DiCaprio Calls ‘Don’t Look Up’ a ‘Unique Gift’ to Climate Change Fight

Leonardo DiCaprio. (Reuters)
Leonardo DiCaprio. (Reuters)
TT
20

DiCaprio Calls ‘Don’t Look Up’ a ‘Unique Gift’ to Climate Change Fight

Leonardo DiCaprio. (Reuters)
Leonardo DiCaprio. (Reuters)

Leonardo DiCaprio calls his new movie "Don't Look Up" a gift.

Not because he got to work with a cast that includes Jennifer Lawrence, Cate Blanchett, Meryl Streep, Timothee Chalamet and Jonah Hill, to name just a few, but because the film captures the perils of climate change, while also making people laugh.

"I think we all looked at this as an incredibly unique gift," said DiCaprio, one of Hollywood's most vocal campaigners on the environment.

"We'd been wanting to get the message out there about the climate crisis, and Adam (McKay) really cracked the code with creating this narrative," he said.

Released in movie theaters on Friday and on Netflix on Dec. 24, "Don't Look Up Now" takes a satirical look at how the media and politicians treat climate issues. The plot sees two lowly astronomers (played by DiCaprio and Lawrence) trying to warn a world that doesn't seem to care about a huge comet on course to destroy the Earth in six months time.

DiCaprio said he'd been looking to do a film about the climate crisis for a while but finding the right approach had proved difficult, until now.

"You either do some existential journey through a person´s lifetime, or you make it a catastrophe movie where New York freezes over," DiCaprio said.

Streep plays an egotistical US president, with Hill as her fawning son and chief adviser. Blanchett and Tyler Perry play breezy TV news anchors, Chalamet is a teen drop-out and Mark Rylance plays a bizarre tech billionaire with his own agenda.

Director Adam McKay said that while people may view the movie as taking a political stance "the big trick is that we want you to laugh."

"At its root, it's a comedy," he said.

DiCaprio said he was drawn to the film because he wanted to support scientists.

"I wanted to tip my hat to people who devote their lives to this issue, who know what they're talking about, and try to give them a little bit of a voice," he said.

The Oscar-winning actor called himself a "Debbie Downer" on the progress of efforts to address the climate crisis, but he added: "Hopefully films like this ... start to create different conversations, and more people talking about it will push the private sector and the powers that be to make massive changes."



Ziad Rahbani, Lebanese Composer and Son of Icon Fairouz, Dies at 69

Lebanese artist Ziad Rahbani performs at the Beiteddine Palace in Lebanon's Chouf mountains, south of the capital Beirut, during the Beiteddine International Art Festival on July 12, 2018. (AFP)
Lebanese artist Ziad Rahbani performs at the Beiteddine Palace in Lebanon's Chouf mountains, south of the capital Beirut, during the Beiteddine International Art Festival on July 12, 2018. (AFP)
TT
20

Ziad Rahbani, Lebanese Composer and Son of Icon Fairouz, Dies at 69

Lebanese artist Ziad Rahbani performs at the Beiteddine Palace in Lebanon's Chouf mountains, south of the capital Beirut, during the Beiteddine International Art Festival on July 12, 2018. (AFP)
Lebanese artist Ziad Rahbani performs at the Beiteddine Palace in Lebanon's Chouf mountains, south of the capital Beirut, during the Beiteddine International Art Festival on July 12, 2018. (AFP)

Ziad Rahbani, the visionary Lebanese composer, playwright, pianist and political provocateur, died on Saturday, at the age of 69, according to the state-run National News Agency.

The death was confirmed by a person close to Rahbani who spoke on condition of anonymity. The cause of death was not immediately clear.

Born in 1956 in Antelias, near Beirut, Ziad was the eldest son of legendary Lebanese singer Fairouz and composer Assi Rahbani, one half of the famed Rahbani Brothers. From a young age, he showed signs of prodigious talent, composing his first musical work at just 17 years old. Raised among artistic royalty, his world was steeped in music, theater, and political consciousness — a combination that would define his life’s work.

His mother performed some of his compositions at her sellout concerts, blending Lebanese folklore with Western syncopation and phrasing.

Lebanese President Joseph Aoun mourned Rahbani’s passing as a national loss, describing him as “not just an artist, but a complete intellectual and cultural phenomenon.” In a statement, Aoun praised Rahbani as “a living conscience, a rebellious voice against injustice, and an honest mirror reflecting the suffering and marginalized.”

He highlighted how Rahbani’s fusion of classical, jazz and Oriental music “opened new windows for Lebanese cultural expression” and elevated it to global levels. “Ziad was a natural extension of the Rahbani family, which gave Lebanon much beauty and dignity,” the president added.

While his parents helped construct a golden era of Lebanese musical theater steeped in idealism and nostalgia, Rahbani charged onto the scene with irreverent satire, unflinching political critique and jazz-inflected scores that mirrored the chaos and contradictions of a Lebanon at war with itself.

His breakout play, Nazl el-Sourour (Happiness Hotel), premiered in 1974 when he was only 17 and portrayed a society disfigured by class inequality and repression. The tragicomic narrative follows a group of workers who hijack a restaurant to demand their rights, only to be dismissed by the political elite. With this bold debut, Rahbani revealed his enduring theme: that Lebanese society was fractured not only by war but by entrenched power.

Rahbani’s subsequent plays solidified his reputation as the voice of the disenchanted. In Bennesbeh La Bokra Chou? (What About Tomorrow?), he plays a jaded bar pianist in post-civil war Beirut who drifts through a surreal landscape of broken dreams, corruption and absurdity. The work features some of Rahbani’s most poignant music and biting commentary, including the famous line, “They say tomorrow will be better, but what about today?”

More than just a playwright, Rahbani was a composer of staggering range. He infused traditional Arabic melodies with jazz, funk and classical influences, creating a hybrid sound that became instantly recognizable. His live performances were legendary, whether playing piano in smoky clubs in Hamra, one of Beirut's major commercial districts that harbors a multifaceted identity, or orchestrating large-scale productions.

His collaborations with Fairouz, especially during the late 1970s and 1980s, ushered in a darker, more politically charged phase in her career. Songs like Ouverture 83, Bala Wala Chi (Without Anything), and Kifak Inta (How Are You) reflected Ziad’s brooding compositions and lyrical introspection.

Rahbani came under fire from Arab traditionalists for his pioneering efforts to bridge the gap between Arab and Western culture with music.