Oscar-nominated director Scandar Copti returns with “Happy Holidays,” a layered and absorbing narrative that has already earned considerable acclaim, winning the Orizzonti Award for Best Screenplay in Venice, the Golden Alexander in Thessaloniki, and the Étoile d’Or in Marrakech.
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The complex story revolves around four members of an Arab family and a number of individuals connected to them. Rami, the brother, is grappling with his Jewish girlfriend Shirley’s sudden change of heart about aborting their child. The repercussions of having an Arab-Jewish baby quickly surface, as Shirley receives pressure from her family, while Rami is met with threats, some from people who want him to stay away from her altogether.
Rami confides in his friend Walid, a doctor who is romantically involved with Rami’s sister, Fifi. Fifi is at the center of an accident that opens the story. Her subsequent hospital visit risks revealing medical records that could create a cascade of problems for the family. Walid, though seemingly progressive at first, turns out to hold conservative views, further straining their relationship.
Meanwhile, Rami tries to help his father, Fouad, deal with crushing financial debt that could lead to the sale of their family home and potentially many years in prison. The looming threat puts heavy pressure on his mother, Hanan, who is trying to ensure the wedding of her eldest daughter Leila proceeds smoothly, despite a complete lack of funds. In desperation, Hanan pushes Fifi to file a medical insurance claim after the accident, complicating her situation even further. In parallel, Shirley’s sister Miri is dealing with her own family crisis: her youngest daughter has slipped into depression in the face of her impending military service.
Although the structure may seem labyrinthine, especially with its use of non-linear storytelling, Copti maintains tight control over the narrative, never allowing it to become disorienting. His transitions between character arcs are seamless, and the way he ties together seemingly disparate plotlines is among the movie’s most impressive feats. His work as editor is equally noteworthy, ensuring smooth progression despite the story’s density.
The film’s social commentary is layered and compelling. Copti presents a society steeped in racism, patriarchy, and rigid expectations, all of which shape and constrain the characters’ actions. Intergenerational conflict plays a key role, particularly the disconnect between parents and their children in a society where the generational gap is stark. The dynamics between Arabs and Israelis, the weight of mandatory military service, and the desperation caused by economic inequality and fraud all come together to form a volatile yet authentic world.
In a trademark move, Copti works once again with non-professional actors, and the results are exceptional. Wafaa Aoun as Hanan and Manar Shehab as Fifi both deliver standout performances, their emotional depth and on-screen chemistry adding immense gravitas. It is also a testament to Copti’s work in the film that, despite their differences in opinions, the overall mentality of the two women is similar, something they both portray quite convincingly. Toufic Danial excels as Rami, embodying the moral ambiguity of his character with conviction, particularly in the more intense moments.
Tim Kuhn’s cinematography does overindulge on the close ups on occasion, but in general presents the suffocating world of the protagonists with realism and frequently impressive framing. His camera lets the protagonists shine, in a film that is definitely an actors’ movie.
“Happy Holidays” is an exceptional piece of storytelling that demands full attention from its audience. It’s a socially charged, emotionally resonant work that recalls the best traditions of classical cinema while firmly rooted in the contemporary Middle East.
