Nadira ,a smart cinema by kamal Kamal

writte by  Fouad Souiba

At the world premiere of Kamal Kamal's latest opus "

Nadira", one had to be provided with his political, cinematographic and musical knowledge to honor this noble and highly aesthetic work. And for good reason! The author of "The Moroccan Symphony" gave us a very beautiful film, where he noted a number of artistic challenges widely assumed. On the photo album, at the end of the screening, Mahmoud Hamida, the Egyptian star, struggles hard to congratulate the only film actress: Jihane Kamal. Exceptional in the title role of "Nadira", Jihane, like his dad, has greatly raised the challenge of playing an atypical character, condemned to life, he is drowning under the weight of the prison world.

And this is where the business of the inmate, who must survive the vagaries of incarceration and the impossible fulfillment of her dream to flee, gets tough.

Kamal Kamal succeeds in bringing a narrative made of dissolving registers and antinomic blocks, that of combining the dream world, filmed in computer-generated images, with Nadira's dark incarceral life. A technical feat that is accomplished naturally in a good state of mind, since the author uses intelligent narrative subterfuges to ensure the adequate likelihood and legitimacy necessary for this atypical marriage. And this brings back to the use of all the apparatus and other narrative tools of which the dream, the animated image, the metaphor and the ellipse, to the point where the dream returns to the reality in reality and vice versa the real in the dream, with a density that has rarely been seen to work so well in a register that carries so many antagonistic and heteroclite styles.
Thus, the challenge of the closed vase, melodrama to an actor and only one, the prison world, social injustice, human rights, off-screen, sound off, (the challenge) is it a nice pirouette in the paying strategy which is the salutary recourse to dream magic to compensate for the absence of large spaces.
And as the director of "Sotto Voce" cinema has all the keys to push the borders to the end, the dream is then the fatal weapon to break the walls and open on these beautiful Casablanca nights since the dungeon of Nadira .

The sauce takes and we are flanked by characters as extravagant as imaginary: white horses in a celestial race or a musician in interpretation of a classic masterpiece in front of a dense crowd, without forgetting this bird symbol of freedom and this confidant cat and companion of the prisoner's fight. All that passes through the unconscious of Nadira while she conjures her fate becomes accessible through this window of the dungeon opened on a magic sky where all the miracles are fulfilled. Especially that of the prisoner Nadira who speaks to the sky and the characters she loves to meet in the firmament of Casablanca from her cell. A cell that crosses beautiful references to Daddy's cinema: George Méliès and Al Jolsen in particular, without omitting the appearance of the slice of one of the giants at the very beginning of the film: Orson Welles.

Kamal Kamal signs a clever film, for the story of which he found the subtle ingredients to invent a suitable language that befits such an adventure to insane risks. With bravery he braves all the dangers incurred, since he chooses the most difficult, and gets out unscathed.