but it's not the story which makes the paradigm so unusual it's how director nadine labaki enter cameramen christopher own tell it in a way that's raw direct and real much a shot from a child's perspective. had developed. which would have the camera lower. so i would hold that. my ways but the camera would be even lower but still i had to need and a lot of times the camera had to be almost over like previews centimeters over the floor. for director love a key it was important that the story be as authentic as possible the actors all amateurs cast on the street essentially play themselves in real life zane fled syria with his family the story was changed in the making that's why the dean wanted to have me editing on sat next to her to influence to see the film come to life in real time because it was shot chronologically and we could decide we had the freedom to decide on a day to day basis what are we going to shoot next. the shoot took six months in produced more than five hundred hours of material in twenty eighteen comparing them debuted at khan where it won the jury prize this year it