With its award-winning streak and Oscar nominations Capernaum is a film that evidently a hit with critics and cinema goers alike with something bold to say. With so many social and political themes building up the story; it is clear that there is a lot to say about the side of Beirut that director Nadine Labaki wants us to see.
The start of the film shows 12-year-old Zain, a resourceful, hardened boy, serving a 5-year prison sentence announcing in court that he wants to sue his parents for giving him life. As we follow him back to where his circumstances originated from, we uncover the reasons behind his seemingly outlandish statement. Enduring a childhood full of indignity and cruelty fuelled by poverty, Zain runs away from home which sparks ‘Capernaum’ – or roughly translated – ‘Chaos.’
In an interview with ‘The Guardian,’ Director Nadine Labaki enforced her belief that ‘cinema can effect social change’ and this film strongly pronounces that. Labaki brings extreme empathy to the forefront of her work here with no doubt in the delicacy given towards each directorial decision. For this strong sense of innocence to be portrayed in such an unjust world makes us question why it is there in the first place.
From the beginning the film sparks a debate around whether a child should be brought into the world when their parents are unable to provide for them physically and emotionally. And Labaki provides us with some strong reasons to agree with this. With neglect and isolation so prominent, you cannot help but feel completely overwhelmed and invested these children’s unreasonable world. Although the characters we meet along the way and the experiences that they share together gradually restore a warming sense of hope amongst all the lows.
The performances from its two youngest actors steal the show, with a dynamic that stretches consistently throughout. Their isolation and powerlessness are depicted so boldly that you can’t help but experience it too. And while their circumstances are downcast, you cannot help but fall in love with Treasure Bankole, a strong contender for cinema’s most gifted and adorable toddler.
Following these performances means that we are constantly placed on their level and no higher to feel the full force of an adult’s ‘charge’ above them, and the ultimate control over how you are shaped from childhood. The unpredictability of their story leads us down many twists and turns that can leave you fearing the worse but hoping for the best. Alongside these performances, Capernaum effortlessly captivates you with the sound, cinematography and editing drawing you into each beat.
I grant you, it is not always an easy watch. With constant character conflicts and trials there is an undoubtable sense of exhaustion throughout that will look to emotionally deplete you by the time the credits roll. You will instantly savour any moments of joy or humour that come your way which will make them all the more valuable. There are evidently traits of a survivalist film here, and with juxtaposing themes of innocence and childhood to counteract; there feels to be a clear moral dilemma and a call to action from audiences. Or at least a call to spread awareness.
My first viewing of this film was amongst an audience at Cannes Film Festival who, by the time the credits were rolling, we’re all touched and effected by the film. There were few people who left without a dry eye or something to say when they left the theatre, which says a lot.
For me, Capernaum is a burning bellow from the heart, uncovering the under belly of a scarcely portrayed population. It’s a shout that everyone needs to acknowledge, it is too important of an issue not to.
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