The opinion of the "world" – not to be missed
accuracy My dear child, sIn May, the last directors are selected in Fort Night and Mohamed Ben Attia's second feature-length film, asking him to avoid falling into the trap of the film first. And yet, there's a strong subject and topical, but it doesn't take it anywhere, it doesn't swallow the freedom of the characters or the Tunisian family at the center of the film. Riadh is a chauffeur in the Tunisian port and retired. He has a son, Sami, who prepares bac with his wife Nazli. But the teenager suffers from a mysterious evil: it is difficult to find the origin of repeated migraines that are preventing him from working. The first part My dear child It is based on Nazli and Riadh's concern: they accompany the son to the hospital, they take care of him, the boy is attracted to evil, and he is in a mutism frequently seen in adolescence.
Without too much pressure on metaphor, Muhammad Ben Attia is filming these migraine attacks as heralds of the catastrophe of this family. Suffering suffering, this inexplicable somatization is also a way of being the parent of the filmmaker, the care, the care of the animals, the almost animal form, the feeding, the feeding, the purchase. clothes.
It's just a couple of gently wishing to walk with their son to retirement, but who's going to have to go through a disaster?
In a short scene, Riadh offers her son a shirt she bought on the market; Sami is wearing this suit in the next scene. This is not something three times, but the succession of these scenes is enough for a father to understand his love of tearing his son. The whole movie will match: I Attia never selects the glare, it prevents it. It prefers fast moving, film movements, short dialogues, daily life and allows you to grow without realizing your emotion.
Sami is already far from the first minutes. Because of the migraines, but also for another reason that is hidden for a long time – the film is riveted to the father, not the son of the great jigsaw puzzle. My dear child. This inseparable disconnect between the father and the son is strengthened by the fact that Ben Attia chose to wisely choose both an old couple, in which Mohammed Dhrif and Mouna Mejri materialized, to remember and to make progress at all costs. It's just a couple of gently wishing to walk with their son to retirement, but who's gonna have to go through a disaster.
No hole as a hole
With the reduction of the migraines, Sami is mysteriously lost and enters the folds of the assembly. Nazli and Riadh understood very little what happened to many young Tunisians: he joined Syria to fight against the Islamic State organization. And his absence is like an open hole. Rather than focusing on the intimate and societal reasons for the indoctrination of Sami, Ben Attia ignores this and prefers to give up this inclined inclination in the eyes of the couple and the viewer. The emotional strength of the film is that some filmmakers often take care to take all the pieces of an action.
If Ben Attia demonstrates a highly documented study, it is not radicalized, but a visceral attachment to a father's child.
I explain that the reasons for leaving for Attia, Syria are so different and that it is impossible to draw a rule. And why are you shooting? A film opposite of a sociological study. From the general state of a situation (radicalized youth), he begins to run into a particular situation: a rotten father and mother. A father with only one idea: to find his son and bring him back safely, his wife opposes his project for fear of losing everything. Riadh Turkey & # 39; joins and searches for a way to get Syria out of there & # 39; to. However, if Ben Attia demonstrates a highly documented study, it is not about radicalization, but an internal attachment of a father to his child.
left for Turkey, the man slowly falls to a new mental space. We understand that a series of hearts is a dream, enters parliament and crystallizes the father and son relationship alone: the Riadh passes through the desert and tries to catch up with Sami. We understand from Riadh that his greatest pain is understood by those who appeal to the father who has his gestures. From a social point of view, Muhammad Ben Attia creates a nearly depleted, almost complete, minimalist melodrama; In memory, some love gestures, a few tears and an eye that lives in the memory of destroying everything remains.
Mohamed Ben Attia's French, Belgian and Tunisian film. Mohamed Dhrif, Mouna Mejri and Zakaria Ben Ayed (1:44). Web: www.bacfilms.com/distribution/fr/films/mon-cher-enfant-dear-son