Stay in a cinematic festival for a long time, and you will eventually notice some common topics and connective tissues between films. Even so, the coincidence between the “President’s Cake” in “The President’s Cake” and FATIH AKIN “Amrum” is a shock, as both films send their young supporters to the major tasks of gathering around basic supplies such as flour, sugar, eggs, etc. in times of tragic tendency born under violators.
Then again, although this conspiracy similarity, its appearance may not be a big surprise, given the current state of the world that was torn by the war that sacrifices children again. Film makers trying to move in our current facts would dig in their past and memories. With the “President’s Cake”, Hadi did so closely, closely, followed by the excellent Lamia (Banin Ahmed Nayef, in a vibrant performance).
It is Iraq in the nineties – as it remembers. The film was appointed between the Mesopotamia swamps in its childhood, as school children slide through the swamps in boats to reach their lessons, at a time when the daily Iraqis throughout the country were starving due to US sanctions. However, Saddam Hussein, like Marie Antoinette, continued to the consequences of threat if the Iraqis did not celebrate his birthday on April 28 with a luxurious cake, as if it was easy to achieve supplies. Each school has created a group of students to clean, supply a fruit dish, decorate, and finally, frozen candy bread.
In her small town and modest school, which often pledges to loyal to Saddam with collective chants, the last (and assigned) duty falls on the bold Lamia, who lives with her grandmother sacrificing Bibi (revelation fixed autumn) and does not go anywhere without the Indian Hanbali Habiba. While the Lamia scene that bears the Proud Cockerl contains a picture of a direct image of the story of children, nothing in the life of a little girl has the characteristics of short stories. The conditions of their livelihood are not necessarily enhanced customs, although they are trying hard to keep up with academics. Unfortunately, Jeddah Lamia is no longer careful to her, and plans to hand her upbringing to a local couple of better means.
What should Lamia do if he does not eventually escape her fate, while the ingredients also collect to bake a clash cake? Her wonderful teacher has also requested an additional fat full. The joining of Mia on her journey, two days before forced celebrations in the country, is her best friend and her neighbor Saeed (Sajad Muhammad Qasim), stuck on the task of buying some fruits for this occasion. The two teams are joining a nearby city with more abundant supplies. First, they find themselves in a truck, apparently useful, a character, a character who later returns. (It is really funny when he asks for Lamia, “Are you God?” Once you realize his access to the mail all over the country.) At a later time, they managed to buy some eggs, and escape from a close call in a bakery while Lamia tries to steal flour and scratches by a row of harsh adults who benefit from their innocence. In one of the most sudden accidents, Lamia sells the family heritage watch in exchange for fake money.
While the “president’s cake” often plays like a genetic fairy tale, with a wonderful spirit of humor and drama, Hadi is still not prepared for the illness of patriarchal society. As such, male grocery children are taking advantage of a very hungry and pregnant woman, trying to attract her to the background with a promise of high -end foods. (When the young woman shines, “Do you not see my condition?”
With the likes of Chris Columbus and Mariel Heil are among its executive producers, Hadi’s movie has a manufacturing from the commercial winner, full of details of the observation period in the design of living production-chaos organizing roads, dust in the air, and all banners associated with pain, etc. “The President’s Cake” is especially withdrawn to the hearts when it turns Lamia and Saeed for a short period and expected each other, after creating a sweet intimate friendship through some wonderfully written dialogue. In these intimate, emotional moments, Hadi and his photographer Tudor Vladimir Panduro arrived in particular to expressive lighting to amplify the dignity of children, as well as closely studied the wonderful movie crew in the Saide-Beyond-Bey-His Years, and Laayoun Lamia, often on the tears.
What packs a punch in “The Presitive’s Cake” is the end of the relatively quiet movie. Children may get their cake and return to relative safety in conclusion. But the future of Lamia and Saeed does not come with any colored ice on top.