women begin a mission to prevent the men from brutally killing each other. The story takes place in Lebanon, although never explicitly stated. Labaki's reasoning for this was that "the film is universal... this conflict does not only happen in Lebanon. I see it everywhere . . . We are scared of each other as human beings." Similar to Caramel, her second feature casts non-professional actors. In effort to heighten the reality, Labaki states that "normal people deserve to be on the big screen." The film premiered at the Cannes Film Festival in the Un Certain Regard category in 2011. The film won the Cadillac people's choice award at the Toronto International Film Festival. It also collected many other awards in festivals around the world, like Cannes Film Festival, San Sebastián International Film Festival, Stockholm Film Festival, and Doha Tribeca Film Festival. The film was also nominated for the best foreign film at the Critics Choice Awards in Los Angeles. During its opening weekend, the film hit the largest ever admissions total for an Arabic-speaking film in Lebanon, amounting to 21,475 admissions for a total of $153,358. In late 2013, Nadine Labaki started work on her third feature film called Capernaum which was selected to compete for the Palme d'Or at the 2018 Cannes Film Festival. The film tells the story of a 12-year-old boy living in the slums of Beirut. He strives to sue his parents for bringing him into a world of suffering and negligence of children. Labaki wrote the screenplay along with Jihad Hojeily, Michelle Kesrouani, Georges Khabbaz and her husband, Khaled Mouzanar. Mouzanar further produced the film and composed the music. The title Capernaum, means 'chaos'. For three years prior to writing, Labaki extensively researched the city's children to gather accounts of their experiences, stories and pasts. She used mostly non-professional actors for this film, including lead child actor Zain Al Rafeea, who was found in one of the slums playing with friends, a Syrian refugee himself. Although a rather anti-classical style of filmmaking, Labaki deems her system as "very organic." She strived to provide these "forgotten children" with a voice and use her cinematic tools to ignite a lasting change. Labaki's style of cinematography uses cinematic conventions, such as illuminations, atmosphere lighting, and silence to help convey the meaning in her films. Despite the often dangerous political situations, Labaki continues to write and direct films