(image Courtesy:imdb)
Director: Denis Villeneuve
Duration: 2hr 11min
Genres: Mystery Drama
Starring: Mustafa Kamel
Remi Girard
Hussein Sami
Synopsis:
An equation or perhaps a mathematical, precise, relentless, fascinating and inevitable theorem. This is the feeling that gives the vision of The woman who sings by Denis Villeneuve (Quebec French-speaking Canadian), a real big surprise at the Venice Film Festival which confirms the growth of an author who with Polytechnique (unpublished by us) had proved a talent Interesting. The film is the adaptation of a hit play by Wajdi Mouawad.
We are nowadays in Canada. Brother and sister (twins) find out from the will of the mother that the father they believed to be dead is actually alive and of the existence of a brother they knew nothing about. The mother, of Middle Eastern origin, has in fact lived an incredible, tragic life, of which they will discover and which we will know through a parallel journey, she in the 80s and her daughter today (who is not a researcher of pure mathematics). They will go through the same places, the same streets, in an endless cycle that is that of history and of the family, of stones and lands that are always the same, illuminated by the same sun, but bathed in ever new blood.
Childhood marks, here even branded, so strongly that, to put it in the protagonist's words, "it is a knife planted in the throat". It will take a whole life (and a testamentary will) to become truly adult, to erase the rage of a childhood of violence and to be able to rest in peace.
The film behind a fake name hides the Lebanon of the 1980s with its civil war between Christians and Muslims. Through the vicissitudes of a family, it succeeds very well in representing the religious, family, land and world division.
The woman who sings is a film that admirably succeeds in combining a mathematical rhythm, with explosions, fires of violence, which arrive almost inevitable, managing to excite us while leaving us petrified. For example, in the most beautiful moment of the film, a scene in which a bus is stopped by the Lebanese Christian Phalangists in search of Muslims. A scene that we won't reveal to you, but which is an excellent synthesis of the qualities of La donna che singing, one of the best films of the last few months.
We are nowadays in Canada. Brother and sister (twins) find out from the will of the mother that the father they believed to be dead is actually alive and of the existence of a brother they knew nothing about. The mother, of Middle Eastern origin, has in fact lived an incredible, tragic life, of which they will discover and which we will know through a parallel journey, she in the 80s and her daughter today (who is not a researcher of pure mathematics). They will go through the same places, the same streets, in an endless cycle that is that of history and of the family, of stones and lands that are always the same, illuminated by the same sun, but bathed in ever new blood.
Childhood marks, here even branded, so strongly that, to put it in the protagonist's words, "it is a knife planted in the throat". It will take a whole life (and a testamentary will) to become truly adult, to erase the rage of a childhood of violence and to be able to rest in peace.
The film behind a fake name hides the Lebanon of the 1980s with its civil war between Christians and Muslims. Through the vicissitudes of a family, it succeeds very well in representing the religious, family, land and world division.
The woman who sings is a film that admirably succeeds in combining a mathematical rhythm, with explosions, fires of violence, which arrive almost inevitable, managing to excite us while leaving us petrified. For example, in the most beautiful moment of the film, a scene in which a bus is stopped by the Lebanese Christian Phalangists in search of Muslims. A scene that we won't reveal to you, but which is an excellent synthesis of the qualities of La donna che singing, one of the best films of the last few months.
A note of merit for the functional soundtrack and for the two women protagonists (Lubna Azabal and Mélissa Désormeaux-Poulin) who are intense and fragile in their complex roles.
The film, full of events and adventures, reaches an end where the unknowns of the equation begin to be clarified, in which the mother will no longer be an unknown variable, in which an unacceptable catharsis, but in the end inevitable, remains etched in the memory along with many stages of this magnificent journey.
The film, full of events and adventures, reaches an end where the unknowns of the equation begin to be clarified, in which the mother will no longer be an unknown variable, in which an unacceptable catharsis, but in the end inevitable, remains etched in the memory along with many stages of this magnificent journey.
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