She took on the role of preacher previously as a preacher when she forbade the poor from multiplying, without paying attention to the mechanism of poverty as a cycle that recycles itself. Today, it advises these people themselves to cultivate their lands and balconies and make their cheeses without paying attention to simple facts such that there is someone who is economically non-existent to the extent that he does not have a shelter, let alone a land to cultivate. It was also missed that professional farmers suffer the two issues due to the state’s neglect of the agricultural sector, which leads to incurring losses that prevent their ability to invest in the land, so what about the ordinary citizen?
It was absent from work that the concerns of the Lebanese extend beyond the issue of hunger, and their aspirations are not limited to providing food. The most important question: Do you understand Labaki that the cost of buying one cow for the home “cheese and labneh” industry, in which the song is spinning, exceeds the purchasing power of most Lebanese citizens?
Labaki’s ignorance of the agricultural field was evident to the viewers who humiliated her with their sarcastic comments, and it looked like Marie Antoinette mirrored, that is, the version of the sustainable development programs, and instead of “Eat the biscuits” .. “Plant to eat”! One of them asked if Labaki was aware that “farmers do not eat or buy water until they irrigate the crops.” Some of the criticisms have touched on Labaki’s “class” and its separation from the actual concerns of the classes that are looking around, so one of its members asked: “If we planted, we parsley and parsley from where does the right of meat, school installments, electricity and phone bills?” .. Perhaps it is not surprising that Labaki responds to such questions by saying : “… And why do you need all this?”
The fact is that the director, who leaves the artist’s hat, until she wears the goggles of the sociologist, before she jumps into the personality of the political activist, has brought us back to a superficial level and an illusion of social approaches that lead to flimsy solutions disguised behind good intentions.
Perhaps the most flattering of this lucid approach to class issues is its denial of the class factor and its role in shaping social experiences, and consequently its denial of the class privilege that it personally enjoys and the necessity of such a dismantling and criticism that was most useful to be practiced by our distinguished exit before it overlooks us with its elite views and orientations. Finally, the director of the movie “Capernaum” reiterates the responsibility of the citizen, instead of the regime that you claim to rebel against, but it proves, time and time again, how deeply rooted it is and how well it is compatible with it.