Israeli and Arab Women Join Together in “Cinema Sabaya”

It’s a commonly accepted truism that mathematics and perhaps dancing are international “languages” and can be practiced almost anywhere in the free world. I can personally speak to the dancing reference, having danced with people in European countries without actually understanding or speaking their native languages. Certainly, cinema can easily fall into that category, as some stories are universal. After watching CINEMA SABAYA, the idea of the universality of life’s experiences and challenges beautifully unfolds layer by layer in Orit Fouks Rotem’s well-made, inspirational film about women of disparate backgrounds coming together for a common purpose.

The story revolves around eight women who have signed up for a filmmaking class run by Rona (Dana Ivgy) at a local community center called the Center for Social Justice, where women signed up to take a class in filmmaking. The group is mixed, comprised of Israeli and Arab women – some religious, some not, and ranges in ages from 30-something to 70-something. Most women are married, some are single, and one, after her divorce at age 38 (Yulia Tagil), moved back to her mother’s home with a child. Their hopes and dreams are divergent, from wanting to be a movie star or a singer to looking forward to being a grandmother. The first woman to speak is one of the older women, and she tells her story in Arabic (Marlene Bajali.) Another participant, a lawyer and social and political activist dreamed of becoming a singer. (Amal Murkus.) With the group encouraging her, she works up the courage to sing and regales them with a beautiful song sung in Arabic, which Rona stages in front of a green screen, complete with a fan blowing her hair. She laughed heartily when she saw herself on film with her hair flowing in the breeze. Like their backgrounds, their lifestyles are quite different, ranging from living in cramped apartments to one of them living on a boat. (Liora Levy.)

Perhaps the most repressed woman is an Arab woman, played by Joanna Said. She has six children and works for the elderly. She dreams of learning how to drive and secure a driver’s license. However, her husband is “traditional” and doesn’t support her driving, so he either takes her to work or she travels by bus. A subtle difference in cultures occurs when one of the women suggests she take lessons and not tell her husband, while another warns that she should not do anything behind his back. Although she would like to go to the beach, she doesn’t feel comfortable doing so as she thinks people stare at her hijab. One of the women was a victim of violence, and fearing for her and her children’s safety, she divorced that husband and married a nice gentleman.

(Ruthie Landau.) Armed with their cameras and instructed to just film their everyday lives and anything necessary to them, the women begin to bring in their work. The first set of films is quite amateurish, from shots of a cat to close-ups of a husband sleeping. However, the one that was the most provocative was shot by Said’s character, which was just a big metal tub with the water running into it. Based on critiques and honing their skills, the work becomes more and more polished. One amusing scene is a mom filming her little girl asking, “How was your day?” The annoyed child replies, “Mom, what do you want?” As you might expect, occasionally, politics rears its ugly head, and sometimes heated discussions take place about their respective belief systems. Still, regarding the work, the women critique each other’s films in a kind, supportive manner. As they bond more and more with each other, it takes on the tone of a support group, encouraging each other to pursue their dreams.

Rona informs the group that she would like to make it into a feature film after looking at all the footage they’ve shot. There is a mixed response to that idea, from enthusiasm to feelings of betrayal. In any case, the film got made one that will engender laughter and perhaps a few tears. The work is quite compelling and a lesson in how we can bridge our differences using an international language such as film and that underneath it all, we are all still part of the same extended family – with similar hopes and dreams we would like to realize. Without being a spoiler, watch the outstanding closing credits to find out what happens to each of these incredible women.

While all the women give excellent, believable performances under Orit Fouks Rotem’s precise and sensitive direction, the most repressed, and eventually the most heroic woman of the group, is played by Joanna Said, who gives a heartfelt performance earning her winner of the Ophir Award for Best Supporting Actress.

The film also won Best Film and Best Director and is Israel’s official submission for Academy Award consideration in the Best International Feature Film category.

Written & Directed by:

Orit Fouks Rotem

Starring: Dana Ivgi, Amal Murkus, Marlene Bejali, Ruthie Landau, Haula HajDivsi, Joanna Said, Yulia Tagil, Asil Farhat, Orit Samuel, and Liora Levy.

Cinematographer: Itay Marom

Edited by: Neta Dvorkis

Music by: Karni Postel

Languages: Hebrew, Arabic & English

Running Time: 92 Minutes

Release Date: February 24 – Laemmle Royal Theatre

Language: Hebrew, Arabic, English