The film sets the tone at the outset, red blood injury Aisha, aka Hafsia Hersi, claiming womanhood stifled by the matriarch (Wassila Dari), stifled by the castle. A castle haunted by disturbing female figures, a castle haunted by the unspoken and where shadows move as the silences waiting that burst like a taboo. The castle stages its dichotomies, those repressed feelings or exacerbated, rather than freedom, for lovers hidden place of confinement to his reclusive and unexpressed desires. This castle is eerily reminiscent of the dead queens castle, where Gawain meets his mother and that of King Arthur. A place populated by strange visions and nightmares from beyond the grave but that freezes the blood because the director does not paint strokes but by sketching a portrait of three women alienated by loneliness and a secret. No one escapes alive from the dead, only Aicha, baby / sleeping woman, considered as dead by her real mother even before birth.
The bathroom is one of the intimate femininity repressed Aicha who shaves his legs in secret at the risk of injury, where the woman becomes the matriarch for a few minutes, the time to fix her hair or smoke a cigarette butt. This is where Radia (Sondos Belhassen) retreats to fondle woman and again, the time of orgasm. This is the place where rebels Selma and tries to escape, the place where we discover a woman and her nakedness in which we learn that Radia is a day fell pregnant and her mother freed Child, relieved, haunting metaphor of the repulsion of a mother toward the fruit of an incestuous relationship which has disappeared except the fruit of incest itself discovers the baby's death and then s 'freed from the tutelage matriarchal by blood. A secret, a lullaby, a story of incest, a father buried a daughter but immured in silence waiting to be a woman to free herself. Aicha dream of freedom, dreams of becoming Salma (Bena el Rim) beautiful like her, but free as it is just Aicha she, her alter ego deficient. Electra and Clytemnestra. A world of women, oppressive slowly taking place in his frustration, all items worthy of an ancient tragedy. Raja Amari is it overtaken by demons and austere quiet of her childhood? She signs a harrowing psychological thriller which condemns beyond the confines of the castle that the woman should be talking. Raja Amari taboos we painted with finesse, far from the stereotypes of Tunisian cinema for which to stage the woman is limited to show a breast that you can not see so we have seen.
The film slowly tightens its grip around the characters around the viewer, trying to understand the turning of a light or a confession escaped until the final apotheosis, the castrating mother died, his eternal silence and freedom Aicha stained with blood. The body has spoken.
"I'm not a woman at your disposal" The bathroom is one of the intimate femininity repressed Aicha who shaves his legs in secret at the risk of injury, where the woman becomes the matriarch for a few minutes, the time to fix her hair or smoke a cigarette butt. This is where Radia (Sondos Belhassen) retreats to fondle woman and again, the time of orgasm. This is the place where rebels Selma and tries to escape, the place where we discover a woman and her nakedness in which we learn that Radia is a day fell pregnant and her mother freed Child, relieved, haunting metaphor of the repulsion of a mother toward the fruit of an incestuous relationship which has disappeared except the fruit of incest itself discovers the baby's death and then s 'freed from the tutelage matriarchal by blood. A secret, a lullaby, a story of incest, a father buried a daughter but immured in silence waiting to be a woman to free herself. Aicha dream of freedom, dreams of becoming Salma (Bena el Rim) beautiful like her, but free as it is just Aicha she, her alter ego deficient. Electra and Clytemnestra. A world of women, oppressive slowly taking place in his frustration, all items worthy of an ancient tragedy. Raja Amari is it overtaken by demons and austere quiet of her childhood? She signs a harrowing psychological thriller which condemns beyond the confines of the castle that the woman should be talking. Raja Amari taboos we painted with finesse, far from the stereotypes of Tunisian cinema for which to stage the woman is limited to show a breast that you can not see so we have seen.
The film slowly tightens its grip around the characters around the viewer, trying to understand the turning of a light or a confession escaped until the final apotheosis, the castrating mother died, his eternal silence and freedom Aicha stained with blood. The body has spoken.
0 comments:
Post a Comment