Critic Reviews

While the issues it engages are timely and important, the film’s claim to fame really comes from its terrific accomplishments on every front, from writing and directing to acting and cinematography.

Doueiri wrestles with the complexities of history and morality without ignoring the humanity of the individuals caught in this frightening maelstrom of a story.

In the end, the film’s most nuanced summation comes from Wajdi, who says, “No one has a monopoly on suffering.”

Still, the excitement is palpable, and Karam and El Basha (he justifiably won the Best Actor prize at the Venice Film Festival) give the kind of performances that keep you riveted. Even at its most blunt and obvious, this is a movie that stumps for empathy. Who can argue with that?

The Insult is optimistic enough to leave the door open to hope. But it’s also realistic enough to only leave it ajar.

An ethically thorny morality play that thoughtfully transcends borders, cultures, and religious beliefs.

A highly political movie that's also a personal story of two men going head-to-head while the women around them are left to pick up the pieces, this gorgeously shot and classily acted feature might be a reel too long but is nonetheless a fascinating piece of work.

It’s weighed down by symbolic significance, yet powerful and instructive all the same, with a few flickerings of black comedy.

Overall The Insult is a compelling, timely movie. Doueiri is doing what artists do: Making the personal universal, while at the same time showing the impact a few poorly chosen words can carry.

How Joelle Touma’s script progresses is heavy-handed in its desire to augment the tensions and provide justifications, but it’s still powerful nonetheless.