As a cinephile who appreciates films that delve into complex human experiences, I found “Take My Breath” to be a compelling and thought-provoking work. Nada Mezni Hafaiedh’s directorial hand is evident throughout the film, showcasing her dedication to shedding light on marginalized communities and sensitive subjects.
Despite Tunisia having made limited submissions for the International Feature Oscar, it managed to secure a nomination with “The Man Who Sold His Skin” (2020) directed by Kaouther Ben Hania and a place on the shortlist with “Four Daughters” (2023). This year’s entry, “Take My Breath,” from director Nada Mezni Hafaiedh, didn’t make the shortlist. The poignantly filmed and well-cast melodrama tells the story of an intersex person living as a woman, whose life is turned upside down when her secret is revealed. Regrettably, the script by Hafaiedh and Pascal Jousse incorporates so many social issues (police corruption, violence against women, sexual exploitation, illegal immigration) that it overshadows the main narrative.
Amina Ben Ismail, a 23-year-old seamstress with an elegant and androgynous appearance, is highly respected in her small island community. She resides with and cares for her difficult mother Fadilah (Fatma Saidene) and her wheelchair-bound sister. Her unassuming talent and captivating beauty draw the admiration of rugged engineer-turned-fisherman Habib (Mohammed Mrad, a former model and TV personality), who desires to wed her. Simultaneously, she finds herself under the lecherous gaze of local bully Abdelkhalik (Aymen Ben Hmida), the violent spouse of Amina’s friend Naima (Sana Ben Cheikh Larbi).
The initial scenes of the movie are peacefully realistic, showcasing the island’s enchanting beauty and the subtle charm between Shams and Habib. However, things soon become more dramatic than expected. From the start, it’s evident that Shams harbors a secret she can’t reveal to Habib, only hinting at it by saying, “I’m not like other girls.” Interestingly, Naima is privy to this secret and the two women share a hidden affection.
After revealing her secret, Shams is compelled to escape the island and seek refuge in Tunis, as her neighbors, who are unsettled by their lack of understanding, may turn hostile towards her. Seeking solace, she finds herself with Toufik (Mohamed Dahech), a Sufi practitioner who is the son of wise man Abderrahmane (Fathi Akkari). She now grapples with deciding on which gender identity to present herself as in the future.
Though it offers a partial insight into the challenges facing an intersex person like Shams, whose mother was so ashamed that that her baby had both sexual organs that she failed to register the birth, the film continually spirals into less credible, soap opera-like subplots, and leaves us craving more information about Shams’ condition. Even as Shams makes some naive and dangerous mistakes while trying to land a job, the Sufi teachings of Toufik and his father add positive lessons of love and compassion that help Shams become more grounded and confident.
The movie represents the third full-length production by director Hafaiedh, whose films (both fiction and documentaries) display a common theme of exploring marginalized groups and female sexuality. Although the script tackles controversial subjects, it intelligently chooses to imply rather than depict anything explicit or graphic.
Last year, my heartbeat made its way through the festival scene before a triumphant cinematic debut in Tunisia last November 2023. Besides the charismatic performances of Ben Ismail and Mrad, what truly sets this film apart is the exceptional cinematography by Mohamed Magrahoui, which has an extraordinary sensitivity towards light and water.
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2024-12-18 05:47