‘Promised Sky’ Review: Erige Sehiri Delivers a Keenly Observed Migrant Drama With a Documentarian’s Aesthetic

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The French-Tunisian director Erige Sehiri’s drama “Promised Sky,” chosen to debut in the Un Certain Regard section of the Cannes Film Festival, explores the lives of four generations of Ivorian immigrant women living in Tunisia. These women provide support and confront challenges together, sometimes feeling a sense of disorientation. The complexities of their relationships are heightened because, unlike those on an equal footing, they do not share the same socio-economic status in their new home.

As a film enthusiast, I found myself captivated by “Promised Sky,” a movie that emphasizes matriarchal bonding rather than division. Similar to the discerning documentary style in Sehiri’s previous work, “Under the Fig Trees,” we are immersed into the lives of Marie (Aïssa Maïga), Naney (Debora Lobe Naney) and Jolie (Laetitia Ky). In a heartfelt scene, they share a moment of care as they bathe a young girl together, tenderly cleaning her while trying to understand her circumstances.

Kenza (Estelle Kenza Dogbo) is the girl in question, a resilient child who seems to have defied odds by surviving a shipwreck involving migrants prior to being discovered by three women. Marie, who once worked as a journalist, now devotes her time to her community as a pastor following a decade spent in Tunisia. Intriguued by Kenza’s story and recalling her own experience with Naney – a lively, undocumented mother who had left her child behind three years ago, hoping for a brighter future for her family within Tunisia – Marie decides to offer Kenza the same hospitality she extended to Naney. Additionally, there’s Jolie, an enthusiastic student and the only documented member of this diverse group.

The film ‘Promised Sky,’ while based on real-life events, possesses an authentic and visually compelling quality due to Sehiri’s genuine perspective and Frida Marzouk’s artistic cinematography. This movie tends to evoke feelings of a complex pattern or labyrinth of emotions and scenarios, deviating from the conventional narrative structure.

In Sehiri’s narrative, it’s not about crafting a tidy tale centered around the reactions of the three women following Kenza’s sudden entrance. Instead, she portrays the characters’ lives in a way that seems disorganized and unpredictable at times, reflecting their real-life chaos. However, this seemingly chaotic approach culminates into something profound: a distinctive drama that explores the struggles of marginalized African immigrant women in Africa, rather than the typical European setting often seen in similar films.

As for me (Marie), my battle centers around offering spiritual guidance to my community, seeking fortitude and resilience through prayer, and advocating for compassion and forgiveness, all while distributing essential resources to those in need. For Naney, the daily grind is about finding ways to survive, no matter the risks, with dreams of one day bringing her child to Tunisia. Meanwhile, Jolie’s journey is guided by distinct aspirations, relying on her documented residency status within Tunisia. However, I soon discover that the country’s racism and biases don’t exempt me from their reach, despite my papers.

There are also male supporting characters, such as Marie’s unfeeling landlord Ismael (played by Mohamed Grayaâ), who exploits Marie’s limited choices by refusing to make basic improvements in her humble home. Additionally, there is Foued (portrayed by Foued Zaazaa), a friend of Naney’s from Tunisia, offering her some necessary but flawed companionship during both everyday occurrences and significant events like birthdays. Marie’s visually impaired friend Noa (played by Touré Blamassi) adds a calming influence to the narrative with his discerning wisdom and guidance for Marie. However, Sehiri overuses simplistic symbolism in portraying Noa, approaching the depiction of his disability as if it were a spiritual attribute. Unfortunately, Kenza, who is introduced abruptly, is underdeveloped by writers Sehiri, Anna Ciennik, and Malika Cécile Louati; she seems to be an afterthought in the story, and it’s almost as though they struggled to find a meaningful role for her. This overlooks the potential of a talented young actress who will leave you heartbroken with her final scene.

The film ‘Promised Sky’ showcases its power when Sehiri adopts a neorealistic approach, capturing the raw reality of street life and amplifying her documentary sensibilities. It delivers a significant impact by highlighting the global prevalence and eerie resemblance of anti-migrant sentiments. For example, in one scene, we discover that some Tunisians fabricate stories blaming migrants for eating domestic cats; this accusation sadly echoes unnervingly familiar falsehoods that were circulating in the U.S. not long ago.

The movie is equally impressive due to Naney’s poignant acting, and she delivers a heart-wrenching, attention-grabbing monologue towards the end, expressing her frustration about not finding a better life despite her tireless efforts, faith, and determination. In its most challenging scenes, “Promised Sky” promises to uphold that resilience and underdog spirit with respect and compassion.

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2025-05-15 14:46