Thursday 20 February 2020 – 03:00
Among the areas indicating the unsatisfactory situation of women in our society, in our culture, and in our institutions – this is also the case across the countries of the world, but with variations in intensity and intensity – the field of cinema and the level of output and criticism in particular, we find the proportion of women, in this context of comparison, ranging from a few and rarer: So does women practice directing movies on one side, and cinematic criticism on the other hand, in order to photograph and write what the man overlooks or what he could not express, or is it about writing and photographing that the woman expresses the women’s voice specifically?
I think that it is mainly related to cosmic writing and photography by women, as they do for men, two possibilities for telling a distinction from situations that deserve telling, with a focus on the conditions of women because they are the ones most suffering from exclusion, marginalization and inferiority in the general human society, with the difference of course.
The occasion of this saying is my watching “A Lover from the Countryside” by Moroccan director Narges El Najjar, which was produced in 2011.
We have the right to dream .. but are we the ones who control his hidden things, or are there limits that we cannot cross?
A verse in beauty
The heroine of “A Lover from the Countryside”, Aya (Diagnosing Actress Nadia Kunda), bears a heavy burden, tradition and social pressure, as is the case for other women and girls. In an attempt to escape the unknown or feel a naive and forged freedom, Aya and her friend run like two butterfly or two birds, in search of a beautiful haven or a flock of birds similar to them to join him. “A Lover from the Countryside” weaves his scenes around the story of Aya and her friend. It is the story of trying to catch uncontrollable dreams.
The girls ’trip with their brother in the car was a trip to discover how to make” hashish “. In several scenes of the movie, Moon – the absent aunt present through the camera – was accompanied by a desire to discover her world and their world, or her own world. Aunt Moon was like living through a verse as Philip tried to live through Lilia in the novel “When angels fear to tread” by the novelist EM Foster, when he sent it to Italy to live a different life, a life more liberated from the restrictions of English Victorian society at the time. . In this novel, Philippe hoped that his face would touch the dust of the streets of Monteriano, and would pinch it with mosquitoes in the desert of Italy. But Aya was not heading in the same direction, as she wanted to discover love, and was searching for herself and her mirror.
The looks of traditional women, who talk about love and honor in one of the scenes of the movie “A Lover from the Countryside,” show a deep sadness and dissatisfaction with the reality of their strong hold on their wrists and the strong grip on their voices, but the exaggerated smiles and laughs cover their true feelings and any words that may express what Really feel it inside. The female characters of the movie appear shy and dreamy, but they are rising at the same time, in silence and under the silk braids of the antique “Sabbina”.
The virgin of Aya went, and her life ended as an open flower. She began to wonder if she was “clean” and whether she was still considered a girl. Questions of existence began to wrestle in her little brain, who naively tried to dream, dance poetic and draw meanings to beauty. She bought a new virgin verse. Was she “clean” again after Baron stained the drugs for her honor?
The paradox of imprisonment and liberation
The entry of the verse of the prison – after committing a murder – was a strange liberation, as the women created freedom behind bars. A new life has begun to grow within the prison, which suggests families, repression, death and the end. A new life began for Aya, where she found herself and found her peers or those who loved and dreamed of the same thing she had previously hoped for.
In the film, there is a lot of Sisterhood in the spirit of women, where women – in many scenes in prison, for example – embrace the meanings together, and win in the battles of life that rob them of their many rights: the flamenco dance sign that remembers the woman’s strength and resilience.
Zakhir is a film “A Lover of the Countryside” with deep human emotions and feelings. Types of outlook and viewing sites This reminded me of Diego Velazquez’s Las Meninas painting, where all people in the painting look differently to whoever watches them, meaning that the artist has changed the idea of who watches who and who has power in the holistic image.
The mysteries of the prison appear in the movie “A Lover of the Countryside” as the secrets of the walls of the life of a lost woman. The lady tells as much as possible and stops talking like Shahrazad with the cry of a rooster of days that may kill her sad voice and end happiness as long as she dreamed of her.