As much as the movie “Papicha” denounces the Algerian director, Mina Medawar, with religious extremism, pleading against masculinity, to the extent that he identifies with each other; There is no positive man in all joints of the film / life, as opposed to female models full of values of effectiveness, struggle, principle and patriotism. And that is through a soft feminist discourse celebrating beauty against ugliness. The man is either a terrorist, a harasser, or a failed person who hopes to emigrate from Algeria during the black decade, where political and religious violence, social disappointments, and death of individual dreams come at a time when the young movie star (Lina Khodari) and her female university student friends insist on staying home and opposing All forms of leveling consciousness perpetrated by extremist groups, in reference to able and willing youth to paint a bright picture of the future.
It is a movie that celebrates life, looking at the beauty and dose levels of beautiful girlfriends (Wassila, Samira, Linda, Salih and Kahina). This is the secret of the aesthetic effect that the film cultivates on the recipient. Although he is waving terrorism that occupies the university and crouches behind its walls, as it sweeps the streets, markets and various life spaces, obscurantism only has a small scene in the film, in contrast to what most films that are visually influenced by it perform a vision of it. This is in exchange for a delightful visual panorama of the movement of young women, their fun and physical expression of their femininity, along with their social concerns. This is precisely what made the movie a joyous chant against the specter of death.
The film’s thesis relies on signalism rather than ideological shouting, despite its being based on a fierce confrontation between two opposing visions of existence. In the concept of identity, for example, which is the central focus of the movie, Najma decides to invest her talent in designing fashion to hold a public show inside the university and encourage her friends to work with her as models. Where it depends primarily on the evocation of “Hayek” for its designs. It is a well-known traditional cover that covers the entire body of an Algerian woman when she goes out of the house. She used it to smuggle weapons to anti-colonialists, as her mother told her, who inspired her with an educational text about its uses. And this is in exchange for the “veil” that stems from the Maghreb life, which does not represent the culture and traditions of Algerian women, as much as it is a title that distinguishes women’s religious police and the sisters of extremist movements.
“Babisha” in the Algerian dialect means the spoiled sweet girl. This is the template in which a star could be trapped. She is a beautiful, cheerful young woman, with the ability and desire to stay up and play in the discotheques outside the university, to the point of being reckless, had she not been in a moment of meditation attentive to the need to invest her moral energy and professional skills; Instead of being distracted by her physical talents, in light of the successive news reports of the growing violence in Algeria.
The news of the bombings, which became part of the daily scenes, follows. And as soon as she embarked on the implementation of the first steps in the implementation of her project of designing and displaying dresses for “Hayek” dresses, she would suffer a setback, after the murder of her sister, the journalist and young photographer, Linda, by an extremist veil in front of their house, which brought her back to square one, where frustration, despair and fear of the future. With the encouragement and support of her friends, she regained her vitality and resumed work on her project, at a time when the posters of the veil were filling the walls of the university, to the point that the strength of the extremists whose strength was strengthened was able to sabotage everything accomplished by Najma and her friends, as it became difficult for the director of the internal housing University students agree to implement the offer.
After negotiations and conditions, they agree, and hope will return once again to the young women. Once the show begins, the girls appear fooled with their splendid bodies and dresses, amid the applause, admiration and joy of the present, until the hall storms an armed force firing in all directions, and thus turns the show into a massacre, in which it dies as a weapon, while the star miraculously escapes from it.
It is a film against male guardianship and religious extremism, to the point that the father, brother and husband do not exist. As if the young women on the social level were born to face life on their own. On the emotional level, every young woman is disappointed with love for a man. Samira, whose family insisted on marrying Salem, slept with Zuhair, and she became pregnant, leaving her in front of two fatal options: abortion or confronting the family. Wassila ended her story with her lover Karim, beating and taunting, after he discovered that she is a student, because the university’s internal residence is an “outdoor brothel”, as he put it. As for Najma, her lover preferred to emigrate to be attached to her and to stay at home, considering that “Algeria is a big waiting room”, in the words of a coffin.
This is the biography of the insidious, cowardly youth as presented by the film, which is Karim, Mahdi, Mokhtar and Abdullah. It is an exaggerated bias according to the feminist discourse in which the film was designed. Where the manifestations of that speech appear in the language and tone of the star of the defiant, who refuse to submit to male guardianship, where she always incites them to not comply with what dictates and what men want, such as her daring to address Karim in an alphabetical language: “I speak to the mule in your head”, and in her dialogue with Abdullah Sahib A sewing supplies store that he referred to an exhibition selling black gowns imported from the Persian Gulf, after selling it to an Emirati dealer. On the other hand, she was calling on the girls to celebrate life and self-esteem. It was also apparent and pleasant in the spells of playing, dancing and singing, which occupied a large area of the film.
This is how the movie looks like a series of brutal raids against the aesthetics and meaning of life. When the girls listened to the French teacher, saying: “Life is not fighting with others,” the class stormed a female force of veiled women and one of them shouted: “God cursed people speaking foreign,” amidst the amazement and horror of the students.
At a moment of fun between a star and her friends, dancing and singing, another force stormed their room. A verbal argument took place between Najma and their president, who accused the girls of immorality and immorality, until the confrontation ended with a hurtful statement that the head of the sisters sent to Najma: “Cover yourself before the shroud does not cover you.” The most violent and brutal raid; They are the ones that masked armed men committed on the night of the parade, firing enough to kill the dreams and joys of young women and sowing deep fear in them from the future.
The film is not free from the suspicion of stereotyping that traps Algerian people in solid folkloric forms, in contrast to the flexibility of French girls and their wide cultural openness to life as a form of urbanization, a system of images that calls the Francophone suspicion also, that rugged issue in the Algerian scene, where the film expresses an explicit reconciliation With the model of the French colonizer, whether through linguistic compliance or behavioral imitation of all forms of contact with life through clothing, methods of amusement and expression of individual presence. But these faded shadows do not withstand the nature of the identity struggle that is inevitable in the context of the film, as he did not exaggerate the image of the Algerian scene, nor did he resort to summoning the Orientalist photo album, as much as he tried to limit the confrontation with a dark force that wanted to pull Algeria back.
With competence and ingenuity, the director, Mina Medawar, was able to crystallize the discourse of beauty, elegance, youth and love of life against the discourse of violence and hatred. With a delightful optical tape and scenes of violence and blood, and rhetoric gargling as well. Even the scene of the last panic and tears did not obscure the laughter of young women and their feminine sense of the aesthetic presence. It also appeared through their spontaneous professional performance. “Babisha” appears to be a film inspired by reality, but it does not date personalities as much as it allows imagination to generate the anti-violence feeling condemned by all forms of hatred. These are the thoughts of the film, concentrated in a subconscious shipment that provokes and harmonizes the recipient’s senses.