Fataria, Arab Summit
The Arab Summit, May 2004, Tunis in turmoil, In this frenzied and burlesque atmosphere, characters intersect without ever really meeting, striving to solve their personal problems. May 2004, Tunis fro…
Fataria, Arab Summit
The Arab Summit, May 2004, Tunis in turmoil, In this frenzied and burlesque atmosphere, characters intersect without ever really meeting, striving to solve their personal problems. May 2004, Tunis from morning to evening, in a frenzied and burlesque atmosphere, due to the Arab Summit held in Tunis, characters are trying to solve their personal problems, between a disadvantaged neighborhood, a hospital, a dilapidated building and a theater, the characters of these stories intersect without ever really meeting, by the chance of their tribulations. The Arab Summit is a success, a glory, the Arab heads of state are proud but the day of our characters ends in the police van which crosses the euphoric and dancing crowd in the carnivals on the occasion of the Arab Summit. —brahamdali Hamadi (Jamel Madani) electrician, must repair a faulty network in a dilapidated building of the capital. Charmed by Naziha (Sabah Bouzouita), a divorced woman in her fifties living in the building, the electrician is working to find a solution to the network of the building haunted by funny characters oscillating between fiction and reality. Salha (Rim Hamrouni) tries by all means to earn money to provide for her family. She is thus able to do the mourning during the funeral as well as to animate the wedding parties within an hour. In this role of composition, the actress Rim Hamrouni accurately embodies the distress of a popular class that can no longer make ends meet and is at odds with the image of a successful social policy built by the Ben Ali's regime. Through the character Nadia (Nadia Saiji), choreographer who tries to repeat his show despite the unbearable noise, from a neighboring site, held by a corrupt man, Walid Tayaa discusses the situation of contemporary dancer and respect for the difference in a society governed by tradition and conservatism. As for the bureaucracy and the crisis of public hospitals, they have been treated throughout the story of Ammar (Issa Harrath) who came from far away to seek treatment in a public hospital. Manhandled from office to office, Ammar struggles to get an appointment with the cardiologist. —brahamdali
Fataria, Arab Summit
Comedy
Film Details
The Arab Summit, May 2004, Tunis in turmoil, In this frenzied and burlesque atmosphere, characters intersect without ever really meeting, striving to solve their personal problems. May 2004, Tunis from morning to evening, in a frenzied and burlesque atmosphere, due to the Arab Summit held in Tunis, characters are trying to solve their personal problems, between a disadvantaged neighborhood, a hospital, a dilapidated building and a theater, the characters of these stories intersect without ever really meeting, by the chance of their tribulations. The Arab Summit is a success, a glory, the Arab heads of state are proud but the day of our characters ends in the police van which crosses the euphoric and dancing crowd in the carnivals on the occasion of the Arab Summit.
—brahamdali Hamadi (Jamel Madani) electrician, must repair a faulty network in a dilapidated building of the capital. Charmed by Naziha (Sabah Bouzouita), a divorced woman in her fifties living in the building, the electrician is working to find a solution to the network of the building haunted by funny characters oscillating between fiction and reality. Salha (Rim Hamrouni) tries by all means to earn money to provide for her family.
She is thus able to do the mourning during the funeral as well as to animate the wedding parties within an hour. In this role of composition, the actress Rim Hamrouni accurately embodies the distress of a popular class that can no longer make ends meet and is at odds with the image of a successful social policy built by the Ben Ali's regime. Through the character Nadia (Nadia Saiji), choreographer who tries to repeat his show despite the unbearable noise, from a neighboring site, held by a corrupt man, Walid Tayaa discusses the situation of contemporary dancer and respect for the difference in a society governed by tradition and conservatism.
As for the bureaucracy and the crisis of public hospitals, they have been treated throughout the story of Ammar (Issa Harrath) who came from far away to seek treatment in a public hospital. Manhandled from office to office, Ammar struggles to get an appointment with the cardiologist. —brahamdali.