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Where Do We Go Now? is new drametical 2012 movie. Movie is directed by Lebanese director Nadine Labaki.
Movie Review (Synopsis):
Movie is about the story of a remote, isolated unnamed Lebanese village inhabited by both Muslims and Christians. The village is surrounded by land mines and only reachable by a small bridge. As civil strife engulfed the country, the women in the village learn of this fact and try, by various means and to varying success, to keep their men in the dark, sabotaging the village radio, then destroying the village TV.
The story begins with a boy named Roukoz, whose job – along with his cousin, Nassim – is to venture outside the village and bring back much-needed merchandise such as soap, utensils, newspapers, lightbulbs. Roukoz lives with Nassim’s family, and it is made clear that Nassim has lost his father. Roukoz tries to fix the church speakers, and falls off his ladder, crashing into the cross and snapping it in half. Other characters include the village mayor and his wife Yvonne (Christians), the cafe-owner Amal (played by Nadine Labaki), Rabih (the village painter and Amal’s love interest) and his sister, Issam (Nassim’s brother) and his wife Aida, and the village priest and village sheikh. The next day, the congregation is gathered in church to celebrate the Sunday mass; The Priest preaches about the need to fix the church, and blames the broken cross on the wind, telling churchgoers to keep their cool and that their fellow Muslims have nothing to do with it. Some time later the Imam discovers that some goats have found their ways into the mosque, and urges the Muslims not to blame the Christians for what had happened. As people starts to gather, however, a Muslim man blames the Christians for what has happened and a small fight ensues.
The village is slowly drawn into greater violence; but the women get along beautifully and conspire together to keep their men from fighting, even hiring Eastern European dancers to entertain their men. But as Nassim is killed in a skirmish between Christians and Muslims while on an errand in a nearby town, the women are faced with a real test of wills. In an attempt to control the situation, they drug the men by mixing hashish inside sweet pastries and remove their weapons from the village. This ensured that fighting would not resume in the village during or after Nassim’s funeral.
A series of unfortunate misunderstandings ensue after the seed of doubt is planted. The once-peaceful village finds itself the site of finger-pointing accusations and ostentatious male displays of bravado. Overlooked all the while – not by the film, but by the film’s hot-headed male characters – is a group of females who work silently as a peacekeeping force. Their meddling tactics run from the absolutely ridiculous (hiring Ukranian dancers to distract their husbands, faking divine intervention, etc.) to the tragically desperate. Absurdities reminiscent of those from Delicatessen are seen during the film’s more manic moments – but these moments never carry on for too long, as they are balanced often by serious emotional wake-up calls.
As a director, Labaki has shown considerable audaciousness. One of the characters in “Caramel” was a lesbian; another underwent surgery to conform to traditional values that require a woman to be a virgin for her wedding. The subject matter of her latest film is no less incendiary. “Religion is a very delicate subject in Lebanon,” she told me. “You have to know how to say things in a very delicate way in order to be accepted.” She earns that acceptance by practicing a form of self-censorship. “Somehow it has become a part of my nature. Self-censorship has become a part of me,” she says. “I think because we live in a place where community is very important, family is very important, you feel the weight of how people look at you. Even though I might seem very modern and very liberated, I still have a lot of issues to deal with. I’m scared of how people look at me.”
Where Do We Go Now? is a brilliant hybrid of comedy and drama that embraces heart-wrenching sadness and laugh-out-loud hilarity with equal restraint. It is a poignant reminder that even the most tragic of moments can contain glimmers of light, and that light can shine through tragedy.
Characters are playing roles:
Nadine Labaki is playing as Amale
Claude Moussawbaa is playing as Takla
Layla Hakim is playing as Afaf
Antoinette Noufily is playing as Saydeh
Yvonne Maalouf is playing as Yvonne
Adel Karam is playing as the bus driver
Mustapha Sakka is playing as Hammoudi
Mustapha El Masri is playing as Hanna
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