4 user 41 critic

Wajib (2017)

A father and his estranged son must come together to hand deliver his daughter's wedding invitations to each guest as per local Palestinian custom, in this rousing family drama from Annemarie Jacir (When I Saw You).


Annemarie Jacir


Annemarie Jacir
21 wins & 10 nominations. See more awards »


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Cast overview, first billed only:
Mohammad Bakri ... Abu Shadi
Saleh Bakri ... Shadi
Tarik Kopty ... Abu Murad
Monera Shehadeh Monera Shehadeh ... Um Murad
Lama Tatour Lama Tatour ... Maria
Samia Shanan Samia Shanan ... Widow
Jalil Abu Hanna Jalil Abu Hanna ... Waiter
Ossama Bawardi Ossama Bawardi ... Karam
Ruba Blal ... Rami's Wife (as Ruba Blal Asfour)
Shams Bawardi Shams Bawardi ... Rami's Daughter
Blanche Mazzawi Blanche Mazzawi ... Um Rami
Amira Bawardi Amira Bawardi ... Relative
Sobhi Hosari Sobhi Hosari ... Salim
Falah Zoabi Falah Zoabi ... Marwan
Henry Andrawes Henry Andrawes ... Rami


A father and his estranged son must come together to hand deliver his daughter's wedding invitations to each guest as per local Palestinian custom, in this rousing family drama from Annemarie Jacir (When I Saw You).

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Release Date:

5 October 2018 (USA) See more »

Also Known As:

Invitación de boda See more »

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Did You Know?


2017 Oscar Foreign language Submitted Movie for Palestine See more »

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User Reviews

Gathering the "Imagined Community"
12 April 2018 | by sakarkralSee all my reviews

Humorous drama is the most novel weapon of the war-torn communities. Instead of in-your-face depiction of sufferings and tragedies which leads to a quick rise-and-fall of emotional reaction (sigh, tsk tsk, and go on as before), humorous drama tackles, tickles, and trigger the thoughts of its audience. "Et maintenant on va où?" by Nadine Labaki was a very very successful one in this sense. Now another female director from another Arabian country raises the bar as high.

Firstly, the invitation delivery is technically a very good idea to take the audience to a tour among the portraits from the Christian Arab population of Palestine. This way, while cutting every scene short and painless enough to keep the viwever attentive, the sense of continuity doesn't get disrupted as if watching a talking-heads documentary.

But what is more important is the content. There are two main characters, the father and the son. We see the father telling lies (doesn't matter white or not) to comfort fellow citizens, or compromising with the occupants etc. On the other hand the son is unbending in his political and even asthetical standards. But, as time passes by, we understand how hard is the father's struggle to unite his "family" (read as his "nation") again back in Palestine. All his flaws are actually developed to achieve this aim. And yes, his son's discourse is flawless, because he enjoys being free from the hardships of the everyday life in Palestine and has no concerns about the reunion of the Palestenians in the fatherland.

So apparently the father represents the practical, real Palestine whereas the son represents the ideal. But the clash of these two is not at all theatrical, nor didactical. The dialogues are so real that in the end the viewer does not feel herself "injected" by the director's ideas, she just starts to rethink about and compare her ideals and practices.

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