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reconciling the sexualized nature of their work with their feelings for their romantic interests. Furthermore, the film expands the scope of its representation of female-male relationships by containing several scenes in which viewers see the isolation of female characters or their assertion of dominance in a space. For example, there are several shots of the dancers preparing for their performances near the stage in which we see them completely surrounded by onlooking men. Alternatively, in Reda's household, we see men coming to hire her daughters, deferring to her authority over the family business. Director
Isabelle Lavigne uses this film to ask, "How does our environment make us what we are? Who shapes the dreams that we think are ours? How much space is left for being yourself?"
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helps them travel to and from shows, but he is unwilling to marry someone who dances for a living. Moments such as these emphasize the complex social norms that belly dancing serves to uphold and destroy. Unlike famous belly dancers in the region, Reda's daughters dress in more revealing clothing and perform with multiple men surrounding them on stage, indicating the different registers of the dancing style. This distinction is also made evident by the arrest Reda's younger daughter, Hind, while returning from a performance. When stopped by the police and made to reveal the costume beneath her gallibiya, she is arrested for being a belly dancer at the age of sixteen. In recalling the episode, the daughter recounts their treatment of her as if she were a prostitute.
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so the viewer sees her in a state of mourning and uncertainty. She represents the authoritative figure, but her seven children often test the boundaries of her power. Each of her children contributes to the family profession through performing at local events, learning the trade during the day, or in the case of her younger son, watching the process of knowledge transition from generation to generation. Only three of her daughters currently perform, typically for all-male audiences. The documentary follows their journeys, from their household to the stage.
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The movie follows the lives of a family of belly dancers living in a small
Egyptian neighborhood in Cairo. Reda is the matriarch of the family who passes down her knowledge of the art of belly dancing to each of her children. Her husband died less than a year prior to the making of the documentary,
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Isabelle
Lavigne is a Canadian film director known or her previous film J.U.I.C.E, which tackled similar themes dealing with the male social sphere and how women interact with male authority. The film won several awards. After turning 30 and becoming a mother, Lavigne became increasingly interested
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The documentary is expository and as such does not include commentary from the director. However, the cameras catch moments of questioning and contention between accepted social morality and the belly dancing profession. Reda's oldest daughter, Amina, longs to marry one of the male assistants who
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Tensions surrounding the legitimacy of the belly dancing profession in
Egyptian culture, in relationship to individual aspirations for success and love, dominate the film. Reda's daughters forge romantic relationships with clients they meet as viewers watch them navigate these interactions,
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magazine finds that the cinematography was able to capture beautiful shots and sounds in cramped spaces while maintaining an atmosphere of ease and authenticity amongst those filmed. Hot Docs echoes these sentiments on cinematography, stating that the film captures "breathtaking images."
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The film has not been widely screened in Egypt, but has been lauded by international audiences.
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Pourquoi l'étrange
Monsieur Zolock s'intéressait-il tant à la bande dessinée?
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The film won the
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Best
Documentary Film Genie and Canadian Screen Award winners
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Volcano: An
Inquiry into the Life and Death of Malcolm Lowry
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The
Inquiry Film: A Report on the Mackenzie Valley Pipeline
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The
Colours of My Father: A Portrait of Sam Borenstein
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Forbidden Love: The Unashamed Stories of Lesbian Lives
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Hot Docs Award for Best Canadian Feature Documentary
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Hot Docs Canadian International Documentary Festival
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638:In the Gutter and Other Good Places
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853:Nîpawistamâsowin: We Will Stand Up
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175:Best Feature Length Documentary
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420:Best Short Documentary
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1528:Leave Them Laughing
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463:Les Philharmonistes
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269:(March 8, 2012).
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86:Release date
79:René Roberge
1697:Belly dance
1636:Caiti Blues
1620:One of Ours
1496:Mystic Ball
1373:When I Walk
1302:Army of One
936:Selling Out
758:A Hard Name
574:Final Offer
471:Coming Home
455:Wild Africa
171:Genie Award
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1667:2011 films
1661:Categories
1140:This River
912:Juggernaut
224:References
169:, and the
113:81 minutes
1612:Stateless
1549:Peace Out
1520:Waterlife
1196:Madeleine
805:Watermark
518:1980–2011
431:1968–1978
280:Maclean's
211:Reception
118:Countries
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1100:Sirmilik
944:Grierson
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194:Synopsis
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1333:Flicker
928:The Sea
694:Westray
377:catalog
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1124:Jutra
686:Grass
479:Janis
160:Egypt
156:Cairo
123:Egypt
1604:Prey
1539:and
1282:and
961:and
947:and
821:Hurt
418:and
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364:IMDb
332:2014
310:2014
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173:for
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1116:Chi
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