A film by Philip Scheffner. In French an Arabic with German subtitles.

[Credits] [Tickets & Termine] [Trailer]

Previously acclai­med for his essay­i­stic docu­men­ta­ries, Philip Scheffner has now ven­tu­red into fic­tion. Zohra, play­ed by Rhim Ibrir, alre­a­dy fea­tured in Scheffner’s HAVARIE (Berlinale Forum 2016), is living in a town in sou­thwes­tern France. She has a seve­re case of sco­lio­sis. Volker Sattel’s came­ra­work exami­nes X‑rays, fol­lows Zohra to the hos­pi­tal and to an indoor swim­ming pool for rehab and sits right next to her or behind her on the bus. The images are crisp and floo­ded with sum­mer light, the sen­se of place and space is so pre­cise that we know each of the bus stops along her way: first Poste, then Piscine, then Europe.
When Zohra’s con­di­ti­on impro­ves, her resi­dence per­mit is not rene­wed, so she has to go back to Algeria. Her case worker shrugs his should­ers: it’s out of his hands, he says, not­hing he can do about it. A fade to black marks a tur­ning point in the sto­ry, after which the heroi­ne dis­ap­pears from view. Scheffner con­ti­nues to vary this game of the visi­ble and the invi­si­ble for a while until dream and ever­y­day rea­li­ty fuse in the sum­mer heat and gla­ring sun­light to crea­te a shim­me­ring nar­ra­ti­ve in the sub­junc­ti­ve. (Cristina Nord)


DE/FR 2022, 105 Min., Französisch, Arabisch OmU,
Regie: Philip Scheffner
Kamera: Volker Sattel.
Schnitt: Philip Scheffner

Mit: Rhim Ibrir, Thierry Cantin, Didier Cuillierier, Sadya Bekkouche

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