Film Talk: December 14

Baladioun by Rasheed Abu Shareb belongs to a rare and important type of Arabic film, not just for its great critical and commercial success, whether in festivals (it will be shown in DIFF's official competition) or in movie theatres around the world.

The film's success is mainly due to its unique idea, being a war film with a story that takes place on European land with Arab characters and actors.

The film was shown in France, Switzerland, US, Canada, Holland, Belgium, Singapore, Morocco, Sweden, Spain and the UK, and even though it cost 15 million euros (Dh73 million), it must have made much more in revenue.

More than 20 million tickets were sold in France between mid October and the end of November, and each ticket cost more than 10 euros (Dh48).

On the other side, there are few Arabic films with such huge dramatic impact, which requires suitable production.

The last Arab films of this magnitude were Al Risala (the message) and Omar Al Mukhtar by Syrian director Mustafa Al Akkad, Al Kadissiah by Salah Abu Saif, and Al Mas'ala Al Kubra (the big issue) by Mohammad Shukri Jamil.

Some films for Youssuf Shaheen, especially Al Maseer (Destiny) were close to this type of production, although they had personal stories dressed up in historic events.

The third point that makes Baladioun unique is that it is not a Moroccan-French or Algerian-French production, but has a Moroccan-Algerian identity, with French finance.

The only other such movie is Barakat!, an Algerian-Tunisian film, but that main difference between the two is that Barakat only cost a small fraction of Baladioun.

In short, there are very few Arab-Arab productions. And they are even getting fewer, as experience reveals it is almost impossible to combine two Arab countries in one production.

The latest two films by Duraid Lahham and Abdullah Al Muhaisen, which presented Arab talents from different countries, broke this rule, but that doesn't mean it has been overcome, for many reasons.

First, Egyptian cinema is used to trusting its own abilities and methods, and does not feel the need to cooperate with anyone.

Second, Arab cinema producers are comfortable with local cinemas. Why would a producer who is seeking to cast Nancy Ajram try someone from another country? Isn't Nancy Ajram enough for the needs of any film?

And third, whenever a joint production is discussed between Arab countries, many obstacles surface, including the search for a suitable subject, talents, and investment issues.

Questions such as: “Where do we shoot?'' and “What do we shoot?'' are always raised.

All of the above reasons are fabricated, or at best unconvincing. There is nothing that prevents Arab-Arab productions except producers who have no ambition and no vision.

It does not help them to monitor European or international productions. Past enemies Korea and Japan are now making joint productions, and so are Japan and China.

In Europe, the UK and Spain, Italy and Sweden, Scandinavian countries, and France are working with almost every country in the world!

If this is the case, then what is the real reason behind lack of cooperation between Arab producers?

Perhaps it's ego and selfishness. Perhaps it's lack of target, planning and will. And perhaps it's all these.

However, the door is still open for this cooperation, and must remain so until it becomes the first choice for all Arab cinema.