As a seasoned movie buff with a penchant for stories that delve deep into human complexities, I must say that “Moon” has left quite an impression on me. Hailing from the same directorial lineage as Kurdwin Ayub’s “Sun,” this film offers a unique blend of culture, power dynamics, and the struggle for identity – a captivating cocktail that I found myself utterly immersed in.
In two contrasting settings, “Moon,” the second film by Iraq-born Austrian director Kurdwin Ayub (“Sun”), delves into the story of a mixed martial arts fighter who has reached the end of her competitive journey. Struggling for opportunities in her small Austrian town, she takes a temporary job coaching the daughters of a wealthy yet questionable Jordanian family. Although some viewers may find the numerous pauses frustrating, others will appreciate the atmosphere Ayub creates and the way she challenges audience perceptions. The film won a special jury prize at the Locarno competition and garnered recognition from independent film critics. It is expected to receive attention in future festivals as well.
Following my latest bout in the MMA ring that left me battered and vanquished, I, much like Sarah (Florentina Holzinger), found myself plunged into a deep despair. My life had revolved around training and competition, but now, I was lost, struggling to find purpose in a world without the cage.
Sarah begins teaching boxing classes at a local fitness center, but finds that her intense training regimen isn’t suitable for beginners who just want to wear boxing gloves and appear trendy. Her upper-class older sister Bea (Tanya Ivankovic), a new mom, advises her to create a business plan; however, Sarah opts to accept a job offer from wealthy Arab entrepreneur Abdul (Omar Almajali). This unexpected opportunity takes her away from her current pressures and into the realm of the affluent Middle Eastern elite, which comes with its own challenges, particularly for young, unmarried women.
It quickly becomes apparent that Sarah neglected to thoroughly research the country, its traditions, and her employers’ family beforehand. Every day, she is driven to a luxurious but secluded villa on the outskirts of Amman, where she encounters the three Al Farahadi sisters she is supposed to tutor – Nour (Andria Tayeh), Shaima (Nagham Abu Baker), and Fatima (Celina Antwan). However, these sisters appear unusually lethargic. They seldom leave their home except for escorted outings to the mall, and they don’t even have internet access. Homeschooled with a staff of maids attending to them and under almost constant supervision, they spend most of their time applying makeup, watching soap operas, or performing their prayers, leaving little else to occupy themselves.
As Sarah starts posing queries, not only to the girls but also to the hotel staff, the seemingly minor acts of cruelty that had puzzled her earlier take on a more heart-rending significance.
In parts of the movie, it seems a bit awkward, especially when Sarah repeatedly ventures to the forbidden section of the villa, despite the distress this causes and the threatening glances she gets from the Al Farahadi steward (Amar Odeh). Yet, the dynamics between the sisters and their interactions with Sarah are well-portrayed. The film’s lone humorous scene comes when the excessively make-up-obsessed Fatima attempts to manipulate Sarah like a real doll.
Regardless of their location, cages serve as the recurring motif in Ayub’s script. She delves into both the literal and symbolic confinements that someone may yearn to escape from and those they might long to reenter.
As a novice film actor, Holzinger – who’s renowned for her physical prowess yet not overly empathetic – masterfully portrays a foreigner struggling to find her footing. The female cast from Jordan tug at your heartstrings. Klemens Hufnagl’s skillful cinematography, the man behind the camera in Sudabeh Mortezai’s “Joy” and “Europa”, maintains a close-up on me while subtly highlighting the stark contrast between Austria and Jordan.
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2024-08-22 06:16