Quebec, 2010. Adattamento cinematografico del play by Wajdi Mouawad. By Allen Altman, Lubna Azabal, Melissa Desormaux-Poulin, Maxim Gaudette, Rémy Girard
Three elements in this film coagulation of commitment and high emotional intensity: the violence of war, the position of women, references to Greek tragedy and while Freudians.
The plot is not given in chronological sequence, as an inquiry, or rather, a quest that takes on various tracks until the fragments are united and form an overview of the complex final resolution.
beginning Mirwan Nawal, a resident of Canada, died suddenly, leaving in his will to the children twins Jeanne and Simon is responsible for respectively the father and brother that the two young men have never known. The search starts at the place of origin of Nawal, an unidentified Middle Eastern country, which seems closely linked with the Lebanon of the seventies to the social and political conflicts that highlights. Some flashback inform viewers, now before, now after the discovery of Jeanne, which then aggregates to Simon, the events of the past Nawal. We learn little by little, through a consistent mechanism episodes, that the protagonist as a young child who had given birth the newborn was taken away from her family while her boyfriend was killed by the brothers. Migrated to cities, the rise of an armed conflict, Nawal had cercato di recuperare il figlio, ma l’orfanotrofio in cui si trovava era stato bombardato. Costretta a fuggire, si era trovata al centro di un massacro ad opera di estremisti cristiani, da cui lei era stata risparmiata al contrario dei suoi compagni di viaggio tutti massacrati. Esterefatta da quella carneficina, infine non avendo più nulla da perdere, Nawal, cristiana, aveva deciso di punire il capo dei cristiani di destra, lo aveva ucciso, era stata rinchiusa in carcere subendo una violenza carnale da parte di un carceriere giovane, che i gemelli, nel corso della loro inchiesta, scoprono infine essere il loro stesso fratello e dunque il padre, cui consegnano le ultime due lettere della madre, che da un segno distintivo inequivocabile lo aveva riconosciuto senza essere riconosciuta una ventina d’anni dopo e questo riconoscimento era stato la causa scatenante del collasso che l’aveva condotta alla morte. Nelle due lettere, da un lato Nawal depreca la violenza del giovane, dall’altro conferma il proprio inevitabile amore di madre.
Ciò che impera è il dolore. Si resta per tutto il film al di là del giudizio positivo o negativo, avvolti in una temperie da tragedia classica in cui gli eventi si verificano per il manovrare del caso e della necessità. L’odio e la violenza vengono logicamente e chiaramente identificati ed esecrati attraverso le azioni, non attraverso parole di condanna.
Wajdi Mouawad, l’autore del testo teatrale da cui è tratto The film, in addition to revealing his interest in Sophocles and Kafka, clearly two tracks in the film says that one of Lebanon "was a shameful war, where fathers killed their children, their children killed the brothers, children raped the mothers' and explains that the family "did not want to explain to my generation what had happened. Strangers had to tell their story. " It also reveals that the figure of Nawal is partly modeled on a woman who tried to kill a Lebanese army and was imprisoned for this [1].
The film makes use of excellent acting, especially by the actress Belgian of Moroccan origin, Lubna Azabal part of Niwal Marwan.
NOTE
[1] The interview was translated from English. The original text is in M. Morrow, Scorched Wajdi Mouawad Discusses , HIS Searing Lebanese PLAY ABOUT THE WAR, CBC News, 22/09/2008 .
[Renato Persol]
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