Set in a provincial setting in a small village in Latakia (north of Syria) we witness an intersected story with hidden allusions to industrialization overtaking the simpleness and the humbleness of the country life, the Israeli attacks and occupation of Al-Golan in the south, and a platonic love story between Ismail and his neighbor Salma.
As Ismail could not confront her with his love confessions directly - being ashamed of his big nose- he would send his friend Ghassan to convey to her what he feels in verbal letters, Ghassan in turn would fall in love with her.
Days pass, Ghassan and his family are forced abandon the village and go to his father who is an army officer fighting the Israeli occupation in the south. Then Salma and Ismail would be alone in the village.
A catchphrase that would stick in the viewers mind through out watching this film would be: "God curse the trains"
The dream sequences are really attentive to psychological issues that the three protagonists face during their everyday life, I praise Abdullatif Abdulhamid for the symbolism implied in them and the entire work. This film is embroidered with simplicity which ignites the longing for the past days of humbleness, love, fidelity and the memories of the first love, first touch, first kiss. It's a story about friendship and how relationships between the inhabitants of a village - a village a city a district - used to be before the cursed so-called civilization took over.
The dream sequences are really attentive to psychological issues that the three protagonists face during their everyday life, I praise Abdullatif Abdulhamid for the symbolism implied in them and the entire work. This film is embroidered with simplicity which ignites the longing for the past days of humbleness, love, fidelity and the memories of the first love, first touch, first kiss. It's a story about friendship and how relationships between the inhabitants of a village - a village a city a district - used to be before the cursed so-called civilization took over.
