The movie “Ghadwa” .. 3 endings announce the fate of those calling for change in the Tunisian “Jasmine Revolution”
The director – also co-author – Dhafer El Abidine chose 3 endings for the hero, Habib, the defender of correcting the course of the revolution.
On Tunisian society and its social, economic and political crises as well, Tunisian artist Dhafer El Abidine presented his first directing experience in the movie “Ghadwa”, which he also co-authored with screenwriter Ahmed Amer, and co-produced with Tunisian producer Dora Bouchoucha, and starred alongside Rabab Al Sarayri. Bahri Rahali and Najla bin Abdullah.
The film succeeded in winning the FIPRESCI Award during its presentation at the 43rd session of the Cairo Film Festival, and received praise from journalists and critics during its screening at the first session of the Red Sea Festival in the Kingdom of Saudi Arabia.
The film clashes with the Tunisian revolution, the “Jasmine Revolution”, which ignited on December 17, 2010, in solidarity with the young man, Mohamed Bouazizi, who set his body on fire as an expression of his anger. Change for the better on all political, economic and social levels.
However, “Ghadwa” reviews the other side of the Jasmine Revolution, which is the abortion of those dreams, and the failure to achieve the demands of the people who came out for the revolution, which makes the hero “Habib” – who had an important role in the Tunisian revolution as a lawyer in the field of human rights – living in a state of Psychological conflict and obsessive compulsive disorder, and imagines all the time that someone is chasing him and seeking to kill him, but the film cannot be considered a political movie, as its maker chose to encapsulate it in a highly humane social framework.
The other side of the nail
Dhafer El Abidine was able to highlight his artistic potential as a high-caliber actor in the movie “Ghadwa”, away from the stereotypical role that we used to see on the screen of a handsome and romantic man, through his Egyptian and Lebanese dramas. While in “Ghadwa”, Al-Abidin rebelled to announce a stage of artistic maturity through the character of the Tunisian lawyer Habib, who suffers from a precarious health condition.
From another angle, the film sheds light on his relationship with his only 15-year-old son, as the roles are reversed between them when the son decides to take care of his father and preserve his safety, especially since Habib lives alone after he separated from his wife.
Gaps in the script
Despite the unconventional story presented by the film, there were some problems that faced the script that did not adequately explain the history of the hero of the film, whether his relationship with his ex-wife and his separation from her, or how he became a lawyer specialized in defending victims in human rights, so the script was satisfied with an attempt. Habib” reached out to senior officials, to ask them about the abuses against those who carried out the revolution, and why the corrupt were not arrested? In scenes that were repeated, confirming that the hero rejects any other ideas that keep him away from his concern and his preoccupation with doing justice to the oppressed.
Illusion and truth
Dhafer El Abidine was able to emphasize his distinction, not only as an actor who presented the character transformations, emotions and tension of the hero with great maturity, but also as a director who presented an experience that seemed professional for being the first film in his artistic history in the field of cinematography, through action shots, as well as mixing scenes between illusion What Habib lives with and the truth, such as the story of his beloved neighbor with whom he lives with fantasies of romance and the person he misses, as well as scenes of chases of those who want to harm him. In addition to the excellence of the directing element, the filming also succeeded in conveying the state of tension and anxiety experienced by the hero.
Different endings and hope for change
The director – also co-author – Dhafer al-Abidin chose 3 endings for the hero who defended correcting the course of the revolution. The first ending is his contemplation of suicide to end his life, or his agreement to enter a psychiatric clinic, and finally a state official throwing him into the prison cart again.
Although the three ends favor defeat, a ray of hope came from the son who decided to continue his father’s career, in a clear message that future generations carry the spark of change.