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Film Kteer Kbeer (2015)

| 8 July 2016 (USA)
Intending to smuggle drugs across the borders, a small-time Lebanese drug-dealer slyly manipulates public opinion with the help of an underrated filmmaker.

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2 wins & 14 nominations. See more awards »




Cast overview, first billed only:
Alain Saadeh ...
Ziad Haddad
Fouad Yammine ...
Wissam Fares ...
Jad Haddad
Tarek Yaacoub ...
Joe Haddad
Alexandra Kahwagi ...
Georges Hayeck ...
Abul Zouz
Marcel Ghanem ...
Fadi Abi Samra ...
Georges Nasser ...
Bilal Khaled ...
Abdo Chahine ...
Abdel Sater
Rachid Salloum ...
Abu Ali
Lea Bou Chaaya ...
Joseph Azrak ...
Douglas Thompson ...


Brothers Ziad (Alain Saadeh) and Joe (Tarek Yaacoub) run a small but lucrative drug dealing business out of their takeout pizzeria in one of Beirut's working class districts. With their youngest brother Jad (Wissam Fares) about to be released from prison - where he was serving a sentence for a crime that Ziad had committed - Ziad plans to go straight by using their coke-peddling profits to open a restaurant. But Ziad's supplier, a powerful drug lord who is none too keen to see his dealers retire, convinces the brothers to take on one last job. Written by Anonymous

Plot Summary | Add Synopsis


Dope, violence and backstabbing. It's good to be a gangster


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Release Date:

8 July 2016 (USA)  »

Also Known As:

Very Big Shot  »

Company Credits

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Technical Specs



Aspect Ratio:

2.35 : 1
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Did You Know?


The 15th Marrakech International Film Festival, headed by 5 Time Academy Award Winner FRANCIS FORD COPPOLA, awarded VERY BIG SHOT with the GOLDEN STAR AWARD for "BEST PICTURE" See more »

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User Reviews

A witty action caper from Lebanon
13 October 2015 | by (United Kingdom) – See all my reviews

This is an exciting and funny film that ends ambiguously. A trio of brothers - Ziad, Joe and Jad(o) - are involved in a fight that goes awry. Ziad shoots their foe with the latter's gun and a murder enquiry ensues. The youngest brother, Jad, decides to confess to the murder pleading manslaughter. Although the police are sceptical of his confession, Jad is sentenced to a reduced prison term for manslaughter and serves 5 years.

Ziad and Joe continue to run their father's pizza take away and become involved with a local drug lord who uses their delivery service to supply cocaine. To make reparations to Jad, Ziad wants to stop their criminal activities in favour of purchasing a restaurant that he can run with Jad whilst Joe continues with the take away. The drug lord, Abu Ali, does not agree to Ziad's proposition and appears to set up Ziad's murder as a consequence.

In revenge Ziad takes Abu's drug consignment and intends to market it himself in order to provide for the restaurant. He learns that cinema reels for development are not subject to the same security procedures when being freighted abroad and decides to use this as cover to sell his illicit merchandise. He recruits an associate, who is a budding film director, to help him and much hilarity ensues as they embark upon making a real film as legitimate cover for the drug exports. This allows for many wry digs at film makers and production.

Meanwhile Abu Ali and his henchman, Hussam, are planning their own revenge on Ziad and realise from Ziad's exploits that there is limited time within which to act. Cue explosions, the media and a kidnapping. All merry mayhem that seems unlikely to end well.

The film explores fraternal relationships, Christian-Muslim relationships, Lebanon's recent violent history and film making and all under two hours! The script is witty, the acting superb and set and location edgy and evocative.

The ending is very ambiguous and can be interpreted in one obvious way. The director, who was present at the London film festival's screening, declined to fix the interpretation of the ending, leaving to up to viewers to decide the line that leads to Ziad's final act. It is clear that this film is deeply symbolic and represents Lebanon and its politics as much as any domestic action drama.

If you have the opportunity to see the film then take it. As I write it is making film festival rounds in the hope of achieving distribution. It had yet to be screened in Beirut and there was a nervousness about how it would be received, if at all, given the director eschewed the Lebanese guidelines for film production.

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