This was an entertaining way to finish my visit to LFF 2015. That is if some perfunctory murders can be counted as entertainment. But in the context of the rest of the film perhaps they can. Mir-Jean Bou Chaaya is a locally-trained Lebanese filmmaker who seems to have taken inspiration from a story about the Lebanese film industry in the 1950s. ‘Very Big Shot’ refers, I think, to the lead character Ziad (Alain Saadeh) a local Beirut criminal whose career up to now has involved a small scale drugs business run out of a pizzeria alongside acting as courier for a bigger operation. Ziad has plans to set up his own restaurant with his second brother Jad. Youngest brother Joe (the pizza chef) is against this idea if it means selling the family house. Here’s a family social issue that might be the background to a typical crime film – especially since we know that Zaid and Jad have already attempted to involve Joe in their criminal activities.
The film takes off in another direction when Ziad needs to ship a large consignment of drugs abroad. Visiting a customer who isn’t paying his drugs tab, a nerdy aspiring filmmaker, Ziad watches a documentary featuring an interview with veteran Lebanese film director Georges Nasr (the director’s film school mentor) in which he refers to an Italian film production in Lebanon that included drugs smuggled out in sealed cans of undeveloped film stock. To do this involves a customs certificate awarded to genuine film producers. Ziad decides to be come a real film producer and sets up a shoot for the hapless wannabe director. The filming process pushes the film into a comedy of ineptitude and then into a satire on media and celebrity. Ziad moves quickly to become director as well as producer and when his ideas create incidents on the street he is interviewed on local television, finally emerging as an astute political operator.
The central plot idea is, I now realise, similar to Argo (US 2012), bit this never occurred to me as I watched the film, perhaps because I found it funnier and more interesting than Argo. Or perhaps it was just more ‘exotic’ as a Lebanese film using popular genre elements? There are some gentle digs about the state of the Lebanese film industry as well as some sharp social commentary and the film ends in an open manner which hints at a satire about politics and the media in the context of organised criminal activities. Mir-Jean Bou Chaaya was present for a Q & A and his film was warmly received at the Vue West End. This revealed that both the director and his co-writer and lead Alain Saadeh come from families with several brothers so they felt comfortable creating the relationships in the film. The director’s brothers were the producers of the film. The very impressive Saadeh trained as a method actor and the director encouraged this by suggesting that the actors’ interpretations would lead the filming process. The final question asked whether the film had a chance of being shown in other ‘Arab speaking’ (sic) countries and the answer got a round of laughter when the director suggested that it would depend on whether governments would accept the film’s open ending (i.e. the criminal who becomes a politician). Several reviewers have suggested that local audiences would actually get a lot more from the film but I think it could also work well in international distribution.