The story of an immigrant woman struggling against old world traditions. Zouina leaves her homeland with her three children to join her husband in France, where he's been living for the ... See full summary »

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Cast

Credited cast:
Fejria Deliba ...
Zouina
Rabia Mokeddem ...
Aïcha, la mère
Amina Annabi ...
Malika
Anass Behri ...
Ali
Hamza Dubuih ...
Rachid
...
Ahmed
France Darry ...
Mme Donze, la voisine
Roger Dumas ...
Mr. Donze, le voisin
...
Melle Manant
...
Mademoiselle Briat
Jalil Lespert ...
Le chauffeur du bus
Rest of cast listed alphabetically:
Alexandre Carrière ...
Le gendarme
Aude Thirion ...
L'épicière
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Storyline

The story of an immigrant woman struggling against old world traditions. Zouina leaves her homeland with her three children to join her husband in France, where he's been living for the past ten years. In a land and culture foreign to her, Zouina struggles against her mother-in-law's tyrannical hand and her husband's distrustful bitterness in an attempt to adjust to her life in exile. Written by Film Movement

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Genres:

Biography | Drama

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Release Date:

5 December 2001 (France)  »

Also Known As:

Inch'Allah Sunday  »

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User Reviews

 
Inch'Allah Dimanche is a crowd pleaser.
12 January 2002 | by See all my reviews

This one should be a real crowd pleaser. It's a women's film that evokes both laughter and tears. It's got a sympathetic Muslim protagonist, Zoina, who evolves into a feminist icon. The musical sound track is emotional dynamite, even though the lyrics are largely untranslated and may, one suspects, contain information that would illuminate the narrative. There are lots of fascinating cross-cultural devices. All this and a happy ending too. The only problem with Inch Allah Dimanche is that it's artistically spurious. The most glaring deficiency is character development. There is no explanation, for example, as to how this Algerian woman came to be such a cultural anomaly. We can see her growing anger and rebellion under the rain of abuse from her mother-in-law and husband, but where is the wellspring of prior experience? And, even more troublesome, how do we explain the sudden transformation of her heretofore stereotypical Arab husband in the final scene? Audiences, however, are likely love this film in spite of its obvious flaws.


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