It was chosen to open the United Nations expectations department at the Cannes Film Festival, and the Tunisian Tunisian director, Erig Wasiri, follows the “promised sky” drama, four generations of Ivorian immigrant women because they find solidarity and conflict and sometimes a feeling of displacement in each other. Women’s relationships are complex enough, even between those in a level stadium. But in the “Promised Sky”, they are more thorny because none of the women is not equal to an economic social point of view in their adopted home in Tunisia.
The promised “Sky” begins to note the mother unit, not separation. Take advantage of the same cognitive documentary aesthetic in the heart of its previous feature, “Under Fig Trees”, Suhairi falls to the life of Marie (Isa Ma), Nani (Depora Lobby Nani) and Jolly (Laetitia Ky), where they care about a little girl in Bubble.
The girl is Kenza (Estelle Kenza Dogbo), a displaced child who seems miraculously survived from the wreckage of a migratory ship before the three women found it. Mary, a former journalist who is now serving her community as a measure after 10 years in Tunisia, decided to open her home in front of Kenza as she did with Nani – a mother who does not carry documents at the house that left her child at home three years ago in the hope of finding a better future for her family in Tunisia – and Jolly, a passionate student and a member of the only document in the group.
The “Promised Sky” reflects real events, and it feels visually and sincerely honest thanks to the original Sehiri’s view and the poetic lens of the Froida Marzouk. The film often feels that it is a tissue that is inhibited from the mood and positions, rather than the traditional narration.
Sihiri does not necessarily try to tell an accurate, accurate story about the actions of the three women after Kenza suddenly joined her ranks. Instead, it allows chaos in their lives to reveal organically, by behaving an offer that is sometimes unhappy. The Sohairi movie adds something greater than its all parts, to become a unique drama than the marginalized African immigrant women who fight for their dignity and not in Europe (the usual preparation of many similar films), but in their continent in Africa.
For Mary, this battle involves providing the spiritual leadership of its community, praying for strength and perseverance, preaching to sympathy and tolerance, while distributing food and supplies to the needy. As for Naney, the struggle makes the ends meet by any necessary means – even if this may call for trouble – with the hope of bringing her child to Tunisia one day. Elsewhere, Jolie moved different motives, confident of her privileges as a documented resident in Tunisia. Soon after, you learn that racism and biases in the country do not reap, regardless of the papers you possess.
There are some male side players as well, including Mary Mary’s non -sympathetic to Ismail (Mohamed Gray), who benefits from Marie’s lack of options by refusing to make minor improvements in her modest residence. Then there is a friend of the Tunisian Nani (Foued Zaaza), providing her with some intimate friendship (if incomplete) in both the random moments of life and private days such as birthdays. Mary’s blind friend Nawa (Toure Palmasi), who governs every intelligent situation and provides Marie’s advice accordingly, brings some gentle serenity to the story. (Sehiri is strongly inclined into an advanced symbolism with NOA, as it dangerously approaches the description of disability as if it was an internal advantage.) Another person gets a short end of the stick is Kenza. After presenting the character, the book, Sohairi, Anna Signic, and Malika Cecil, are saddened by sadness like the subsequent idea; It seems as if they were struggling to find a real purpose for Kenza in the story, and losing an opportunity with a talented child who broke your heart quietly with its last scene.
The promised “Sky” is the strongest when Sehiri approaches a realistic style of photographing street life, and called its documentary instincts. It also packs a punch when Sehiri emphasizes the extent of anti -migrants with deep (and similar) migrants around the world. In one scene, for example, we know that some Tunisians are spreading false rumors that immigrants eat home cats – it is an accusation that might take into account the similar lies of anxiety that was spreading in the United States less than a year ago.
The film also illuminates the painful performance of Naney, and it provides monologues to destroy the soul and steal the scene near the end about how it did not find a better life despite all its hard work, faith and perseverance. Even in her most amazing moments, the promised “Sky” pledged to honor and against this gravel for the sponsorship and humanity.