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they wear colourful clothing, they are showing their midriffs, and they are dancing in a sensual manner to the drumbeat. After befriending the lead dancer, Folla (Monia Hichri), Lilia is convinced to start dancing in the cabaret club. While Lilia begins dancing nightly, she simultaneously begins a romantic relationship with Chokri, who is still unaware that Lilia is Selma's mother. When Chokri ends his affair with Lilia, she is heartbroken. She later finds out it is because Selma has asked Chokri to meet her and Chokri, realizing his relationship with Selma is getting serious, accepts. The uneasy 'first' meeting Selma organizes between Chokri and Lilia solidifies Lilia's full transformation. When at the start of the film she is seen as a sad, bored, and submissive woman who rarely leaves the comforts of home, she is now a dominant matriarchal figure, which is reestablished with Lilia's glance in the mirror at herself prior to Chokri and Selma's arrival.
261:"Typically, in Arab films and Tunisian films you have a woman who is in conflict with the society, and she'll fight against it. I didn't want that. That was not my subject. Lilia, the character played by Haim Abbass, actually finds her freedom in the context of what I call social hypocrisy. She is involved in a society that is hypocritical in the sense that there are two worlds out there: the world of the night and the world of the day. What you do--what you really do--you do not show. She finds a compromise in the sense that society is like that. She just adapts to society. She does what she wants, but she doesn't show it to the world." -Raja Amari,
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for (re)appropriating female representation in contemporary North
African cinema.” She also asserts that Amari, “levies new debates addressing interpretations of performances of women’s traditional roles and desire for self-expression in contemporary Tunisian society by engaging in a multilayered manner the ideological implications of this traditional social construct of the housewife and her comportment.”
213:"I have always wanted to make a film revolving around belly dancing. I trained for many years as a belly dancer at the Conservatoire de Tunis . I also grew up watching musicals of the golden age of Egyptian cinema from the 1940s and 1950s that are still played on television today. My mother and I loved the well-known belly dancer
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Raja Amari has been said to have a "transvergent" style in her work. Stacey Weber-Fève, argued Amari's style means her work transcends national cinema and has the ability to connect with a "national identity" depending on the given context and temporality of her films. Will Higbee furthers the idea
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has been argued to have opened up new avenues and opportunities for the portrayal of
Tunisian women in film and society. Author Stacey Weber-Fève asserts that Amari’s portrayal of the protagonist, Lilia, performing housework in the first few scenes of the film, “captures concretely the possibility
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drummer in Selma's dance class. To find out more, Lilia decides to follow Chokri one day. On her escapade, she follows him into his second workplace: a cabaret club. After overcoming her initial shock, Lilia becomes drawn towards the dancers and drum music. The women are very different from Lilia:
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of "transvergent" filmmaking as a cinema that, "views the exchange between the global and the local not as taking place within some abstract or undefined 'global framework'." Rather, "difference and imbalances of power" between and within film industries tend to shape cinema.
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252:) as she radically transforms from housewife to cabaret dancer. Her transformation begins when she becomes suspicious of her teenage daughter, Selma (Hend el Fahem) of engaging in a secret relationship with Chokri (Maher Kamoun), a
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was the only film that stood out among the 'Features' portion of the festival. They noted that the film was "a quality television drama about a group of young musicians' diverging response to the turbulence of the
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146:, Amari trained in dance at the Conservatoire de Tunis, gaining first prize in dance in 1992. She then studied Italian at the SocietĂ Dante D'Alighieri in Tunis and later studied French Literature at the
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invited her to become a member. She is also a member of the 50/50 collective, which aims to promote gender equality and diversity in cinema and
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Higbee, Will (2007). "Beyond the (trans)national: towards a cinema of transvergence in postcolonial and diasporic francophone cinema(s)".
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Re-Hybridizing
Transnational Domesticity and Femininity: Women's Contemporary Filmmaking and Lifewriting in France, Algeria, and Tunisia
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a film magazine edited by the "Association
Tunisienne pour la promotion de la critique cinematographic." In 1995, Amari attended
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Weber-Fève, Stacey (2010). "Housework and Dance as
Counterpoints in French-Tunisian Filmmaker Raja Amari's Satin rouge".
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to study screenwriting. After graduating in 1998, she began to work on her film portfolio. Her film
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Barlet, Olivier; Thackway, Melissa (Fall 2015). "FESPACO 2015: After the
Transition, What Next?".
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2015: After the
Transition, What Next?", they remark that Amari's film about the
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894:"INTERVIEW: Self-Empowerment by Way of the Midriff; Raja Amari's 'Satin Rouge'"
867:"INTERVIEW: Self-Empowerment by Way of the Midriff; Raja Amari's 'Satin Rouge'"
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134:(2009), both of which have earned international awards and recognition.
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Best
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When asked about her influences, Amari responded in an interview with
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Golden Dhow (Best short feature film) at
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756:. Bloomington, Indiana: Indiana University Press. p. 114.
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In
Melissa Thackway and Olivier Bartlet's review of the 2015
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Best Director at the Africa International Film Festival
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Special Mention for William Holden Screenplay Award at
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Panafrican Film and Television Festival of Ouagadougou
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221:." -Raja Amari, Interview with Bouziane Daoudi in
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713:. Rowman & Littlefield. pp. 104–5.
166:was screened at la Berlinale 2002. Her film
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754:Screens and Veils: Maghrebi Women's Cinema
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248:follows widowed Tunisian mother Lilia, (
16:Tunisian film director and script writer
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348:Un soir de juillet / An Evening in July
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707:Stacey Weber-Feve (28 February 2010).
170:was an official selection at the 2009
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172:Venice International Film Festival
120:. She is best known for her films
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892:Schultz, Kate (August 20, 2002).
865:Schultz, Kate (August 20, 2002).
587:Maine International Film Festival
543:New Director's Showcase Award at
314:Raja Amari currently resides in
927:(1). Indiana University Press.
507:First Prize at Milan Festival
150:. For two years she wrote for
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1185:Tunisian women film directors
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981:. World Film Festival. 2016
606:Best Feature Film Award at
564:Best African Film Award at
269:Amari’s work, particularly
132:/Les Secrets/Buried Secrets
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752:Martine, Florence (2011).
673:Rebecca Hillauer (2005).
109:(born 4 April 1971) is a
35:Raja Amari official photo
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837:Studies in French Cinema
138:Early life and education
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237:Satin Rouge / Red Satin
1010:. Torino Film Festival
485:Prix de la Qualité at
428:Special Jury Prize at
401:Awards and nominations
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849:10.1386/sfci.7.2.79_1
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963:. December 10, 2016.
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354:al-Sitar al-ahmar /
364:Seekers of Oblivion
148:University of Tunis
90:University of Tunis
1128:Jahmil X.T. Qubeka
201:that they include
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945:. March 15, 2018.
943:Los Angeles Times
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720:978-0-7391-3451-1
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1175:1971 births
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1148:C. J. Obasi
1120:Alain Gomis
1014:February 6,
985:February 6,
904:January 31,
900:. Indiewire
877:January 31,
873:. Indiewire
493:Avril/April
471:Avril/April
453:Avril/April
435:Avril/April
376:Les secrets
358:/ Red Satin
356:Satin Rouge
332:The Bouquet
322:Filmography
304:Arab Spring
245:Satin Rouge
215:Samia Gamal
183:audiovisual
164:Satin Rouge
69:Nationality
1169:Categories
1112:Izu Ojukwu
1104:Raja Amari
1033:Raja Amari
647:References
420:Reference
328:Le Bouquet
250:Hiam Abbas
152:Cinécrits,
107:Raja Amari
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23:Raja Amari
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871:Indiewire
800:l'express
782:nessma tv
271:Red Satin
263:Indiewire
199:Indiewire
124:Red Satin
79:Education
254:darbouka
142:Born in
111:Tunisian
73:Tunisian
726:26 June
692:26 June
417:Result
380:Secrets
366:, 2004
295:FESPACO
291:FESPACO
185:media.
62:Tunisia
1155:(2021)
1139:(2019)
1131:(2018)
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1107:(2015)
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411:Award
396:, 2016
388:, 2014
382:, 2009
371:Dowaha
360:, 2002
350:, 2000
344:, 1998
334:, 1995
293:) in "
281:(2014)
239:(2002)
189:Career
130:Dowaha
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482:1998
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408:Year
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338:Avril
160:Paris
156:FEMIS
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58:Tunis
1037:IMDb
1016:2016
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