WOMEN: A sensual and strong relationship between women without a touch of Hollywood feel.

Countries is a film writer and director and regular writer for MODERN TIMES.
Email: ellen@landefilm.com
Published: 2020-03-08

Maryam Touzani (Morocco, France and Belgium)

Prior to the view of Adam of Moroccan Maryam Touzani I was very interested in that, but some movies sneak in under your skin. Young Samia (Nisrin Erradi) tries to get a job in a beauty salon, but when she asks to stay at work, she is asked to leave. High-pregnant, she calls at a door and offers to be a maid, but is quickly rejected.

Broad-legged and heavy, she sits down on the opposite side of the street and waits.

Shame, sadness and sensuality

Abla (Lubna Azabal - known from Oscar nominees Nawal's secret), who lives in the house with his eight-year-old daughter, strongly dislikes this demonstrative location just outside his own door. From a hatch in the house wall, she sells simple baked goods to a regular small clientele. The daughter in the house is very interested in the expectant mother. The two quickly find a nice and playful contact that contrasts with their mother's bleak and controlled manner.

The film is, as you can easily imagine, a portrait of friendship between women. At the same time, we do not get the constructive or tear-jerking relationship that Hollywood often serves us; this is sensual, sore and strongly confrontational. The film dares to delve into grief, shame and awakening a buried sensuality.

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The expectant mother, Samia, treads on sore toes she did not know she had and is told to leave the house at dawn. The darkness of the house is not in the shadows, but in what is not to be mentioned. The hidden trauma has tapped Abla for all the joy of life, and she can't bear to be reminded of what she has lost. She can't even hear her favorite music anymore. The home has become a prison where life is kept tight at bay until the uninvited woman steps in and turns everything around. The strong and controlled Abla meets resistance and is forced back to life.

The film is confident that regardless of marital status, it is a human right to nurture one
own child.

Samia tries to feed until she has given birth (and adopted away) the child, then plans to return to the village she comes from. To the waiting family, she pretends to be in a full-time job.

Sisterhood fellowship

Adam surprises not only in the turns the narrative takes, but in its human insight and authenticity. The film forces you into an embrace that holds…

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