Copti is an Oscar-nominated Palestinian filmmaker born and raised in Yafa. In , his first full-length feature film "Ajami" won the Camera d'Or Special Mention at the Cannes Film Festival. His film was also nominated for the 82nd Academy Awards in the Best Foreign Film category and won more than 15 awards worldwide. Formerly a mechanical engineer, he has also written, directed and edited several fiction, documentary and experimental short films. Copti was on the jury of the Tribeca film festival as well as at the Thessaloniki film festival in and President of the Human Rights Award in the Istanbul International film festival Copti was part of the team that launched the Doha Tribeca Film Festival and the Doha Film Institute (DFI) and he headed the DFI's education department until November Currently Copti is developing his next feature film project.
Born
Venice’s Horizon titles include films from Alex Ross Perry, Valerio Mastandrea and Scandar Copti.
Aïcha (Tun-Fr-It-Saudi-Qat)
Dir. Mehdi Barsaoui
Aïcha is the second feature from Tunisian director Barsaoui, whose debut A Son was a best actor prize-winner for Sami Bouajila in Horizons The filmmaker’s latest centres on a woman who tries to start a new life in Tunis after surviving an accident, but her new identity is compromised when she becomes the main witness to a police mistake. The international co-production includes Tunisia’s Cinétélefilms, Saudi Arabia’s CineWave Films, France’s 13 Prods and Italy’s Dorje Film.
Contact: The Party Film Sales
Carissa (S Afr)
Dirs. Jason Jacobs, Devon Delma
South African drama Carissa has a close association with Venice, having participated in last year’s Final Cut In Venice lab. Set in a rural South African community, the film focuses on the title character’s realisation that a career opportunity at a new luxury golf estate will involve building over her estranged grandfather’s rooibos tea farm. Produced by Deidre Jantjies and Annemarie Du Plessis, Carissa has also been through N
Americans didn&#;t know we had the right idea, but we did. We welcomed those from foreign lands (or, in some cases, forced them to come here). Then we shook them up together and left them to sort things out. We have every race, ethnicity and religion, and that helps. Unhappy are those who live in a land with only a few.
Consider Israel, where Jews, Arabs, Muslims and Christians by and large think it is extremely important that they are Jews, Arabs, Muslims and Christians. There is a growing minority that thinks, hey, here we all are together, and since nobody is budging, let&#;s get along. But most apparently think someone should budge, and it&#;s not them.
&#;Ajami,&#; one of this year&#;s Oscar nominees for best foreign film, is the latest and one of the most harrowing films set along the religious divides in Israel. It was co-written and co-directed by an Israeli and a Palestinian, and set in Jaffa, technically a part of Tel Aviv, which has high crime and unemployment rates. The focus is on mean streets that Scorsese might understand. Gangsters, cops and drug dealers are tossed in with religious conflicts, and the ancient Romeo and Juliet quandary. God help anyone who marri
&#;Happy Holidays&#; Review: A Dynamic Palestinian Family Drama Chronicles Arab and Jewish Lives in Israel
From Palestinian filmmaker Scandar Copti, the Israel-set &#;Happy Holidays&#; is a piercing, realistic family drama, the inflection points of which reveal deep cultural and political dimensions surrounding gender and ethnicity. Like his Oscar-nominated crime drama &#;Ajami&#; (which he co-directed with Yaron Shani), Copti&#;s second feature follows an ensemble of characters — Arab and Jewish alike — to assemble a multifaceted portrait of life in Haifa, Israel&#;s third-largest city.
In depicting strained family ties and rocky courtships, &#;Happy Holidays&#; veers between anxious and joyful. Copti and cinematographer Tim Kuhn shoot each interaction with an up-close, handheld intimacy that not only magnifies the subtle, powerful performances of the cast (many of them first-time actors), but welcomes the viewer into each scene, as though it were a complicated family reunion. At the center of its sprawling plot are four members of an Arab family, who share several casual, agreeable scenes together, but whose secrets from one another speak to a larger
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