It’s been four days since the release of Perfect Strangers, the first Arabic-language Netflix original film, it has become a phenomenon across the Middle East, trending #1 in every Arab country and reaching the top five as far away as France and Romania.
It’s also become one of the most hotly-debated pieces of Arab pop culture in recent memory, with some feeling that the taboos the film touches upon push the boundaries too far, and others cheering the film’s bravery in tackling real-life issues that most ignore.
The film, the debut feature by Lebanese director Wissam Smayra, is an adaptation of an award-winning Italian film of the same name in translation, telling the story of a dinner party between seven close friends in which the group decide to play a game: what would happen if they put their phones on the table, and shared every call or message that comes in with each other?
What starts as simple fun quickly descends into chaos, as secrets, many of which touch on societal taboos, come to the fore.
The film, produced by Dubai-based production house Front Row Filmed Entertainment alongside Egypt’s Film Clinic and Lebanon’s Empire, has been widely praised for its extraordinary, naturalistic performances from its leads, including Egypt’s Mona Zaki and Eyad Nassar and Lebanon’s Georges Khabbaz, Diamand Bou Abboud, Nadine Labaki, Adel Karam, and Fouad Yammine.
Nadine Labaki, the first actor to join the cast and a long-time friend and collaborator of director Smayra, is one of the most important Arab filmmakers in history, turning in three critically acclaimed films with Caramel, Where Do We Go Now?, and Capernaum, the latter of which was nominated for an Academy Award and became the highest-grossing Arab film in history.
Ahead of its release, Esquire Middle East sat down in Dubai with Nadine Labaki to discuss her groundbreaking latest star-turn, and what ground she hopes that Arab film can break next.
Read our full conversation below:
You ultimately became the first actor to sign on to this film. What made you say yes?
For me the biggest thing was the fact I was going to be working with Wissam. We are very close friends, and I really like his work. I believe in his talent, I believe in his passion. I felt that I was going to be in good hands, which is very important when you’re a filmmaker. I don’t think of this as my job. I’m not an actress usually, so when I do, it’s important that you feel in good hands. And I felt that I was going to be in good hands with Wissam.
On top of that, the fact that it was going to be working with great actors, that was another comforting layer that that I was going to be a serious adventure. The fact that I was going to work with George also was, very important to me, because we’re also very good friends. We’ve always wanted to work together on something. And for me, it was a good opportunity to be together in this film.
Was the subject matter a draw, as well?
Of course. With this film, we were able to talk about a subject that is really important, that what you see is not really what you get. There is this hidden part of us human beings, and a perversion of human nature. There is always this layer, a mask that you put on, and parts of yourself that you always have keep hidden, to never show who you are. That was interesting to explore.
The last time we spoke was right before you signed on, in the wake of the tragic Beirut explosion on August 4, when you were out protesting in the streets each day. Was this film a respite of sorts?
It was a difficult time in Lebanon. A very difficult time. In a way, we need this breath of fresh air, to be able to escape the harsh reality that we were living in. The fact that we’re going to be living all together, confined in a bubble, and we were able to sort of live a normal life in a way because it was a time when there was the revolution, the crisis, the Beirut blast, all of it together I just couldn’t believe what was happening. It was an escape to a normal life, in a way.
Each member of the cast comes from a vastly different background, from sketch comedy to high theatre to Egyptian action blockbusters. How did all of your styles mesh?
For me, it was a learning experience. We were really observing each one’s method of working, and it was really fascinating for me to watch. Anything I do has to be interesting and fulfilling for me. Seeing each one’s method and trying to gain whatever I can from their experience to add to my own performance. It was an ongoing search all the time, all of us together. We were extremely collaborative and generous with one another.
Through it all, we were all having so much fun thinking about everything we were doing. It was there was a lot of question onf what we were doing and why. It was enriching for all of us and we felt we were headed in the right direction. It’s not an individual effort with everyone doing their own thing. I didn’t really feel that at all.
Georges Khabbaz plays your husband in the film. As you mentioned, the two of you have long been close but never worked together. What struck you about his performance, and how different is this understated performance from what you’ve seen on him on the stage?
It was nothing less than extraordinary. There’s a huge difference between how he works in theater, where he’s open and he has to speak loud for people, to project so far, and in this role. In this film, he’s the complete opposite. He has to move everything inside. He speaks very little, but he gives so much.
Perfect Strangers is a milestone for Arab film in multiple ways. You yourself have been responsible for other milestones for Arab film in the past. What would you like to see comenext?
I’d like people to watch any art, any film coming from this region as just a film and stop comparing it to other films from other countries. That was always the problem in the films coming from this part of the world, that it’s in comparison to other cinema cultures.
There’s always this handicap when people judge Arab films. It’s always, ‘ah, yes, it’s a good Arab film, they did a great job.’ It’s as if they’re surprised that a film coming from this part of the world is as good.
I’d like to get to that point where you watch an Arab film with no comparison, and you just watch a good Arab film. That’s it. Stop comparing it. Stop being more tolerant because it’s coming from this part of the world.
There is a tendency when we watch a film coming from this part of the world. People are fascinated that something good is coming from this part of the world. On one level, we’ve made a big leap. But my hope is that an average American fan or French fan or Italian fan doesn’t have to be tolerant of films from the region because we have less experience. It’s starting to change. There’s a respect that’s starting to grow, and it’s wonderful to see.
The bar has been raised.
To be clear, I’m not talking about my films. There’s a lot of cinema coming from this part of the world that is really good. We have so many things to say, because nothing is really going the way it should. There’s so many things to change, there’s so many steps just to talk about, and everything is so important. I think the world is very interested in what’s coming from this point of the world.
It dominates the news cycles, so it should dominate our cinemas.
Absolutely.
Would you ever play this phone-revealing dinner party game yourself?
I think, in the Arab world, where there are so many taboos, people are going to be inspired to play. Myself, I’d love to do it one day. [turns to her co-stars] Let’s do it tonight!