2024-03-13 13:19:25
Syrian drama writers highlight the corruption of the Lebanese ruling authority
Some of the series that began showing with the start of the month of Ramadan deal with chapters of the corruption of the Lebanese ruling authority. This is not the first time that Syrian drama writers have used this dramatic line that excites the viewer. In 2020, the Syrian writer Rami Koussa presented, in the series “Sons of Adam,” the story of the Lebanese MP who lives a luxurious life and has multiple relationships outside the framework of her marriage to an influential man as well. It seems clear that Koussa, who lives in Beirut, derives the general outlines of his scenarios from life in the Lebanese capital, and the stories transmitted there regarding the wealthy class that rules the country.
This line established the foundation for building a group of series that fall under the category of joint drama, and showcase the lives of Lebanese politicians and their corruption, which is what we see, for example, in the series “Nazrat Hobb,” which is currently showing, starring Carmen Bsaibes and Basil Khayyat, written by Rafi Wahba and directed by Hossam Ali.
The first episode shows the attacks of marginalized groups by politicians in Lebanon. In a scene in the first episode, the Lebanese actor Pierre Dagher, an influential politician, appears, ordering his companions to throw their shoes into the palace’s swimming pool. He then asks them to find the shoes in exchange for a financial reward of up to 5 thousand dollars. Then, with arrogance, he throws his shoes and raises the value of the reward to whomever. He finds it.
Thus, the author of the story refutes an aspect of the Lebanese reality, and how the leaders capture the ordinary citizen and subject him to a false authority that does not care regarding the rights of the citizen.
The Syrian writer Fadi Hussein gives a clear space for interaction between the Syrian and the Lebanese in the series “The End Point”, directed by Muhammad Abdel Aziz, and starring Abed Fahd and Nada Bou Farhat, through many characters who conflict in events that might reach the point of killing and hiding the body.
The attempt of Syrian writers to approach the situation in Lebanon in a number of series seems successful and puts a finger on the wound, compared to Lebanese productions that seem, at first glance, to come from another planet. Perhaps preventing Syrian writers from dealing with political affairs in Syria and having a section of them reside in Lebanon opened this door for them into the world of shared drama, and gave them more freedom in writing their characters.
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