Recent from talks
Theeb
Knowledge base stats:
Talk channels stats:
Members stats:
Theeb
Theeb (Arabic: ذيب, romanized: dhīb, lit. 'wolf' [ðiːb]) is a 2014 co-produced by Bassel Ghandour period drama thriller film co-written with Bassel Ghandour and directed by Naji Abu Nowar. It is a coming-of-age story about a Bedouin boy, Theeb, who must survive in the wide-open Wadi Rum desert. The film takes place during the Middle Eastern theatre of the First World War, in the wake of the Great Arab Revolt against the ruling Ottoman Empire. The film used non-professional actors from the Bedouin community in southern Jordan, and is considered a "Bedouin Western". It has also been described as a coming-of-age film. Theeb is an international co-production from Jordan, the United Kingdom, the United Arab Emirates (UAE) and Qatar.
The film premiered in the Horizons section at the 71st Venice International Film Festival on 4 September 2014, where Abu Nowar won the award for Best Director. It was nominated for the Best Foreign Language Film at the 88th Academy Awards, making it the first Jordanian nomination ever. At the 69th British Academy Film Awards, Theeb was nominated for Best Film Not in the English Language, where Naji Abu Nowar and Rupert Lloyd won the Outstanding Debut by a British Writer, Director or Producer.
In 1916, recently orphaned brothers Hussein and Theeb, the second and third sons of a Bedouin sheik of the Howeitat tribe, come from a family of pilgrim guides and are accustomed to a nomadic lifestyle. One night, their camp is visited by Edward, a British officer, and an Arab named Marji. Custom requires that a goat be slaughtered for the visitors, but Theeb, still a boy, has great difficulty bringing himself to do it. The officer is carrying a wooden box, rumoured to contain gold, which piques Theeb's curiosity. Hussein is asked to guide them to a Roman well lying on the pilgrims' trail, next to the strategic Ottoman railway. Men at the camp warn that the trail is rife with bandits. Theeb wants to join, but his brother insists on leaving him behind. The next day, as the group leaves, the boy disobeys his brother and follows them, managing to catch up after a day's walk. Despite objections from Hussein and Marji concerning Theeb's presence and fear for his safety, Edward is adamant about continuing their travel immediately, so Theeb stays with the group.
They reach the well, only to discover dead bodies have been thrown into it. The group then notices that they are being watched by a group of men in the distance. They quickly escape, but Edward insists that they continue. Hussein leads them to another nearby well in a canyon, where they are ambushed. Edward and Marji are suddenly shot dead from a distance. Hussein and Theeb hide from the raiders; when night falls, another engagement with the raiders leaves Hussein dead. While trying to escape, Theeb falls into the well, but manages to climb up the next day. He buries his murdered brother.
Theeb spends the day wandering around the canyon and eventually notices a camel heading towards him from the distance. He approaches the camel and finds an unconscious man collapsed on top. The next day, Theeb wakes up to see the man staring at him. He is Hassan, a gravely injured mercenary who is one of the perpetrators of the ambush. Theeb is too small to get the camel to obey him, and Hassan is too injured to move. They are initially aggressive and hostile but soon realise that they need each other's help to survive.
Theeb spends some time with Hassan, feeding and healing him. Hassan asks Theeb not to betray him, considering how he let Theeb eat with him. The next day, the pair mount the camel and head towards an Ottoman rail station. They bump into Arab revolutionaries who ask Hassan questions regarding his modern Western belongings – they are looking for the British officer, who had coordinated an attack with them against the Ottomans on the Hejaz railway. Allowed to pass, the two continue towards the rail station. On their way there, they pass by a part of the railway where dozens of dead Arab revolutionaries lie. They had been waiting for the British officer, with his wooden box detonator, which was intended to blow up the railway. At the station, Hassan sells the Englishman's belongings to an Ottoman officer. The officer offers Theeb a coin as well, which Theeb declines, having realized that Hassan was being paid money for items he stole after killing his brother. Theeb then waits outside the station for Hassan to come out, then shoots him dead. Theeb explains to the Ottoman officer who has rushed out that Hassan killed his brother. The officer tells Theeb to go home, and he rides off into the desert.
Bassel Ghandour wrote the script and shared it with Naji Abu Nowar with the idea to do a short film. Abu Nowar reverted and suggested this be a feature film, and from there the story begins. While preparing to do the film, Ghandour, Abu Nowar, and producer Rupert Lloyd spent a year in the desert living in Shakrieh village with the local community, learning the Bedouin lifestyle. Initially, the filmmakers planned to have women characters involved. This was hindered by the fact that they wanted to use non-professional actors and found no women from the Bedouin communities willing to act in a film. They considered bringing professional actresses but they did not know the Bedouin dialect, so the film would have lost some of its authenticity. Jack Fox as the British officer was the only professional actor involved; the Bedouins had never participated in any type of acting. Several workshops took place to prepare the Bedouin actors for the film, who were chosen by auditions.
Abu Nowar initially did not like Jacir, the actor playing Theeb. "He was so shy and quiet, I never considered him, but when you put him on camera, he [turns into] a different person. Immediately it became obvious. And so he was the first person we cast and we never looked back or at anyone else." The funding, although inadequate[opinion], was secured by private sector investors, as well as several institutions; King Abdullah II fund for development, Doha film institute, and Abu Dhabi-based Sanad film fund.
Hub AI
Theeb AI simulator
(@Theeb_simulator)
Theeb
Theeb (Arabic: ذيب, romanized: dhīb, lit. 'wolf' [ðiːb]) is a 2014 co-produced by Bassel Ghandour period drama thriller film co-written with Bassel Ghandour and directed by Naji Abu Nowar. It is a coming-of-age story about a Bedouin boy, Theeb, who must survive in the wide-open Wadi Rum desert. The film takes place during the Middle Eastern theatre of the First World War, in the wake of the Great Arab Revolt against the ruling Ottoman Empire. The film used non-professional actors from the Bedouin community in southern Jordan, and is considered a "Bedouin Western". It has also been described as a coming-of-age film. Theeb is an international co-production from Jordan, the United Kingdom, the United Arab Emirates (UAE) and Qatar.
The film premiered in the Horizons section at the 71st Venice International Film Festival on 4 September 2014, where Abu Nowar won the award for Best Director. It was nominated for the Best Foreign Language Film at the 88th Academy Awards, making it the first Jordanian nomination ever. At the 69th British Academy Film Awards, Theeb was nominated for Best Film Not in the English Language, where Naji Abu Nowar and Rupert Lloyd won the Outstanding Debut by a British Writer, Director or Producer.
In 1916, recently orphaned brothers Hussein and Theeb, the second and third sons of a Bedouin sheik of the Howeitat tribe, come from a family of pilgrim guides and are accustomed to a nomadic lifestyle. One night, their camp is visited by Edward, a British officer, and an Arab named Marji. Custom requires that a goat be slaughtered for the visitors, but Theeb, still a boy, has great difficulty bringing himself to do it. The officer is carrying a wooden box, rumoured to contain gold, which piques Theeb's curiosity. Hussein is asked to guide them to a Roman well lying on the pilgrims' trail, next to the strategic Ottoman railway. Men at the camp warn that the trail is rife with bandits. Theeb wants to join, but his brother insists on leaving him behind. The next day, as the group leaves, the boy disobeys his brother and follows them, managing to catch up after a day's walk. Despite objections from Hussein and Marji concerning Theeb's presence and fear for his safety, Edward is adamant about continuing their travel immediately, so Theeb stays with the group.
They reach the well, only to discover dead bodies have been thrown into it. The group then notices that they are being watched by a group of men in the distance. They quickly escape, but Edward insists that they continue. Hussein leads them to another nearby well in a canyon, where they are ambushed. Edward and Marji are suddenly shot dead from a distance. Hussein and Theeb hide from the raiders; when night falls, another engagement with the raiders leaves Hussein dead. While trying to escape, Theeb falls into the well, but manages to climb up the next day. He buries his murdered brother.
Theeb spends the day wandering around the canyon and eventually notices a camel heading towards him from the distance. He approaches the camel and finds an unconscious man collapsed on top. The next day, Theeb wakes up to see the man staring at him. He is Hassan, a gravely injured mercenary who is one of the perpetrators of the ambush. Theeb is too small to get the camel to obey him, and Hassan is too injured to move. They are initially aggressive and hostile but soon realise that they need each other's help to survive.
Theeb spends some time with Hassan, feeding and healing him. Hassan asks Theeb not to betray him, considering how he let Theeb eat with him. The next day, the pair mount the camel and head towards an Ottoman rail station. They bump into Arab revolutionaries who ask Hassan questions regarding his modern Western belongings – they are looking for the British officer, who had coordinated an attack with them against the Ottomans on the Hejaz railway. Allowed to pass, the two continue towards the rail station. On their way there, they pass by a part of the railway where dozens of dead Arab revolutionaries lie. They had been waiting for the British officer, with his wooden box detonator, which was intended to blow up the railway. At the station, Hassan sells the Englishman's belongings to an Ottoman officer. The officer offers Theeb a coin as well, which Theeb declines, having realized that Hassan was being paid money for items he stole after killing his brother. Theeb then waits outside the station for Hassan to come out, then shoots him dead. Theeb explains to the Ottoman officer who has rushed out that Hassan killed his brother. The officer tells Theeb to go home, and he rides off into the desert.
Bassel Ghandour wrote the script and shared it with Naji Abu Nowar with the idea to do a short film. Abu Nowar reverted and suggested this be a feature film, and from there the story begins. While preparing to do the film, Ghandour, Abu Nowar, and producer Rupert Lloyd spent a year in the desert living in Shakrieh village with the local community, learning the Bedouin lifestyle. Initially, the filmmakers planned to have women characters involved. This was hindered by the fact that they wanted to use non-professional actors and found no women from the Bedouin communities willing to act in a film. They considered bringing professional actresses but they did not know the Bedouin dialect, so the film would have lost some of its authenticity. Jack Fox as the British officer was the only professional actor involved; the Bedouins had never participated in any type of acting. Several workshops took place to prepare the Bedouin actors for the film, who were chosen by auditions.
Abu Nowar initially did not like Jacir, the actor playing Theeb. "He was so shy and quiet, I never considered him, but when you put him on camera, he [turns into] a different person. Immediately it became obvious. And so he was the first person we cast and we never looked back or at anyone else." The funding, although inadequate[opinion], was secured by private sector investors, as well as several institutions; King Abdullah II fund for development, Doha film institute, and Abu Dhabi-based Sanad film fund.