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In Tangier,Habib Nasry speaheads the debate of the feature long film of Abdel hamid Al Zoughim.Habib, as a sociologist,was fascinated by this simple and intelligent movie, because according to him, the film gave very good picture of the simple people living in rural Morocco, besides,the movie reveals sexual obsessions of women living in a space where men are absent . The Moroccan dialog is really well peformed by actors namely Raouya.
Written by Sanaa Trari
Despite the current river that penetrates the deserted village and tells the thirst of its simple inhabitants, the humble mint ponds are irrigated, the water is insufficient to ensure the stability of its poor inhabitants, the village will thirst, thirst of another kind that can not be recognized in a conservative society ruled by traditional customs.
The men of the village will collectively leave for a four-year-long displacement. The reason is to work in French quarries and mines. This takes place after the independence of Morocco in the sixties of the last century, where the colonizer had left militarily but his ears were still draining the country and grinding the labor in its soil.
It is a dark period in the history of modern Morocco, where injustice was multifaceted, and one of these aspects remained silent about it; at least cinematic, the femininity of women falls into the taboos of which they are concerned. Scene in the film summarizes one of these tragedies when the former colonizer of their representative in the selection of the finest men of the village in terms of physical structure and bullying, while the exclusion of adolescents and the disabled, this is done without simply taking into account the serious social damage resulting from this deportation.
How can you imagine the village without its men, or in the sense of the right of two men, one of them is a shack helpless seat, and a teenager is insignificant life that beats? !!!
The director, Abdul Hamid Al-Zoughi, took his time to build his story; at the turning point with the departure of the hard men, he will leave us as observers to take the time to discover the hidden in conscience and thirsty souls, and leave us to observe female bodies, And sometimes wrestling with others that are burned by the bites of sexual desire as the dimension and deprivation of the erosion of resistance to the development of the events of the film.
The film was bold in appearance and bold in content. The sexual deprivation of women, especially those belonging to rural soil, was rarely addressed in the cinema, but the director was not daring to deal with it, as if he wanted to bake an ideal meal without sticking the dough to his hands. He drained all his tools to make the idea clear, and tried as much as possible to avoid exploiting the female body and the eloquent and aesthetically pleasing implications it could offer.
The film was based on the female element in a cohesive group tournament. It was the audience that gave the film the second women's role worthy of Latifa Azlef at the 20th National Film Festival in Tangier. Each actress played in the space allocated to her craft that proved the ability of young female actors to recite the character in depth and in a convincing manner, regardless of the nature of the role, and this applies to Fadwa student and Nehila Benomomo and Nadia Paradise ... Fatima Harandi ( Raouya) was in the court where he donated, Sulaimani flowers in their usual area of diagnosis.
Beautiful in the film despite the fact that the women's championship, he presented equivalent , the two individual men in the village will be a millstone or a hammer that touched the anvil, the film can not do without them. The rising actor Badreddine Ghattas was born in a role that combines simplicity and depth, his body language and facial expressions were consistent with his age. Mohamed Naiman raises his hat as he was creative in a role rarely mastered in Moroccan cinema. The movement - the swing between the rejection and acceptance of rape, which is exposed by a young babe exhaled lust.
It is one of the most beautiful scenes of the film with a dramatic condensation, which reduces all the pain of loss and longing, as the exhausted shoe of the absent husband master of the moment; pregnant and nostalgic for lust; and on the impact of his wife will practice the veil of secrecy secret to calm a bit of her desire frantic.
The camera of the photographer Jose Gérel took us to the atmosphere of a simple Moroccan village in a simple time, in its mud architecture, in the decoration and furniture fully harmonized with the public space, focusing on the wooden doors and closing on locks and the closure control reinforced the content of the story that wants to hide and cover the fire under the ashes. The tour of nature carried a captivating summer atmosphere where the hay was piled in the bayader, the mint filled the small basins, the picture did not depend on the loud colors, as if in turn contributing to the secrecy of the lusts that boil, predicting a long autumn will be lived by women.
One of the most confusing things in the film is the focus on three points. The first is easily recognizable in some scenes. If we close our eyes and listen to the dialogue, the suspicion is that the film revolves around a villager. The dialect does not always preserve its village accent. To the logic of the Bedouin thinking and expression rich in the legacy of the narrative and lyrical inexhaustible not exploited enough, as if the screenwriter forget that he writes about a purely rural environment on the one hand, on the other feel that he was lost between the sixties of the last century and the present time.
The second point is the first. Looking at the faces of the young villagers who spend their day farming, cleaning the clothes by the river or the like, working outside the houses under the hot sun, are faces that do not resemble the faces of the villagers as we know them - except for those who do not leave houses - The cost of makeup did not work on the faces to fit the nature of the rural population, whose features were sunburnt and sunk the wrinkles of labor exhaustion and misery prematurely.
The point is that the film lacks a soundtrack that is consistent with the tense nature of the subject. The carefully chosen music is able to raise the rhythm when the film intensifies or calms it down when you live, especially as rural Morocco is rich and local music will be added to the film.
The last-minute filmmaker was faithful to a desired balance, or a dreamer, of a death met by birth, but the pessimistic side was dominant, the birth here came
