Arzé

Director Mira Shaib's Arzé is a cinematic triumph in simplicity, infusing humor and heart into a poignant exploration of Lebanese society's deep-seated complexities. What begins as a straightforward quest to recover a stolen scooter unfolds into a layered narrative about identity, division, and resilience, making it a rare gem in contemporary Arab cinema.

At its core, Arzé uses the Lebanese societal structure as a lighthearted canvas to discuss sectarianism without overwhelming the viewer. The story cleverly weaves humor into the gravity of the subject, portraying how each community blames the other, reflecting deeply ingrained biases. The brilliance lies in its comedic lens-turning stereotypes into moments of self-reflection for its audience.

The filmmaker skillfully portrays the cultural distinctions between the clans through meticulous attention to detail. Beyond each group using a different name for a scooter, their unique identities are further emphasized through clothing styles and dialects, painting a vivid picture of societal diversity. This deliberate layering of visual and linguistic cues enriches the narrative, subtly showcasing how these differences shape perceptions and interactions among the communities.

The film's narrative symmetry is masterful. The return to the gift shop acts as a narrative anchor, launching Arzé's journey and tying together her smaller missions. Every scene, including the unforgettable pierce-stealing moment, is meticulously timed, offering insights into her growth as a character. What starts as a mission to recover her livelihood morphs into a confrontation with the parts of her life she has avoided. This progression, where Arzé faces the truths she has long surrendered to, is both cathartic and empowering played gracefully and brilliantly by Diamand Bou Abboud

Visually, Arzé shines with smartly framed shots. Close-ups expose the psychological tension of its characters, while medium shots emphasize the socio-cultural dynamics of each encounter. The adventure highlights the absurdity of small, yet telling, cultural details-like how each clan uses a different name for a scooter, and their conflicting pride or disdain for the item.

The pies in Arzé are a stroke of genius, doubling as a currency and a symbol of human connection. They underline how survival and negotiation transcend money in communities deeply divided yet intricately intertwined. Similarly, the set design-the outdated fan and telephone-evokes a timelessness rooted in either financial constraints or cultural inertia.

Arzé also breaks new ground for Arab cinema as a feel-good movie. Eschewing grandiose tales of riches or redemption, it celebrates the small victories of everyday life. Its mundane triumphs-the kind that don't change lives but make them more bearable-are a refreshing departure from the typical narratives of struggle and success.

The film's ending, though it's arguably predictable, is executed with grace. It's the kind of closure that feels earned-satisfying yet subtle. Shaib's wisdom as a filmmaker shines here, proving that a predictable ending can still resonate deeply when handled with care and intentionality.

Adding authenticity, the actors are cast from the communities they represent, grounding the film's comedy in lived experiences. The subtle nod to The Bicycle Thief enhances its universal appeal while placing it firmly within the tradition of socially conscious filmmaking.

While the premise of a journey to retrieve something that belongs to the protagonist is familiar, Arzé stands out as a beautifully crafted film. It is expertly written, directed, shot, and acted, with a captivating portrayal of Beirut. The film takes us through lesser-known neighborhoods, offering a unique perspective of the city, far from the typical tourist spots.

While it addresses sectarianism-one of Lebanon's most pressing issues-the film does so with a light, humorous touch, making it both thought-provoking and enjoyable to watch. Arzé also explores themes of family dynamics, such as the relationships between mother and son, and sisters, while touching on coming-of-age moments and first loves.

Overall, it is a remarkable film and a fantastic debut for Mira Shaib.

Everybody wants a piece of Arzé when all she does is the best she can to support them. It is very triggering to see her ungrateful son and her deluded sister rip into her when things come to a head. Arzé is who she is because she had to, she was forced to by a deadbeat husband who left her when pregnant.

Clever way of showing us Beirut and its diverse culture and politics, the various "sects" as the subtitles call it, as Arzé and Kinan scour through the city for that blasted scooter. It's tense but also funny in a way how they all mistrust each other. The shop lady was to die for.

It says and shows a lot about the culture and the state of the country in the scope of an apparent family drama. I appreciated that. It might be biased but I wouldn't be able to tell anyway. You can only be biased about government and social unrest anyway.

And I can't believe we actually got a happy ending for this.

II watched this movie in San Francisco and absolutely loved it. The main character is both strong and vulnerable, and the actress delivers a phenomenal performance. The scene between her and her sister was incredibly poignant and really moved me. The film portrays Beirut and Lebanon, along with its complicated sects, in a simple yet impactful way. I also enjoyed the side characters, particularly the shop owner and the junkyard manager. Overall, the film features a fantastic cast and beautiful cinematography that showcases the beauty of the region like I've never seen before. It reminded me of "Capernaum," which I loved a few years ago. This is an excellent film overall, and I highly recommend it.

I enjoyed watching "Arzé" and was surprised to know that it was Mira Shaib's first feature because the film does not feel like a debut film but rather made by a seasoned director. I am a huge fan of Diamand Abou Abboud and was very happy to see her finally a lead in a film which she deserves so much! I also like the young actor who played Kinan. I think he has a lot of talent. I was equally happy to see Betty Taoutel in such a raw performance unlike what we've seen from her in the past. The script is very well written, engaging, moving, and hilarious. The dialogue was so natural and not pretencious. The cinematography is gorgeous with bright colors that reflect Beirut so well. I also really enjoyed how it was shot in real locations. It made me want to go walk around Beirut and rediscover it all over while listening to the beautiful score of the film. I can't wait to see more films like this from Lebanon.