As a follower and film enthusiast with a deep appreciation for stories that resonate, I find “Red Path” to be a profoundly moving piece of cinema. The film’s ability to delve into the raw emotions and experiences of a child, particularly 14-year-old Ashraf, in the face of unimaginable violence, is nothing short of remarkable.
In November 2015, a shockingly brutal crime occurred in the economically struggling region of Mghila Mountain, Tunisia. A extremist group viciously assaulted two young shepherds, resulting in one’s death and compelling the other to transport a bloody message to his family. This true event served as the basis for Lotfi Achour‘s gripping drama “Red Path,” which was showcased during the Meet the Neighbors competition at the Thessaloniki Film Festival.
Initially, Achour thought it was best to postpone creating a movie based on this narrative, believing he needed more time and emotional distance. However, when the second brother met a similar fate after a year and a half, it rekindled his desire to speak out about it as these were no longer solitary crimes but deliberate actions by extremists. From that point, Achour became fixated on producing this film.
“The Red Journey
The director explained that what initially captivated him was the intriguing question of childhood amidst such horrific brutality, which led to his choice to focus the film through Ashraf’s perspective. He pondered over the thoughts that might have been in Ashraf’s mind as he descended the mountain on his own. What truly fascinated him wasn’t those responsible for the violence, but rather the impact of such actions on a child.
Paying attention to the internal universe of a child helped clarify the movie’s style for Achour and his crew. As the director stated, a child’s perception of death varies significantly from that of an adult, and “the lines separating reality from imagination are frequently hazy and more easily shattered.
From the initial scenes following his cousin’s demise, Ashraf remains unsettled and unprocessed about the death. It hasn’t become a definite reality for him yet, quite the contrary. So, in Ashraf’s perspective, his cousin’s presence – both physically and metaphorically – continues to be viable, similar to how one might still sense or hear from someone they’ve recently lost.
Achour, a skilled writer, director, and producer from Tunisia with over 25 theatrical productions and numerous short films like “La laine sur le dos,” which was even entered into Cannes competition, has considerable experience working with child and young actors. The casting for “Red Path” lasted nearly a year and attracted over 500 teenagers vying for the three leading roles. This extensive search took place solely in rural regions, primarily secondary schools, as well as including students who had left school – a significant issue in rural Tunisia.
For several months, we traveled through the heartland of Tunisia, conducting acting workshops with groups of 20 individuals. After each session, there was a selection process. This extended period not only served as our actors’ training ground but also helped me understand the movie’s central theme,” Achour explained, further mentioning that Hleli was one of the first boys they encountered and stood out to the team as an ideal candidate from the very start.
Ahmed (Achour) is eager to clarify that Hleli’s captivating acting isn’t just a product of youthful exuberance, but rather the outcome of “extensive preparations aimed at developing his character.” He further explains that the team spent lengthy rehearsal periods and filmed on real sets, allowing them to “arrive on set with a clear understanding of our respective roles.” The film was shot in the Kef region, located in northwest Tunisia near the Algerian border.
Regarding the interwoven narrative showcasing the blossoming relationship between Ashraf and his friend Rahma, Achour expressed his intention to infuse “a hint of optimism and affection into the movie, as well as introduce layers, such as the intricacies of emotions at adolescence and the emergence of a particular sensuality.
It’s captivating to notice how, when they both lose their cherished friend, Rahma and Ashraf seem to find solace in falling in love. It appears as though this romantic connection serves as a means for them to remember him, and it’s so moving that I can’t help but wish to amplify the charm of their relationship and the intensity of their emotions.
Discussing the present situation of Tunisian cinema, Achour expressed his belief that we’re experiencing a marvelous phase due to the appearance of authentic personalities who are forging their unique styles. Kaouther Ben Hania’s historic two Oscar nominations in under five years serve as a testament to this flourishing period.
As a filmmaker, I find solace in the presence of true auteurs, each crafting their unique cinematic worlds apart from one another. This variety offers me optimism, even amidst the challenges that come with producing bold and ambitious films.
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2024-11-12 03:17