City of Life
Ali F. Mostafa | UAE | 2009
97 min
City of Life will change the way you think about Emirati filmmaking — it is co-written and directed by Ali F. Mostafa who, with this film, vigorously attempts to shatter preconceived notions about making movies in the United Arab Emirates. City of Life is especially designed to clear the haze surrounding big-budget film production in the city of Dubai and it sets a precedent: an Emirati filmmaker funded by Emirati coin has crafted smart, technically first-rate entertainment that can stand its own ground in the international marketplace. For a young country with a non-existent film industry, on this point alone, City of Life is an important accomplishment.
The film has a sprawling narrative with multiple stories, all taking place within the cultural melting pot of one city — for Paul Haggis’ Crash it was Los Angeles, for Mostafa’s City of Life it is Dubai. The similarities between the two films are nakedly apparent in a pivotal scene concerning a massive car crash. Though City of Life does not break new ground in narrative terms, like Crash (which itself borrowed heavily from Robert Altman storytelling technique), it is sensitively performed by an ensemble cast.
City of Life depicts the lives of a young, privileged Emirati (Faisal played by Saoud Al Kaabi) in the process of discovering his cultural identity, an embittered Indian taxi driver (Basu played by Sonu Sood) that dreams of being an actor and a quietly suffering ex-ballet dancer now a stewardess (Natalia played by Alexandra Maria Lara, last seen in Coppola’s Youth Without Youth). Their lives will “collide” and catharsis will be reached for the audience. Despite the more-or-less conventional nature of the plot, director Mostafa gets good performances from his actors – Iraqi MC turned actor The Narcicyst is particularly memorable as the zippy Khalfan whose character provides a sly commentary on urban Emirati life. Actually, City of Life is most effective when it is honest: without being condescending, Mostafa sneaks in everyday truths of living as both a citizen and expatriate in the United Arab Emirates; and he is savvy to not out to grandstand or preach to the choir. Yet this does not mean the film is free of stereotypes — one character, Guy Berger (played by Jason Flemyng) who is the European “hi-roller” undergoes a dramatic transformation that borders on caricature (brace yourself for a memorable line from him: “I will f*cking break you!”). Then there are those arbitrary montages and time lapses that lend a commercial/ music video feel to the otherwise filmic visual aesthetic of both cinéma vérité and moving camera on steadicam or cranes. Director of Photography Michael Brierley paints the nighttime of Dubai with stunning colors using cool and warm lights, especially during the night scenes; Brierley’s beautiful camerawork is one of the strongest elements of the film.
City of Life is not an art film and does not break new ground in story, but that may not be Ali F. Mostafa’s agenda: he seems to have set out to create a mainstream film that engages viewers emotionally, without undermining their intelligence. The film is the product of a young and talented filmmaker that pays homage to Emirati culture and values, but does not forget to include the rich cultural diversity that exists in his country. Above all, it is fun to watch, which is something not every film in a film festival can lay claim to. A must-see especially for the residents of the UAE.
City of Life had its World Premiere on Dec 11 at the 2009 Dubai International Festival. It was also the opening night film for the 2010 Gulf Film Festival.
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