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Et maintenant on va où?
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Where Do We Go Now? (2011) More at IMDbPro »Et maintenant on va où? (original title)

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Where Do We Go Now? -- In a remote village women cleverly scheme to prevent their men from tearing each other apart.
Where Do We Go Now? -- A group of Lebanese women try to ease religious tensions between Christians and Muslims in their village.


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7.5/10   7,836 votes »
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Down 6% in popularity this week. See why on IMDbPro.
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Release Date:
14 September 2011 (France) See more »
In a remote Lebanese Village women band together and cleverly scheme to prevent their men from killing each other. See more »
A group of Lebanese women try to ease religious tensions between Christians and Muslims in their village. Full summary » | Add synopsis »
8 wins & 4 nominations See more »
(5 articles)
Blu-ray, DVD Release: Where Do We Go Now?
 (From Disc Dish. 23 July 2012, 10:08 AM, PDT)

Where Do We Go Now? Review
 (From HeyUGuys. 22 June 2012, 6:00 AM, PDT)

No Toronto Film Festival People's Choice Award bump for Oscar this year
 (From Hitfix. 19 September 2011, 11:31 AM, PDT)

User Reviews:
Beyond brilliant See more (40 total) »


  (in credits order)
Claude Baz Moussawbaa ... Takla
Layla Hakim ... Afaf

Nadine Labaki ... Amale
Yvonne Maalouf ... Yvonne
Antoinette Noufaily ... Saydeh
Julian Farhat ... Rabih
Ali Haidar ... Roukoz
Kevin Abboud ... Nassim
Petra Saghbini ... Rita
Mostafa Al Sakka ... Hammoudi
Sasseen Kawzally ... Issam
Caroline Labaki ... Aïda
Anjo Rihane ... Fatmeh
Mohammad Aqil ... Abou Ahmad (as Mohammad Akil)
Gisèle Smeden ... Gisèle
Khalil Bou Khalil ... Maire
Samir Awad ... Pretre
Ziad Abou Absi ... Cheikh
Adel Karam ... Chauffeur du Bus
Oxana Chihane ... Katia
Anneta Bousaleh ... Svetlana
Olga Yerofyeyeva ... Anna
Yulia Maroun ... Tatiana
Oksana Beloglazova ... Olga
Fouad Yammine ... Boutros
Cendrella Yammine ... Femme Boutros
Sami Khorjieh ... Abou Ali
Mounzer Baalbaki ... Sassine
Marlein Ziadeh ... Mariam
Marie Skeif ... Marie
Georgina El-Zaitrini ... Georgina
Mona Moukarzel ... Laurice
Joëlle Najem ... Joëlle
Mohamad Al Sakka ... Enfant Bequilles
Charbel Khalil ... Hassan
Chady El-Teeny ... Abboud
Kassem Istanbouli ... Kassem (as Kassem Istambouli)
Ahmad Hafez ... Ahmad
Georges Khoury ... Youssef
Georgio Ghawi ... Miled
Mohammad Raad ... Assaad
Elie Abou Zeid ... Tanious
Moustapha El Masri ... Hanna
Ali Baajour ... Khalil
Paola Sleiman ... Sara
Angelica Saleh ... Angelica
Issa Abboud ... Vieux Villageois
Reslan El-Karra ... Toufic
Georges Abi Khalil ... Georges
Abdel Rahman Billoz ... Client Barbier
Suzane Talhouk ... Presentatrice Journal
Nathalie Abi-Habib ... Speakerine
rest of cast listed alphabetically:

Karin Dor ... Juanita de Cordoba (archive footage) (uncredited)
Frederick Stafford ... Andre Devereaux (archive footage) (uncredited)

Directed by
Nadine Labaki 
Writing credits
(in alphabetical order)
Thomas Bidegain  collaboration
Rodney El Haddad  (as Rodney Al Haddid)
Bassam Habib  (as Sam Mounier)
Jihad Hojeily 
Nadine Labaki 

Produced by
Tarak Ben Ammar .... co-producer
Lara Chekerdjian .... executive producer
Hesham Abdel Khalek .... co-producer (as Hesham Abdelkhalek)
Abla Khoury .... executive producer
Nadine Labaki .... producer
Romain Le Grand .... co-producer
Anne-Dominique Toussaint .... producer
Original Music by
Khaled Mouzannar 
Cinematography by
Christophe Offenstein 
Film Editing by
Véronique Lange 
Casting by
Abla Khoury 
Production Design by
Cynthia Zahar 
Costume Design by
Caroline Labaki 
Production Management
Vincent Alexandre .... post-production supervisor
Pascal Bonnet .... production manager
Isabelle Morax .... post-production supervisor
Issac Solemon .... post-production manager
Marine Vaillant .... assistant production manager
Second Unit Director or Assistant Director
Nagham Abboud .... third assistant director
Thierry Guerinel .... first assistant director
Jowe Harfouche .... second assistant director
Merass Sadek .... second assistant director
Art Department
Jessica Abi Nassif .... assistant art director
Najib Mrad .... property master
Sound Department
Rayan Al Obeidyine .... boom operator
Pierre Brouard .... dialogue editor
Michel Casang .... sound
Cédric Deloche .... dialogue editor
Ludovic Delzenne .... sound recordist
Geraldine Falieu .... assistant sound editor
Dominique Gaborieau .... sound re-recording mixer
Adrien Guillemot .... sound recordist
Jean-Christophe Julé .... foley recordist
François Lambert .... foley recording assistant
Gwennolé Le Borgne .... supervising sound editor
Nadim Maalouf .... sound assistant
Philippe Penot .... foley artist
Nicolas Provost .... additional sound editor
Visual Effects by
Alain Carsoux .... visual effects supervisor
Florian Chauvet .... visual effects coordinator
Christophe Dehaene .... digital compositor
Adrien Garcia .... titles and credits
Christophe Lucotte .... visual effects
Emilia Napame .... digital compositor
Joel Pinto .... visual effects supervisor
Camera and Electrical Department
Ziad Choucha .... assistant camera
Ziad Choucha .... first assistant camera
Lucas Leconte .... camera operator
Lucas Leconte .... first assistant camera
Elie Merhy .... gaffer
Casting Department
Nagham Abboud .... casting coordinator
Editorial Department
Chrystel Alépée .... assistant editor
Arnaud Caréo .... on-line editor
Mickaël Commereuc .... colorist assistant
Aurélie Laumont .... dailies
Fabien Pascal .... film colorist
Jérôme Pey .... second assistant editor
Issac Solemon .... post-production coordinator
Music Department
Claude Chalhoub .... musician
Claude Chalhoub .... solo violin
Marie-Jeanne Serero .... conductor
Marie-Jeanne Serero .... orchestrator (as Marie-Jeanne Serrero)
Alexandre Tanguy .... music editor
Alexandre Tanguy .... scoring engineer
Other crew
Yannick Charles .... script supervisor
Jimmy Dib .... production coordinator

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Et maintenant on va où?" - France (original title)
See more »
Rated PG-13 for thematic drug material, some sensuality and violent images
110 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:

Did You Know?

The scene where Antoinette says "My Ass is a dictionary" was censored in UAE theaters as local censorship authorities deemed this offensive only when spoken in Arabic. Had the film been in English, the scene would have stayed as is.See more »
[first lines]
Amale:[narrating] The story I tell is for all who want to hear. A tale of those who fast, a tale of those who pray, a tale of a lonely town, mines scattered all around. Caught up in a war, split to its very core. To clans with broken hearts under a burning sun. Their hands stained with blood in the name of a cross or a crescent. From this lonely place, which has chosen peace, whose history is spun of barbed wire and guns.
See more »
Movie Connections:
Featured in Fokus på Film fra Sør (2011)See more »
Un Air de Liberté (version guitare)See more »


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42 out of 48 people found the following review useful.
Beyond brilliant, 21 September 2011
Author: Elie Fares

Lebanese cinematic talent has not been given much room to grow. In a country where art is the least concern, cinema has found it especially hard to take off. However, a stream of Lebanese movies has been finding its way to our theaters. Some like Nadine Labaki's previous movie, Caramel, were a huge hit with viewers. Others were not as lucky. But the fact remains that the Lebanese audience is hungry for movies that describe its society, its problems, its worries and woes.

And then comes Nadine Labaki's new movie: Where Do We Go Now, with its Lebanese title: W Halla2 La wein (also in French: Et Maintenant, On Va Ou?) The premise of the movie is quite simple – and for many Lebanese, worry-inducing for fear of overuse of clichés. The overall basis of the plot is the coexistence of Lebanese Muslims and Christians in one community, sometimes peacefully and other times not. Many, like yours truly, felt the issue was overdone. Maybe not in cinema but in everyday life. Most of us are sick of being bombarded with commentary about the struggles that face our very diverse community. But this is not the case in Where Do We Go Now.

An unnamed village during the later part of the 20th century has its only connection with the outside world in the form of a very rudimentary bridge, around which land-mines had been planted and never removed. Even TV reception is very poor to the village and the movie begins with a few youngsters searching for a broadcast signal to set up a TV night for the town-folks. This village is also a religiously divided community where the Church and the Mosque are only a house apart. And more often than not, the people live together happily. But as it is, and despite barely having any access to news from the outside world, the men of this village start to confront each other in violent ways. Little things that would pass unnoticed cause them to explode, signaling the anger they've been bottling in. And it is then that the few women of the village start to devise plots to keep the men busy, entertained and get their minds off being violent. These plans will vary from fake miracles to putting hashish in cakes. But these women will go to every measure possible and break every limit imposed on them by society to keep their town together. And it is for these women, representing a vast majority of our Lebanese mothers, that this movie is so aptly dedicated.

Nadine Labaki, director of the movie and starring as Amal, is astonishing as always. You, really, cannot see her eyes on screen and not be mesmerized. She's simply entrancing, even when she doesn't speak. Then how about when she delivers a tour de force performance as one of those women, who happens to be in love with a man from the town's other religion. But to be perfectly honest, the accolades one ought to give Labaki are not for her acting but for her directing. Never have I imagined a Lebanese movie can turn out this good and she makes it seem effortless. Her camera shots, her focus on details, her keen eye… all of this combine to give you a cinematic experience that will entrance you. This movie, like Caramel, features mostly unknown faces and all of them deliver as well. It is hard to believe – and yet in retrospect so evident – that such acting can come out of common people that we all meet on the street.

Where Do We Go Now is a movie of such epic proportions that these "unknown" actors and actresses (mostly actresses) deliver performances that are so subtly nuanced, so exquisitely flavored and so astonishingly well-done that they would put the best actresses and actors of Hollywood to shame. Yes, I have said it. The score of the movie is chilling and haunting and wonderfully executed by Nadine's husband Khaled Mouzanar. The movie also features a few highly intelligent songs, written by Tania Saleh. And let's talk about the script. What an ingenious way to tackle the subject at hand. Not only did Nadine Labaki not fall to any cliché known to us as a Lebanese community, but she managed to introduce them in a subtle comical way that would make us laugh at ourselves for uttering or doing them in the first place.

The script is so strong it will turn you bipolar. Yes, lithium is advised to be taken at the door while going in. Why? Never have I laughed so hysterically one moment and just wanted to cry the other. And then after being utterly devastated, it brings you back to laughter. The movie plays with you like a ping pong ball. And you cannot but love every moment of it.

I was talking to my friend the day before we went to watch Where Do We Go Now, which happened to be the day it won the People's Choice Award at the Toronto Film Festival, and she said: "I'm very cautiously optimistic about this. I'm not letting my expectations overreach because I don't want to be disappointed." Well, I'm pretty sure she agrees with me on this: Where Do We Go Now brings out things in you that you didn't even know you had. It brings out the best in you, as a Lebanese, sitting in that cinema chair for ninety minutes. And you need the best of the best to do that. Nadine Labaki, you deserve more than the few minutes of applause the people in the movie theater gave you. You deserve a full blown standing ovation. You have done the impossible. Again. Lebanese cinema has no excuse but to overreach for excellence now. And this movie deserves an Oscar win. Cheers to our mothers.

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