In the ensuing days before his wedding bridegroom Hachemi faces both the anxieties of the future and the shadows of the past. His best friend, Farfat, is the topic of street graffiti and ...
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Rabia Ben Abdallah
In the ensuing days before his wedding bridegroom Hachemi faces both the anxieties of the future and the shadows of the past. His best friend, Farfat, is the topic of street graffiti and local gossip, which calls his manhood into question. This ripples out to affect Hachemi for, unbeknownst to anyone, as apprenticed youths they were molested by Ameur, the local carpenter. Farfat is banished from his father's home and the shared secret between the two friends threatens to undo more than just the wedding, but their very lives.Written by
I was prepared for a somber, somewhat arty piece. I was afraid it would be over serious and slow. Well, it is very serious. But I was impressed how the dramatic tension stemming from the two main character's inner torture was so high that scenes of conflict tended to almost literally explode off the screen. This is most noticeable in the scene when Hachemi leaves the dinner table in a rage after finding out his parents invited the man who molested him and his friend Farfat to his wedding. Less than a minute after he storms up to his room a real storm wind comes along, knocks things around, breaks glass and whisks away most of the tents and so forth that they had prepared for the wedding. This scene is also notable for the editing. A lot more cuts than I had expected. A shot of the window shattering, kids rushing in doors, birds, etc. The editing does a lot throughout the film to not only create pacing but to also add a certain poetic quality. Another explosive scene is towards the end when Hachemi and Farfat are brought by their friends to a brothel of sorts. The way this scene turns back and forth dramatically is almost dizzying. Overall a very powerful film.
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