the wind rustling leaves and plastic bags flying.

A man later captivates Karimi’s lens, dragging one foot ahead of the other, he is burdened unforgettable violence and damage.

The camera then withdrew, moving towards a shabby building’s staircase, and imagined the man himself as he struggles to reach the top floor that he truly wants.

The middle-aged lawyer works and lives alone in a dreary apartment. One cold and rainy day, a disheveled man breaks in and entrusts him with a small package.

The following day, the lawyer’s apartment is ransacked and he must fight off threats to hand over the package. Neither his wife nor his best friend can offer much help in solving the mystery.

His best friend also happens to be a drug addict with a tendency to speak to an imaginary friend. The lawyer continues to be plagued with break-ins and unwelcome visitors (representing the oppressive nature of Iran’s strict regime), but he avoids attempts to corrupt him. When his wife is stabbed to death, the lawyer’s thirst for revenge will lead him to the greediest man of all.

Confirming its political background, the film’s storyline takes place in a stagnant city in an uncomfortable darkness.

Karimi portrays an atmosphere that drains all that is good in a soul. Life is shallow in the streets of his city. Footage is later emboldened with provocative slogans and writings saying that “the city is full of rapists.”

In one of the scenes, the protagonist reaches a dead end, Karimi’s lens then slowly zooms in on a sewer, relaying his perception of reality.

The screenwriting and directing job done on the film guarantee the audience enjoys a puzzling plot imbued with mystery. An adrenaline rush later builds up with the danger awaiting the Tabl’s lawyer.

But it should be kept in mind that Karimi’s work is not a Hollywood production with amplified police chases and action.

What the film does is keep the viewer entertained by the power of emotional intensity and inspiration driven by the relentless resilience present in the background.

The film is evidence of an existing breed of talented and valiant Iranian filmmakers insisting that art is a vital tool for communicating a message.

Karimi enjoys keen insight, intelligence and an exceptional ability to smartly weave his political views into the fabric of his films.

First Kuwaiti Film Festival Concludes


Kuwait – The First Kuwaiti Film Festival was launched on March 26 under the patronage of the acting State Minister for Information and Chairman of the National Council for Culture, Arts and Letters Sheikh Mohammad Al-Abdullah Al-Sabah

The Kuwaiti cinema was chosen to lead this edition for many reasons, on top of them is the revival of the Kuwaiti film industry, especially that its increasing national artworks need to be adopted. Also this could motivate the youth and professionals in the country to contribute to the development of the Kuwaiti cinema.

Cinema Aspects

There were 33 short movies and two long ones in the three contests displayed by a panel composed of five judges led by the renowned actor Mohammad al-Mansour, director Khaled Al-Nasrallah, and writer Nasser Karmani.

Initially, the panel was supposed to include non-Kuwaiti members, however, and as the first edition of the festival was dedicated to the Kuwaiti cinema, organizers preferred to benefit from the local expertise. The event unlocked wide angles for the beginners in this field by holding a number of workshops that enrich their experience.

There were many lectures that tackled various subjects including the international funding and co-production, lightning in movies, film criticism, and the support of independent movies.

Awarding Exceptional Talents

These lectures and workshops boosted this new entity amid the absence of a festival that supports the Gulf cinema, after the suspension of the Gulf Film Festival, which used to be held in Dubai.

The movies screened in this first edition featured creative ideas and emphasized serious will of advancement and innovation; however, they all have suffered from the domination of technical choices over artistic ones.

Some of those movies were feature films, but they lacked a main story, where instead, they focused on ideas, cases, and suggestions.

Of note, many movies tackled the Iraqi invasion of Kuwait which was considered a normal choice given that the Kuwaiti people have had their own culture and independence way before the invasion. However, from the numerous works displayed, the jury chose nine movies from three different categories: contest for best short documentary, contest for best long documentary, and a contest for best short feature film.

In the first category, the panel of judges awarded three Kuwaiti movies, which all tackled activities and subjects outside the country; the first award went to “‘Jihad in Hollywood” which featured the difficulties Jihad Abdu faced while trying to move forward in the city of dreams; the second went to “From Kuwait” talking about many Kuwaiti artists who exhibited their artworks in London; and the third award went to “From city to city” telling the story of a Moroccan band playing historic music.

Kuwaiti short film “Aryata” directed by Ahmed al-Turkait took home the first prize, and “Lamia Khunda” directed by Khaled al-Ruwayees won the second prize, whereas “Shai Haleeb” directed by Meshal al-Haleel came third.

As for the long documentary category, “The Art Indoor” directed by Habib Hussein won the grand jury prize.

Hollywood Summer Movies Worth Hundreds of Millions

Los Angeles- A few years ago, the summer season was not dedicated for movies, except for films with no hopes of success. People, including cinema fans and even the owners of theaters used to invest their summers in long vacations.

However, this tradition changed when the Universal Company first showed “Jaws” by Steven Spielberg in June, a movie featuring swimming amongst sharks on sandy beaches during the summer. Nevertheless, the movie hit theaters in most countries in December, prior to Christmas in some countries and on Christmas day in others.

This experience succeeded in the United States and Canada, and summer shows increased every year, till all countries adopted this concept and planned to screen new movies during the summer.

A new phenomenon

As part of this phenomenon, the summer season has changed, especially in the second half of June; but, these weeks were not sufficient to screen all the movies directed during the year, therefore, they expanded the season to include weeks of May.

With this month’s movies, which were opened or those expected to kick off within the coming days, we can say that the spring has significantly joined the new concept.

This March will host super heroes and monsters, and the summer’s audience is expected to rush to movie theaters just like they would do to watch movies in July or August. Two weeks ago, “Logan” opened in cinemas and dominated the box office with USD82 million.

Another summer-like movie, the “Kong: Skull Island” also opened this week and topped the box office with USD61 million. Apparently, March has become a platform for the greatest movies. The coming week will see the launch of “The Beauty and the Beast”, followed by “Power Rangers” and the eighth version of “Fast and Furious” with a new title “The Fate of the Furious”.

Hollywood’s extension of the summer season has not been a random decision, and merging the spring months with it was a great investment.

“Guardians of the Galaxy 2” will see the light in May, featuring a fictional superhero team with a cat warrior, followed by “Prometheus 2” for a number of people stuck on the same draconian planet.

Before the end of May, we will also see Johnny Depp in a new adventure from his Pirates of the Caribbean movie series. In June, “Wonder Woman” starring Gal Gadot will hit theaters. Its first show will be on the second week of June, followed by “The Mommy” starring Tom Cruise in the third week, who as usual, acted some of the movie’s risky scenes.

July will start with “Spiderman: the return” starring Tom Holland, and has only one week to break records before the launch of “War for the Planet of the Apes” on July 14.

Animated films also have their share in the summer festival in cinemas; “Smurfs: The Lost Village” will kick off in April, followed by “Ballerina”, and the Baby Boss before the end of the month. Many animated movies will be screened in May including “Captain Underpants” and “Despicable Me 3”.

Endless millions

The best part of this year’s cinema festival is the display of new movies with new subjects. War movies are expected to steal the lights. On May 7, “Mine” will kick off featuring a war story from Afghanistan, followed by the “Sand Castle” starring Henry Cavill in his military costume fighting in Iraq in 2003. War Machine is another upcoming 2017 American war film starring Brad Pitt on Afghanistan.

All movies which will be screened this summer are part of a battle for huge budgets. The Hollywood movies for this year reportedly are worth at least USD2.5 billion.

Oscars 2017: Hollywood vs Washington


Los Angeles – Millions of people were eagerly waiting on Sunday evening to watch the Oscars’ Festival to celebrate the best movies of 2016, marking the 89th edition of the Academy Awards since 1929, when the First World War movie “Wings” won the first Academy Award for Best Production.

William A. Wellman’s movie wasn’t the only one to win an Oscar at that evening – “Sunrise” which was directed by German F. W. Murnau also won the Academy Award for Unique and Artistic Picture.

The procedures and measures of awards and nominations have changed many times since then . Over the 88 past evenings, the gold award reflected the activity of Hollywood’s production industry – which witnessed many transformations and evolutions.

“La la Land”, was first an independent movie, but was later adopted by “Lions Gate”, a prominent production company for distribution. According to Hollywood’s classic approaches, independent movies like “Hacksaw Ridge” and “Arrival” were not adopted by eminent studios but have the same spirit of Hollywood’s productions. Whereas “Lion” and “Fences” are considered actual independent productions. On another hand, 2016 saw many other movies which were produced by major companies like “Manchester by the Sea” produced by a new – but big – company “Amazon Studios” and “Hidden Figures” produced by 20th Century Fox.

Appealing Factors

Movies covered in this edition of the Academy Awards come from different backgrounds and were made by different directors:

> Canadian Denis Villeneuve, the director of “Arrival”, is the only participant director who has ten movies in his background.

> There were two movies by two directors who are actors at the same time: “Hacksaw Ridge” by Mill Gibson and “No Barriers” by Denzel Washington.

> “Hell or High Water” by American David Mackenzie who is an unknown director and has more than five short and independent movies in his background.

> There were three directors who participated to showcase their 2nd work: “Moonlight” by Barry Jenkins, “La la Land” by Damien Chazelle, and “Lion” by Garth Davis.

After the long-awaited event, media outlets were expected to focus on stars’ outfits and appearances during the festival, while production companies were busy comparing the number of winning movies with the revenues they gained in the box offices.

However, people focused on the ongoing conflict between Hollywood and the White House, following the anti-immigration positions launched by the new U.S. President Donald Trump.

Over the few past years, the number of people interested in the Oscars Festival has seen a gradual drop. In the United States, Oscars’ viewers reached around 37 million in 2015 compared to 44 million in 2014, while it dropped to 34 million in 2016.


At the Oscar evening, people expected most of the event’s guests and winners to attack the policies adopted by Trump, mainly his position against immigration, which caused the exclusion of an Iranian Director Asghar Farhadi from the participation in the Academy Award Event. A Syrian photographer was also banned from participating because he didn’t get a visa.

Nominees and Prizes

Best actor

Nominated for this prize was Casey Affleck (Manchester by the Sea), Denzel Washington (Fences), and Ryan Gosling (La La Land).

Best actress

Nominated for this prize: Emma Stone (La La Land), Natalie Portman (Jackie), and Isabelle Huppert (Elle).

Best supporting actor

Nominated for this prize: Mahershala Ali (Moonlight), Jeff Bridges (Hell or High Water), and Dev Patel (Lion).

Best supporting actress

Nominated for this prize: Viola Davis (Fences), Naomie Harris (Moonlight), Nicole Kidman (Lion), Octavia Spencer (Hidden Figures) and Michelle Williams (Manchester by the Sea). However, the Afro-American Viola Davis is the most lucky to win.

Golden Globes Awards: La La Land Dominated, Trump Received Criticism

Meryl Streep holds the Cecil B. DeMille Award during the 74th Annual Golden Globe Awards. (Reuters/Mario Anzuoni)

Los Angeles- Meryl Streep took the chance to criticize U.S. President-elect Donald Trump, after receiving the Cecil B. DeMille Award for lifetime achievement.


“Hollywood is crawling with outsiders and foreigners and if we kick them all out you’ll have nothing to watch but football and mixed martial arts, which are not the arts,” she said.

Concluding her speech, Streep recalled what was once said to her “Take your broken heart, make it into art.”

Streep wasn’t the only one to criticize the deportation policy adopted by Trump. In his turn, Trump tweeted commenting on her “”Hillary lover”.

Streep described how much Hollywood is mixed in the meantime, more than ever. She highlighted how the city housed people of various ethics despite the diversity of political beliefs.

The Golden Globe Awards ceremony represented a stadium for the wide audience of ethics and hobbies: actors and actresses coming from Ethiopia, Britain, Canada, India and France.

In a related matter, Damien Chazelle’s La La Land, remarkably, gained much attention. Co-starring Ryan Gosling and Emma Stone, the musical earned the most wins of the night–a total of seven, breaking the record for the most Golden Globes won by a single film. It took winning Best Original Score, Best Screenplay, Best Actor in a Comedy/Musical, Best Picture (Comedy/Musical), Best Director and Best Original Song. Stone and Gosling won best actress and best actor in a musical or comedy, respectively.

Moonlight won Best Motion Picture, Drama. Casey Affleck won Best Performance by an Actor in a Motion Picture, Drama for Manchester by the Sea.

Isabelle Huppert won Best Performance by an Actress in a Motion Picture, Drama Elle, edging out Amy Adams, Jessica Chastain, Natalie Portman, and Ruth Negga.

Aaron Taylor-Johnson won Best Supporting Actor for his villainous turn in Nocturnal Animals.

On the TV front, Donald Glover’s FX critical juggernaut Atlanta won Best Comedy Series, while Netflix’s The Crown won Best TV Series, Drama.

Finally, Tracy Ellis Ross won Best Performance by an Actress in a TV Series, Comedy for ABC’s Black-ish.

Alfuz Tanjour: “Asylum Seeking is a Painful Experience on Psychological, Humanitarian Levels”

Women walk in the war-ravaged town of al-Shadadi in Hasaka province, northeast Syria, on Friday.

Los Angeles- When the Syrian war ends, different movies will compete to tell its stories from different point of views. Yet, reviewing the past will be difficult without considering the battles and rough incidents that took place in Syria over the past six years. Nonetheless, many people don’t like to wait especially if they have something that should be said now before time passes; something that cannot be postponed or an exceptional incident which will be less important later.

Alfuz Tanjour is one of those directors who aims at discussing what is happening today. His documentary “A Memory in Khaki” was considered among of the best Arabic movies for this year, not because it discussed the hard conditions taking over Syria, but because he knew how to use the topic in an artistic way so people always remember it through a movie.

The Syrian cinema saw many other works inspired from the ongoing war like a “the Rain of Homs” for Joud Saeed, who highlighted the Syria war from another point of view.

However, Tanjour’s movie was the best because it shed light on the roots of the Syrian crisis, regardless of the parties fighting today. It shows years of silence, fear and terror, and it dives into the stories, which were behind the eruption of Syria’s society and the start of its revolution. In the movie, three people, two men and a woman, talk about the oppression they faced from the ruling regime.

The director succeeded in merging between the words of his movie stars and the photos of destruction and devastation left by the endless war in Syria.

During an interview with Asharq Al-Awsat, Tanjour revealed the following:

*How did you get the idea of your movie?

It took me three years since the Producer Loay Haffar called me and asked me to work with him on a movie that features the Syria war. From the beginning I knew that working on such topic would be a very hard mission. Many directors worked on this topic before in different ways and the world was watching the Syria crisis on TV channels. Back then, I was living in Beirut and started to choose topics, ideas, main chapters, and possible characters.
However, one day I woke up and started over from the very beginning; I used my memory and the collective memory of Syrians on what we lived for decades in the “Kingdom of Silence” (referring to Syria under Assad’s rule).

*What was the biggest change in your project?

-I travelled with my family to Europe and lived as a refugee; this change made me look at the movie from a different perspective. Therefore, I decided that the movie’s characters should be from my friends, who sought asylum and would openly talk about what they faced since the nineties, when they were exiled.

*How did you choose those friends?

I selected my friends based on their stories and their compatibility with the movie’s idea. I made many random and spontaneous conversations with the characters before shooting to discuss the idea and what I want to say.

*How did you write the scenario? Did you visit the locations? Did you have any idea on the stories of the people who starred your movie?

I studied cinema in its classic and traditional form. I never knew I will make documentaries one day. The main thing I have learned in the university is how to write a good scenario. I usually don’t like surprises, therefore, I prefer to know everything about characters, cameras, and locations, before starting my work. Yet, I didn’t know what will the movies stars say because I am always keen on catching moments of truth and reality.

*Did something urge you to change your movie’s path during shooting?

The most impressive thing was my asylum seeking; it was a very hard experience on the psychological and humanitarian level, which encouraged me to combat weakness through this movie. I wanted to face migration, fear, and maybe nostalgia with my work.

*How important was to you to shed light on the Fascist-like regime that ruled Syria in the past decades?

The regime in Syria has committed myriads of oppressive practices, which definitely pushed me to highlight them but not in a traditional and stereotypical way. I tried to show the regime’s practices by telling long stories that document the country’s status in the past half-decade.

*Some people consider that opposing the Syrian regime means that you support extremist forces that have fought on many Arab territories. What do you think about this?

I have watched many political analysts on TV and I have read people’s views on social media websites, and I think they are all liars. In my movie, I sought to avoid the discussion of political speeches and focused on simple stories we lived as Syrians. In this work, I didn’t try to answer questions or find solutions, but I asked questions on the oppression we witnessed and the reasons that forced us to live under it.

Finally, the writer insisted that despite all the changes and interferences that took place over the past years, the Syrian uprising that kicked off in 2011 was a decent revolution of a people that sought liberty, sovereignty, justice and equality. As a director, he said that artists should have a humanitarian position that highlights people’s suffering and struggle.

Arab Film Institute (AFI) Launched during DIFF 2016


Dubai – In a step previously announced by Asharq Al-Awsat, the Arab Film Institute (AFI) was launched two days ago aiming to promote the Arabian cinema. According to its brochure, this institute intends to create a platform to exchange expertise and ideas among professionals from the Arabian cinema industry and to provide training programs that enjoy international levels for creative filmmakers in different fields.

During a press conference held as part of the fifth day of the Dubai International Film Festival (DIFF) held to launch the new institute, Antoine Khalife, Dora Bouchoucha, George David, and Hafiz Al Ali attended to reveal their ideas in this field and to announce Oscar-like contests starting 2018 to highlight best actors, directors, scenarios, and others.

How can this institute overcome obstacles which face production and marketing in this industry? Many other questions were posed with the launch of this institute to secure its success.

The establishment of such an institute is considered as a very promising step as long as the AFI stays away from personal interests; the Dubai International Film Festival (DIFF) has also focused on uncovering many new talents – supported this year by “Screen” (publisher of the British Screen magazine released daily in both English and Arabic), which was keen to spotlight many talented Arab stars who just begun their journey in this field like the Lebanese Monia Akel directot of the “Beirut, I Love You” movie.

In fact, the Arabian cinema does not lack new talents, where a number of new directors emerge to show their works in the Dubai Festival, reflecting major creative and artistic attempts every year.

However, the DIFF also features a number of eminent signatures in the Arabian cinema like Elian al-Raheb who introduced “Mayl ya Ghzayel”, a movie from the core of the Lebanese community.

This year, the festival also dedicated a corner for the Syrian crisis by showing movies that sheds the lights on the tragedy lived of the Syrian people – facing war and asylum.

Paul Greengrass Uses Camera instead of Script, Drama to Express

Palm Springs-Cinematographer Barry Ackroyd knows what Director Paul Greengrass wants without having too much talk during shooting; they have cooperated in three movies: “United 93” (2006), “Green Zone” (2010), and “Captain Philips” (2013); but what mostly matters about those two is that they both believe in the “reality of the image.”

Ackroyd first started his journey with documentaries and cooperated with Director Ken Loach known for his focus on social reality in his works; the experience he acquired from those two trends has allowed Acroyd to create a production that brings the movie closer to the real world, even if the film was based on fictional events mainly made for entertainment, like in “Jason Bourne” , Paul Greengrass’s latest movie.

*Real adventures
“Jason Bourne” is the fifth installment of the action series launched in 2002 with the movie “The Bourne Identity.”
Greengrass loves technical dialogues; Ever since his start in the movie industry in 1989, he has tried to express the story through the lens more than script or pure drama. “Jason Bourne” that made its debut two months ago and achieved remarkable success, has opened chances to learn about the director’s concepts in this field.

Below, is the text of the interview with Paul Greengrass:

*This is the third film of your movie series “Bourne”. From your point of view, how does this movie differ from its predecessors?
-The story differs, but has the same rules; incidents differ, but main characters and the plot are the same in all movies. However, the difference among the movies is that “Jason Bourne” is not “James Bond” as he doesn’t live in a mysterious world; he is a different hero, a character who lives in our world, therefore we have to believe all things he does.

*Shooting challenges
– The world we live in is full of problems, wars, and security issues; all people know about the efforts of the CIA in the United States and the other security bodies in this field; therefore, the movie discusses the post-Snowden phase and secrets he has disclosed; the movie plot has mainly focused on the authority that seeks to control information supposed to be discrete, and has been increasingly spread among people; the movie is tackling this plot with a real aspect that fits the whole work.

*Is it true that to shoot this movie, which includes a political twist and focuses on featuring former staff from the CIA, you had to receive the prior approval of studios?
– I have worked for many studios in Hollywood, which were cooperative and never intervened in our work; all what was said is mere guessing.

*You and Cinematographer Barry Ackroyd have similar backgrounds; you both love and focus on reality in your works…How do you work together on details?
– This is true; we have similar backgrounds and I like it because it has allowed me to depend on him in handling the scene design and decisions related to the filming process without concern…we totally understand each other and this is so important.

*The reality you are talking about means the absence of digital effects of graphics, right?
– Yes; the movie doesn’t include a single shot designed on the computer. We have really been in the streets and cities we shot in; we really shot in Athens and London in cooperation with the authorities of these cities. There was no need to fake anything; therefore, we face a lot of challenges.

U.S. Movies for Democrats and Republicans

Los Angeles-“Sully” for Clint Eastwood has topped the U.S. box office charts for the second consecutive week and has remained at the top spot despite nine other movies competing with it.

Apparently, in his 86th year, Eastwood’s movies have lured the interests of youth, adults, and elderly; his last film “American Sniper” brought for the Warner Company USD350 million in revenues although it did not feature any super hero character or did not have special effects, costing less than USD60 million.

Eastwood directed his new movie “Sully” with the same cost, making USD70 million in revenues in the United States, two weeks after its debut.

Unlike “Snowden” for Oliver Stone that ranked in sixth place with USD8 million, “Sully” looks promising.

In his movie, Oliver Stone has raised a significant question on whether Snowden is a national hero or traitor. While the director of Snowden has taken the left side of the Democrat-Republican equation, “Sully” shows clear bias to the Republicans by praising the U.S. regime.

“Sully” is free of real evils; even the investigation commission that was formed to probe if the pilot took the right decision in landing on the surface of water and not returning to the airport, doesn’t have evil interests; it is just a strict commission that follows unsound regulations.

Both “Sully” (name of the pilot) and “Snowden” feature the biography of two real characters; while Sully is facing a deadlock depending on the truth and hope for victory, Snowden was the outlaw hero who found that his conscience obstructed him from neglecting what is happening with Americans. Therefore he disclosed the CIA’s spying and ran away before getting caught and taken to trial as a traitor.

Another movie (3rd place on the charts) that features a “dead” subject is “Bridget Jones’s Baby” directed by Sharon Maguire. It is a third part of a movie series starred by Renée Zellweger, telling the story of the same lady who suffers from emotional problems, but this time with a baby from an unknown father.

“Don’t Breath” is the most exciting movie on the charts; it features the story of a veteran who lost his eyesight during the war and lives alone in a house that he knows every detail in it; one day, a gang of three thieves enter his house to rob him; yet, during the movie, the blind man succeeds in beating them.

The movie that has brought a totally new story among these films is “The Suicide Squad”, which is expected to be transformed into a series. It belongs to the category of superhero movies, in which evil people face other evil people.

This movie’s cost reached USD175 million; it has made revenues that have reached USD314 million in the USA and USD300 million worldwide, which may encourage the Warner Brothers Company on producing another movie on the same theme.