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The Best Wael Shawky Directed Movies

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50

/1/

The crusades come to life in Egyptian artist Wael Shawky’s beautiful Cabaret Crusades. Inspired by the writings of Lebanese writer Amin Maalouf, Shawky’s film trilogy explores the horrors of the medieval holy wars in the Middle-East – from an Arab perspective. With a cast made up entirely of puppets, the third part, The Secrets of Karbala (2014), centres on the period between the 7th and 12th centuries, covering the crusades as well as a dispute between two Islamic sects. Beautifully made of handblown Murano glass, the puppets have amazing expressive power, making the scenes full of violence, repression and torture all the more awe-inspiring.

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9.1

/26/

Wael Shawky’s Drama 1882 (re)stages a colonial conflict laden with treason and exploitation as a libretto across eight chapters and 44 hypnotic minutes, invoking questions of colonialism, collaboration, resistance, narrative, history, and, of course, drama.

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80

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In this installment of Cabaret Crusades, which covers the 46 years from the end of the First Crusade, in 1099, to the beginning of the Second Crusade, in 1147, a cast of more than a hundred 200-year-old string marionettes from the Lupi collection in Turin enact Shawky’s highly original approach to staging and filming history; the puppets represent actual historical figures, and the project was filmed entirely in a church in Aubagne according to a cinematic shot breakdown.

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7.7

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Wael Shawky in his Cabaret Crusades skillfully juxtaposes historical narrative with the childish world of puppetry—seriousness with naivety, fear with humor, horror with entertainment—to focus on events crucial to the development of an Arab identity. While prior to the Crusades different groups coexisted more or less peacefully, the trauma of the European invasions shaped today's familiar dichotomies—East and West, Christianity and Islam, Shi’ism and Sunni’ism. At first sight a history lesson for children, the project ultimately raises important questions about the historicity of identity and consequently the role of history itself.

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This is the final film in Shawky’s Al Araba Al Madfuna trilogy (meaning ‘buried cart’), titled after a village in Egypt where shamans urged inhabitants to dig underground tunnels, revealing a network of ancient temples and Pharaonic treasures. Acted by children who have been dubbed in classical Arabic with adult voices, the layering of history and narratives over many centuries creates sensations of wonder, alienation and estrangement, exacerbated by the film’s production in negative, which further highlights the protagonists’ role reversals.

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A double-screen video of a Dodge Ram four-wheeler; and a man in a strange mask, who tries to build a wall from liquid tar.

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In his newest cinematic opus, artist Wael Shawky once again entrusts masks and marionettes to rethink and challenge the narratives around the birth of Mediterranean culture. In a psychedelic journey among deities, heroes and titans, I Am Hymns of the New Temple reads classic mythology anew in the unique landscape of Pompeii, creating the ground for a timely and much needed discussion on received ideas surrounding cultural and national identity.

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Wael Shawky’s epic marionette animation film offers a view on the history of the Crusades, retracing events that unfolded over a period of four years (1096-1099) and played a key role in subsequent historical developments, shaking to the core the Arab world and its relations with the West. This horror film of sorts provides a precise description of the places in the Middle East and Europe that formed the backdrop for the early Crusades, following the course of events after a Papal mandate sent half-a-million Franks on a military campaign to ‘reclaim’ Jerusalem from the Muslim armies. To bring these episodes alive, the production uses highly expressive 200-year-old marionettes from the Lupi collection in Turin, dressed in costumes of the Christian and Muslim armies of the time, allowing viewers to momentarily suspend disbelief and immerse themselves in a tragic history, distant in time but not effect.

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Telematch Sadat re-stages the 1981 military parade, assassination, and funeral of Egyptian President Anwar Al Sadat—the event which ushered in the dictatorship of Hosni Mubarak—with a cast of Bedouin children. Donkeys and carts stand in for armored vehicles, while the desert substitutes for downtown Cairo.

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