(2015) Drama (Kino-Lorber) Baya Medhaffar, Ghalia Benali, Montassar Ayari, Lassad Jamoussi, Aymen Omrani, Deena Abdelwahed, Youssef Soltana, Marwen Soltana, Najoua Malhouthi, Younes Ferhi, Fathi Akkeri, Saloua Mohamed, Kais Klaia, Touafik Hammami, Wajdi Cherif, Jamil Najjar, Walid Ben Khlifa, Mourad Garsali, Mhadheb Rmili, Nacib Barhoumi, Habib Ghzel. Directed by Leyla Bouzid
In the fire of youth we sometimes find the seeds of change. In 2010, Tunisia was ruled by the despotic President Zine El Abidine Ben Ali who controlled the citizenry through fear; secret police regularly seized citizens and police informants meant you never knew who to trust. Any sort of criticism of the regime was unthinkable.
Farah (Medhaffar) is an 18-year-old girl with a bright future. She had been accepted into medical school, which made her mother Hayet (Benali) extraordinarily proud as well as her father (Jamoussi) who works in the mines in Gafsa where those seeds of revolution are beginning to bloom.
But Farah has a voice and she’s a member of a band along with her boyfriend Borhéne (Ayari), a sensitive hipster sort who writes most of the lyrics and plays the lute – a Tunisian guitar. He encourages her to do her own thing, which in a repressive conservative culture like that of Tunisia is unheard of for women.
As Farah grows more independent, she and her mother become more at odds. Hayet is concerned that her daughter is throwing away her future for transitory pleasures, plus she hears from an ex-lover who now is a sleazy government functionary that her daughter is drinking in men-only bars and has been seen making out with her boyfriend. Hayet reacts as most mothers would, forbidding her daughter from continuing her music career. Like most daughters, Farah ignores her mother.
Borhéne has written some pretty subversive lyrics for Farah to sing and she sings them passionately; the music attracts the attention of the police who begin following the members of the band and engaging in subtle intimidation. The pressures begin to take their toll on Farah whose relationship with Borhéne begins to fray. As Tunisia inches closer to revolution, Farah treads on dangerous grounds but like a dancer on thin ice continues to pirouette even as the ice cracks beneath her.
Taking place a few months before the Jasmine Revolution would oust Ben Ali from power Bouzid has crafted an energetic, life-filled movie that carries with it the passions of the young and perhaps the naiveté of the young as well. Farah is willful, sometimes to a fault and her idealism clashes with the conservatism of her mother. As the film goes on, we begin to realize that Farah and Hayet are much more alike than not and it is their relationship that is surprisingly at the center of the film, not that of Borhéne and Farah.
There is some misogyny present here and Bouzid approaches it directly and without rancor; it is part of the culture that women don’t have the same rights and the same dreams as men. There is one point where at a party that Farah is dancing joyously with the male members of the band that Borhéne takes exception to; “You’re embarrassing me,” he growls before stalking off to flirt with another woman, perhaps to infuriate his girlfriend – which it does. These are the games of the young, are they not?
And yet Bouzid is not unsympathetic; the men here are mainly victims of their own upbringing but still, she doesn’t sugarcoat the hypocrisy of the attitudes towards women. She remembers well the fear-ridden society that was Tunisia in those days and recreates the furtive looks, the fearful glances, the body language of a population rigid with worry. It is something most of us can’t really understand because there is no understanding it if you haven’t lived it for yourself; consequently some of the actions of the characters here may seem confusing or difficult to understand to American viewers.
The music is important and I have to admit I dug it. It combines Arab Mezwed with rock, propelling the seductive sounds with a rock beat and a kind of club attitude. There are also the lyrics which while flowery in the style of Arab poetry but describe the frustration of those living under the boot of a tyrant. The one complaint I have is that there are too many musical interludes; the film might have benefitted from cutting one or two of them (the songs are largely played through to completion which might be a bit of a shock to impatient American audiences who are generally given just snippets of performances in movies).
However, it must also be said that Medhaffar lights up in the stage sequences. Her smile is energetic and contagious. Her curly hair flies up from her head like a grenade going off and her body writhes sensually onstage. She is pretty enough an actress; in these sequences she’s beautiful. Benali is better known in Tunisia as a singer but she delivers an emotionally charged performance that in many ways is more resonant than that of Medhaffar. There’s a sequence when Benali is distraught and looking for her daughter in a bus station; it captures the love and the despair of parenthood that is universal to anyone who has a kid.
The movie takes place in places that aren’t found in the guidebooks of Tunis. It is seedy at times but in an unapologetic way, much like American movies that take place in bars and taverns. It is not a part of our culture that we’re proud of but it is part of our culture nonetheless. Bouzid is most certainly an appealing voice and while her debut feature film isn’t perfect, it is striking and leads me to look forward to her upcoming films. This is a director to keep an eye on.
REASONS TO GO: The film is full of life and energy. Medhaffar really sparkles on stage. It is gratifying to see a movie set in the day to day of Tunisia.
REASONS TO STAY: The pacing is on the slow side. Some of the subtleties of Tunisian culture are lost on American audiences which may lead to some confusion. Too many musical numbers.
FAMILY VALUES: There is some sexuality and brief partial nudity, a bit of profanity, some drug use and a ton of smoking and some adult themes.
TRIVIAL PURSUIT: The story was inspired by actual events in the life of Bouzid, who founded a cinema club during the Ben Ali era and discovered that one of her closest friends in it was a police informer.
CRITICAL MASS: As of 9/9/16: Rotten Tomatoes: 100% positive reviews. Metacritic: 76/100.
COMPARISON SHOPPING: Juno
FINAL RATING: 6/10