As a cinephile who has spent years traversing the labyrinthine streets of cinema, I must admit that “Algiers” left me feeling somewhat disoriented. The film, directed by Chakib Taleb-Bendiab, is undeniably striking in its visuals and performances, but it lacked the cohesive narrative structure that I crave as a connoisseur of storytelling.
The plot, inspired by real events, revolves around the search for a missing girl in Algeria’s capital city. The tension is palpable, the characters are complex, and yet, the film feels like a puzzle with pieces that don’t quite fit together. It’s as if I walked into a dimly lit room, found a beautiful jigsaw, only to realize that someone had haphazardly thrown the pieces onto the floor.
The performances by Nabil Asli, Meriem Medjkane, and Hichem Mesbah are commendable, but their characters remain enigmatic, leaving me yearning for a deeper understanding of their motivations. The film’s thematic angles are intriguing, but they never quite gel, much like the water shortages that plague the city in the story.
In the end, I found “Algiers” to be a fascinating study of a city and its afflictions, albeit one that fails to coalesce into a fully realized portrait. It’s like ordering a gourmet meal only to find that the chef forgot the main course. Still, it served up some compelling instances that left me hungry for more – much like those protesters in the final scene, demanding access to water while the story of the missing girl fades into the background.
And now, for a bit of levity, I can’t help but wonder if the next time I order a meal, I should call ahead and ask, “Do you serve the main course with your film?” After all, as a cinephile, that’s what I crave!
One ordinary evening in a modest neighborhood of Algiers, a city in Algeria, an unusual car cruises past where several kids are playing without a care. The driver beckons a young girl to the window and forcefully drags her inside before speeding off, leaving her distraught brother watching helplessly. This unsettling event, based on true occurrences, sets the stage for “Algiers,” a film by writer-director Chakib Taleb-Bendiab, which is Algeria’s submission for the Oscars in the International Feature category. The movie, though occasionally tense and dramatically slow, is a social thriller that captures the unrest beneath the surface of everyday life in this neighborhood.
The town is already on edge due to water scarcity and a predator being present, causing angry residents to take matters into their own hands in search of the offender. Investigator Sami Sadoudi (played by Nabil Asli) and Dr. Dounia Assam (Meriem Medjkane), a psychiatrist focusing on post-traumatic stress, have contrasting methods, leading to friction between them. However, they are compelled to combine their strategies within the initial 48 hours, as the probability of finding the missing child drops significantly after that point.
From the testimony of the shaken child, Dounia quickly assumes that the culprit has probably committed similar acts before. Although her theory appears speculative at times, it’s Medjkane’s relentless determination that captivates Sadoudi. The narrative progresses due to several questionable assumptions that viewers are expected to accept without strong supporting evidence other than Dounia’s fortunate findings. It isn’t that anything completely unbelievable happens, but the way the puzzle pieces fall into place seems artificially arranged for dramatic effect. The neighbors suspect a disabled homeless man who resides in a parking lot nearby, but when this lead doesn’t produce solid results, Medjkane’s educated guesses gain more weight.
Next to Sadoudi is Khaled (Hichem Mesbah), an experienced police officer who served during Algeria’s civil war in the early 1990s and feels that authorities have the right to employ force against their opponents. This ‘righteous above-the-law’ mindset intensifies significantly as a pivotal moment approaches in the unsettling case. However, if Bendiab aimed to depict the unrest from three decades ago as the root cause of current Algerian societal issues, this interpretation might not be readily apparent – especially for those unversed in the intricacies of that period’s events. The ideological rift between Sadoudi and Khaled is perhaps most powerfully illustrated in a complex standoff with a suspected killer following a horrific discovery. Cinematographer Ikbal Arafa concentrates his lens exclusively on the eyes of the four men involved, each with their unique hopes for the outcome.
In simpler terms, “Algiers” fails to delve deeply into any particular theme it introduces, making the movie more structured than emotionally engaging, and leaving the audience unclear about the characters’ motivations. What’s lacking in “Algiers” is a thorough exploration of why this specific time and place bred a ruthless individual who could evade justice for over two decades. While there are hints as to what might be the answer, the links between these separate issues and the tragic event at the heart of the film appear weak. The lack of coherence ultimately lessens the movie’s emotional impact.
As a seasoned reader of crime novels, I find myself intrigued by Bendiab’s protagonists whose enigmatic nature adds an air of mystery to the narrative. However, I often find myself left wanting more information about their personal histories and personalities, which are only hinted at but never fully explored. Medjkane’s performance as one of these characters is captivating, and her portrayal of a person grappling with the weight of a recent attack and the loss of her father adds depth to the story. Yet, the revelation of these personal struggles feels too hastily disclosed, making it difficult for me to fully understand and empathize with her character’s resolve.
On the other hand, Asli’s portrayal of Sadoudi is more elusive, with only brief references to “The Art of War” and criticisms of the law enforcement establishment. While I can sense that his irritable demeanor may be due to the stresses of working in a chaotic city, there is little else to glean from his behavior. As a former police officer myself, I understand the pressures of the job, but I would have appreciated more insight into what makes Asli’s character tick.
Khaled’s eagerness to leave the force and make his own rules comes across as radical, but it also feels authentic given the circumstances of the story. As someone who has worked in a similar field, I can appreciate the desire for autonomy and the need to challenge the status quo. However, I would have liked to see more development of Khaled’s character beyond just his rebellious streak.
Overall, while there is much to enjoy about Bendiab’s novel, I found myself wanting a deeper understanding of the characters and their motivations. The enigmatic nature of the protagonists adds an air of mystery, but it can also leave readers feeling frustrated and unsatisfied if they are not given enough information to connect with the characters on a personal level.
In addressing one of the film “Algiers”‘ flaws, Bendiab fails to revisit the girl’s brother or the woman caring for them, nor does it explore the identities of other suspects and their involvement in the crime. Instead, the movie resorts to Dounia’s heroics to provide a tidy resolution that seems unmerited. Towards the end, as Sami and Dounia venture into the night, crowds of protesters amass, calling for water access. It is here where Bendiab manages to portray an intriguing truth about urban landscapes: The story of the missing child is just one among countless others in this intricate setting, and for many, it will remain unacknowledged. However, despite some powerful moments, “Algiers” ultimately falls short of creating a significant depiction of the city and its struggles.
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2024-12-30 13:18