‘Where the Wind Comes From’ Director on ‘Defying Orientalism’ With Tunisian Sundance Comedy: ‘People Want to See Belly Dancing and Mosques’ (EXCLUSIVE)

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Park City, blanketed with snow, seems a stark contrast to Tunis, where Amel Guellaty filmed her first feature “Where the Wind Comes From,” which screened at Sundance within the World Cinema Dramatic Competition category. The physical voyage experienced by the film’s primary characters, Alyssa (Eya Bellagha) and Mehdi (Slim Baccar), mirrors in a way their own journey, as they set out on an adventurous road trip aimed at attending an artist competition that holds the potential to provide them with an opportunity to depart from their home country for a life in Europe.

In a conversation with EbMaster, the filmmaker-once-a-photographer expressed that Sundance had long been her cherished dream festival. “Whenever I spot the Sundance laurels on a movie poster,” she shared, “I know it’s going to be a film I’ll enjoy, so I couldn’t help but feel astonished when I was accepted.” The premiere holds an extra dash of thrill for Guellaty: this is the first time her main actors will encounter snow. “They’re almost as eager about that experience,” she quips playfully.

The narrative revolves around a boy and a girl who remain inseparable since childhood, consistently resisting the pressures from their peers and relatives for their relationship to become romantic. This idea originated with Guellaty some time ago, well before she began producing her short films “Black Mamba” and “Chitana.” As she explains, “I had a strong desire to create a story about a bond between a boy and a girl. I found it to be such a prevalent connection in my personal experiences.

During my teenage years and early twenties, I found myself in the company of many male peers,” explains the director. “Over time, I formed strong emotional bonds with them. People would often wonder why I didn’t date, even my parents questioned if my friends were my romantic partners. However, it never felt strange to me. These friends were a constant presence in my life, and perhaps due to the limited communication between men, it was simpler for me to share deeply with a trusted female friend.

In my perspective as a movie enthusiast, Guellaty’s “Where the Wind Comes From” offers an intriguing exploration of a unique and less-portrayed bond – an intense, non-sexual relationship that resonates deeply. The filmmaker’s intent here is twofold: first, to shed light on such relationships seldom depicted in cinema; second, to pay tribute to the vibrant Tunisian youth, whom she regards as one of the most captivating global demographics.

She expresses her deep affection for this phase of existence. During your twenties, it seems as if you could alter the course of the world, while in your thirties, it increasingly appears that there’s little you can accomplish. The Tunisian youth is intriguing; they embody both Arab and Islamic traditions yet exhibit a progressive outlook, creating a fascinating contradiction. They have an affinity for art, and it was they who ignited the revolution a decade ago,” she explains.

Despite her sadness, it was consistently disheartening for the director to hear that, regardless of their background, young adults in Tunisia expressed a desire to emigrate. They seemed to share a sense of hopelessness, feeling unable to build a future within their homeland. It’s heart-wrenching to see such vibrant youth marred by despair.

Yet, she preferred her initial movie release not to be categorized as a “grim drama,” given the vibrant and humorous individuals she frequently observed in her surroundings. To truly reflect this, Guellaty opted to turn her film into a comedy, while integrating various genre aspects – even incorporating brief, dreamlike interludes scattered throughout the production.

She explains that these sequences hold a deeply personal significance for her, as they serve as a means to alleviate her anxiety and stress through her unique imaginative abilities. Her imagination may not be poetic in nature, but she felt it was crucial to include this aspect in her film because she believes everyone possesses some form of imagination. Moreover, she sees the shared imagination of the characters as an additional bond between them, enhancing their friendship by providing another layer of complexity.

Guellaty argues that his playful exploration of form and storyline challenges Western viewers’ preconceptions about what a Tunisian film should be. He remarks, “Often, people expect films from Tunisia to feature belly dancing and mosques. However, I was told in Rome that one of my short films didn’t seem Tunisian. But what is a ‘Tunisian movie’? What defines an Italian or French film? These labels don’t make sense. Some people enjoy orientalist depictions with women portrayed as struggling and oppressed. This is the stereotype the world adores. Instead, I aimed to create something different. My female character is strong, while my male character is more sensitive.

Regarding the current state of Tunisian cinema, particularly after Kaouther Ben Hania’s groundbreaking double Oscar nomination last year for “Four Daughters” – a first for any Arab woman in this category – Guellaty expresses a profound sense of honor and satisfaction.

She mentions that there’s an exciting crop of directors currently emerging, all of whom she respects deeply. Each year, it seems like one of their films is showcased at either Berlin or Cannes Film Festival. When her work was selected for Sundance, she felt as though she had been welcomed into this esteemed group and couldn’t have been more thrilled. This new generation is sharing stories from their unique perspectives, moving beyond stereotypes often associated with Orientalism. It’s no longer just Arab cinema; it’s a reflection of the current wave. She feels incredibly proud to be part of this new generation.

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2025-01-26 19:47