‘Aisha Can’t Fly Away’ Review: Buliana Simon Stuns in Morad Mostafa’s Intriguing if Uneven Immigrant Tale

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In Morad Mostafa’s compelling first film, “Aisha Can’t Fly Away,” the title encapsulates the essence of the story. It is a gripping and occasionally perplexing fusion of drama and body horror that follows the life of an African immigrant who yearns for something greater yet is unfairly treated. Despite her dreams of freedom, she finds herself trapped within harsh and oppressive conditions, much like a bird kept in captivity.

In a compelling portrayal by talented actress Buliana Simon, Aisha, a 26-year-old Sudanese immigrant caregiver living in the bustling city of Cairo, particularly in the rough neighborhood of Ain Shams, is shown tending to the elderly, managing their medications and maintaining their apartments. She frequently witnesses and narrowly escapes the chaos and violence that break out on the streets. Her primary means of safety lies in a questionable alliance with ruthless gang leader Zuka, played by rapper Ziad Zaza. The story begins with Aisha departing from the workplace at day’s end, having made a duplicate key for Zuka, as part of their ongoing arrangement: Aisha steals house keys, and Zuka ensures her protection in exchange.

In the movie “Promised Sky,” similar to “Aisha,” which debuted in Un Certain Regard at Cannes, Mostafa’s film centers around an African woman who feels disconnected and lacks opportunities on her own continent. Exasperated and frequently drained, she spends her days and nights in a sort of auto-pilot, fulfilling expectations and barely managing to survive, until her job is put at risk following an assault on one of her clients whose key she copied, during a robbery carried out by Zuka’s group. The employment agency insists that she keep her position if she agrees to move houses and become the caregiver for the unsavory Mr. Khalil (played by Mamdouh Saleh). When Aisha rejects his sexual advances and requests a transfer, her employer ignores her request, even though there have been previous complaints about him. She is forced to endure Mr. Khalil’s sexual harassment as part of her nursing responsibilities, or risk losing her job. Tragically, she submits.

As Aisha experiences an unexpected rash on her skin, the movie subtly incorporates elements of unsettling body horror into its narrative. Additionally, there are instances where Aisha encounters a threatening (at times violent) ostrich in the places she works, which seems to be a product of her imagination. It’s unclear what these fantastical scenes represent; could they symbolize Aisha’s inner transformation into an assertive and powerful bird, hinted at by the title? The deteriorating rash on her body suggests that she might be transforming into something similar to an ostrich, skillfully portrayed through impressive makeup and special effects. While these prolonged sequences are effective, they can sometimes feel overwrought and distract from the grim reality of Aisha’s situation, as the harsh realities of her predicament already speak volumes on their own.

Regardless of his shaky grasp on blending different tones and styles, Mostafa manages to masterfully depict the complex and chaotic setting of “Aisha Can’t Fly Away” through a painterly perspective, thankfully steering clear of any romanticized visuals amidst her character’s grim situation. The bustling streets, dusty paths, and densely populated city serve as the backdrop, while cinematographer Mostaga El Kashef focuses predominantly on Aisha’s face, highlighting her keen, silent observations. In a sensitive portrayal of a young woman with limited opportunities, Simon effectively communicates Aisha’s determined state of mind, dominating the screen with her piercing, unyielding gaze. The talented actor consistently amplifies and intensifies the mood of “Aisha Can’t Fly Away,” imbuing it with a chilling and perilous atmosphere.

Occasionally, the movie veers towards excessive melancholy, yet it provides moments of respite for Aisha (and viewers) by introducing underdeveloped but heartwarming side characters. One such character is a chef named Emad Ghoniem who frequently offers Aisha generous meals. Another is a friend named Maya Mohamed, who is a constant source of support in Aisha’s small circle. The film excels when it focuses closely on Aisha’s real-life challenges, while naturally incorporating the subtle acts of kindness in her life against the harsh political environment of the region. In essence, Mostafa creates an engaging and thought-provoking character study with striking images that linger, even if they sometimes overshadow the human drama at the film’s core.

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2025-05-23 03:17