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INDY MOVIE REVIEW
 
La source des femmes (2011)
 (บรรยายอังกฤษ)
 
   
 

Director:Radu Mihăileanu Producer:Luc Besson, Radu Mihăileanu Screenplay by:Radu Mihaileanu, Alain-Michel Blanc

Music by:Armand Amar Cinematography:Glynn Speeckaert  Edited by:Ludo Troch Running time:135 min 

Country:France, Belgium, Italy Language:French, Arabic Genre:Comedy, Drama  Subtitle:English 

Starring: Leïla Bekhti as Leila, Hafsia Herzi as Loubna Esmeralda, Biyouna as Le vieux fusil ("The Old Gun"),
Zinedine Soualem
, Sabrina Ouazani, Malek Akhmiss as Soufiane, Saad Tsouli as Mohamed,
Saleh Bakri as Sami
, Hiam Abbass as Fatima

 
 

หนังตัวอย่าง:

รางวัล: 2 wins and 4 nominations

 

 

Amazonas Film Festival 2011

Won
Amazonas Award
Best Cinematography
Glynn Speeckaert 
Won
Audience Award
Best Film
Radu Mihaileanu 
 

Cannes Film Festival 2011

Nominated
Palme d''Or
Radu Mihaileanu 
 

César Awards, France 2012

Nominated
César
Best Actress (Meilleure actrice)
Leïla Bekhti 
Best Costume Design (Meilleurs costumes)
Viorica Petrovici 
 

Globes de Cristal Awards, France 2012

Nominated
Globe de Cristal
Best Actress (Meilleure actrice)
Leïla Bekhti 
 
 

A comedy/drama set in a village and centered on a battle of the sexes, where women threaten to withhold sexual favors if their men refuse to fetch water from a remote well.

The Source (French: La Source des femmes) is a 2011 French drama-comedy film directed by Radu Mihăileanu, starring Leïla Bekhti and Hafsia Herzi. It premiered In Competition at the 2011 Cannes Film Festival.

Set in a remote village in North Africa, the story does focus on women who go on a sex strike against having to fetch water from a distant well.

The film was produced by France''s Elzevir Films and Oï Oï Oï Productions, in co-production with France 3 Cinéma and EuropaCorp. Other than the 64% French investment, Belgian companies contributed 14%, Italian 12% and Moroccan 10%. It was pre-bought by Canal+ and CinéCinéma and received support from Eurimages. The total budget was 7.99 million euro.

User Reviews

Mihaileanu gets better and better

25 October 2012 | by robert-temple-1 (United Kingdom)
Every time I see one of Radu Mihaileanu''s amazing films I think he cannot make a better one than that, and then he does. This is probably the best yet. The story is set in an anonymous North African location, but the film was shot in a wild and remote village in Morocco somewhere in the vicinity of Marrakesh. As usual, many of the supporting actors seem to be indigenous local inhabitants. The film was shot in Arabic, but it seems that in France the dialogue was dubbed into French, whereas the English language DVD has the original Arabic dialogue with English subtitles, which is thus more authentic. The lead actress, of magical beauty and talent, is Leila Bekhti. She is of Algerian descent but was born in France. The actress who plays her sister Loubna/Esmeralda, Hafsia Herzi, was also born in France and is of mixed Tunisian and Algerian descent. Bekhti''s vicious and unbalanced mother-in-law is played by Hiam Abbass, an Israeli Arab who has acted in 65 films. Mihaileanu has been very clever to find these amazing actresses, who are all completely convincing as locals who inhabit the small village where the story is set. This is a film about women who rebel against the oppressive customs of their lazy, and often brutal, husbands, who justify their indolence and oppression of their wives by ''tradition'', or sometimes by unconvincing references to their religion. For hundreds, or perhaps thousands, of years, the women of the village have brought the village''s water in buckets from the spring (''source'' in French, hence the title). The spring is high up the mountain slope behind the village, and the pathway is very rough and difficult. Many of the women have had miscarriages because they slipped and fell carrying the buckets of water while they were pregnant. We see an instance of this near the beginning of the film. While the women exhaust themselves and lose their babies by these exertions, the idle husbands sit on a small terrace sipping mint tea all day long because they have no jobs. It has never occurred to any of them to fetch the water or assist his wife. They just sit there, lazy slobs that they are. And if a baby dies, so what. The situation becomes intolerable to her, so Leila Bekhti rebels, supported by the aged widow called Vieux Fusil (Mrs. Rifle in the subtitles), magnificently portrayed by the actress Biyouna, who is a true native Algerian. Bekhti persuades other women in the village to go on ''love strike'' by denying their rampant husbands their nightly sex. Many of the women get beaten, and some get raped when the husbands become furious and violent. Bekhti is secretly supported by her own husband, who genuinely loves her, and he sneaks out at night to carry some buckets of water down from the spring himself, the only man in the village who ever does so. He does this on the quiet because he is afraid the other men might attack him violently if they knew that he had done ''women''s work''. One gets a very good idea why nothing ever happens in North Africa by way of business development, since there appears to be no initiative amongst the men, who are mostly seen to be arrogant, spoiled, pompous, querulous, and many of them are very violent indeed, almost psychopathically so. An Imam lectures the women that it says in the Koran that a man should beat his wife if she is disobedient. However, Bekhti, who is the only woman in the village who can read, quotes to the old Imam rival suras from the Koran and a Hadith (''Sayings of the Prophet'') text which crush his arguments, so that he becomes dejected and ceases to oppose them. Many of the men of the village organise a scheme to renounce their wives and get new, obedient and excessively religious wives to come in and take their place. But the Imam ends his support for this scheme after Bekhti defeats him in her theological arguments. One of the most strenuous opponents of the women is Nissam, the son of Biyuona. She fearlessly berates him, tells him he is a good for nothing, and eventually throws him out of the house. This film tackles head-on the problems of the oppression of women and religious fanaticism in the Muslim world in North Africa. One of the remarkable aspects of the film is that the women communicate their stories and grievances by improvising songs rather than by speaking, which seems to be a local custom. They repeatedly shame their men by out-singing them. This is an extremely profound and very deep examination of life in a remote ethnic community, and a story of great courage. The film is both extremely emotional and deeply disturbing. It is never possible to watch a Mihaileanu film without being both shaken and stirred. It is another triumph for that brilliant director, a Paris resident of Romanian origin, who is certainly one of the finest film directors working in Europe today.







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