Sous les pieds des femmes
1997 Drama   
 
Credits
  • Director: Rachida Krim
  • Script: Rachida Krim, Catherine Labruyère-Colas, Jean-Luc Seigle
  • Photo: Bernard Cavalié
  • Music: Alexandre Desplat
  • Cast: Eric Atlan (Capitaine Bertrand), Mohammed Bakri (Amin 1996), Assia Barge (Samira), Guy Bedos (Le Procureur), Saïda Bekkouche (Hafida), Roland Bertin (Le Président du tribunal), Kader Boukhanef (Mourad), Safy Boutella (Addellah), Leila Bouziane (Fouzia 1958), Olivier Brunhes (Jacques), Claudia Cardinale (Aya 1996), Léa Coulanges (La Bouchère), Nadia Farès (Fouzia 1996), Hammou Graïa (Maitre Mazouz), Hassan Guerrar (Farid), Faiza Kaddour (Anissa), Bernadette Lafont (Suzanne), Bettina Lellouche (Lila), Samy Naceri (Mohammed)
  • Country: France
  • Language: French
  • Runtime: 85 min
 
 
 
Summary
Aya and Moncef are an Algerian couple who have made France their home.  In 1996, Aya is reunited with her former lover, whom she has not seen for 35 years.  Before leaving Algeria during its turbulent period in the late 1950s, Aya and her lover were active supporters of the terrorist liberation group, the FLN.   The return of her lover after so long a time forces Aya to think back on those difficult times...

Review
Sous les pieds des femmes deserves to be a compelling and insightful reflection of the Algerian crisis of the late 1950s.  The concept is sound, the script is well-written.  It even has Claudia Cardinale in the leading role.  Unfortunately, the film singularly fails to engage its audience and it feels like a drawn out history lesson, lacking poetry and humanity.  The main reason for the film’s failure is - Claudia Cardinale apart - the poor quality of the acting.  Few of the characters (notably the young Aya) are portrayed with conviction or depth.  The direction is also weak in a few places - the dramatic scenes lack spontaneity and the more intimate scenes feel cold and mechanical.  In spite of its faults, the film does offer some insight into life in Algeria in the years leading towards its independence, and some spectators will be shocked by what is shown.

© James Travers 2003


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