Tag Archives: movie-review

Rachida: Hope among despair

by Vanessa Rivera & Lucia Villanustreby

In Algerian cinema, few films have managed to paint a picture as vivid and heartwrenching as Rachida, Directed by Yamina Bachir, the film navigates through the tumultuous landscape of Algeria in the 1990s, a time marred by extreme violence and societal upheaval. Rachida stands as a beacon of storytelling and the film ventures into the heart of societal upheaval and personal turmoil. Rachida, a young schoolteacher, serves as the embodiment of resilience and grit amidst chaos. At the heart of this narrative is Rachida, whose ordinary life is brutally interrupted by a terrorist attack, forcing her into a journey of survival, identity, and resilience. This blog aims to delve into the intricate layers of conflict and personal struggle depicted in the film, exploring not just the socio-political commentary but also the profound human emotions that resonate with viewers globally. 

The opening scenes of Rachida establish a serene, almost idyllic setting, creating a stark contrast to the undercurrents of fear and tension that permeate the society. The ordinary life of Rachida, played with compelling authenticity by Ibtissem Djouadi, is shattered when she is confronted by terrorists demanding she plant a bomb in her school. Her refusal, an act of sheer bravery and moral fortitude, sets the tone for the rest of the film. This moment propels the narrative forward, plunging Rachida and the audience into the harrowing realities of a country ravaged by internal conflict.

As Rachida’s journey unfolds, the film meticulously portrays the psychological and physical landscapes she navigates. After surviving a brutal attack, Rachida’s world is irrevocably changed. She finds herself displaced, moving from the bustling streets of Algiera to the remote countryside. This transition from urban to rural settings is not just a change of scenery; it symbolizes Rachida’s transition from a life of normalcy to one of survival. The contrast between the two environments serves as a poignant backdrop to the internal turmoil experienced by Rachida and those around her.

One of the most compelling aspects of Rachida is its unflinching portrayal of the impact of terrorism on ordinary lives. Through the eyes of Rachida, the audience is confronted with the harsh reality of living under the shadow of constant threat. The film does not shy away from depicting the brutality of the violence, nor does it romanticize the suffering of its characters. Instead, it presents a raw, unvarnished look at the physical and emotional scars left by such violence. The film also delves into the themes of resilience and hope amidst despair. Despite the atrocities she faces, Rachida’s spirit remains unbroken. This resilience is mirrored in the characters around her, particularly the women, who are depicted as pillars of strength and endurance. Through these portrayals, the film pays tribute to the silent resilience of women who bear the brunt of conflict but continue to hold their families and communities together.

In dissecting Rachida, it is impossible to overlook the cinematographic choices that enhance the storytelling. The use of natural lighting, close-up shots, and the stark contrast between the vibrant cityscape and the desolate countryside all contribute to the film’s emotional depth and realism. When the audience looks closely at how Rachida was filmed, it is clear that every little detail was carefully thought out to make the story even more powerful. For example, the natural lighting does not just show us what things look like, it also represents the small bit of hope that shines through even in difficult times. Close-up shots let us see the characters’ feelings up close, so the audience gets to understand what they are going through. And when we see the busy city scenes compared to the quiet countryside, it reminds the audience of the big difference between city chaos and peaceful country life. These elements not only serve to heighten the sense of immediacy and intimacy but also to underscore the film’s underlying themes of contrast: between peace and violence, hope and despair, and life and death.

Expanding further on the exploration of Rachida, it is important to dive deeper into the socio-political context that underlines the narrative. Algeria in the 1990s was a nation struggling with the aftermath of a civil war and a surge of Islamist insurgency. Against this historical background, Rachida serves as a heartfelt reflection of how the conflict had affected people. The character of Rachida embodies the collective trauma experienced by ordinary Algerians caught in the crossfire of ideological strife. Her journey from innocence to experience shows the nation’s transition from stability to chaos. The film offers a nuanced portrayal of the complexities of identity in a society torn apart by violence. Rachida’s refusal to comply with the terrorists’ demands showcases her moral integrity as well as underscores her unwavering sense of self. In a place where people change their loyalties often and it is hard to trust anyone, Rachida’s determination inspires everyone who knows her. 

Another aspect worth exploring is the role of education as a beacon of hope during turmoil. As a schoolteacher, Rachida embodies the transformative power of knowledge and enlightenment. Despite the dangers lurking outside the confines of her classroom, Rachida remains committed to nurturing the minds of her students, instilling in them the values of compassion, tolerance, and resilience. Additionally, Rachida shines a light on how communities stay strong in adversity. Beyond Rachida herself, the film portrays a diverse array of characters dealing with the consequences of violence. From Rachida’s mother staying strong, to women supporting each other through tough times, the film highlights how people can overcome even the hardest challenges. 

In conclusion, Rachida is a film that goes beyond the confines of traditional cinema to offer a nuanced and deep exploration of identity, resilience, and hope. With its interesting story, well-developed characters, and beautiful cinematography, the film leaves an impression on viewers, prompting reflection on the universal themes of courage, morality, and strength found within people. As Algeria continues its journey of healing and reconciliation, Rachida stands as an important reminder that even in hard times, there is always hope. 

Corruption, Women, and Stereotypes in Hiya Fawda

By Gracie Garrison

The film Hiya Fawda, Arabic for “It is Chaos,” truly earns the meaning of its title.
Directed by Youssef Chahine and Khaled Youssef, Hiya Fawda is a commentary on the corrupt
government and police systems in Egypt. Director Chahine is quoted by The Columbia Dispatch
stating that the film “is not about torture, it’s about the repression and corruption that prevail in the Egyptian authority.” Its major themes reflect Egypt’s political situation at the time, while also posing a commentary on the strength of the women in that society. The depiction of Egyptian culture throughout the film also works to combat common Hollywood stereotypes of Arab nations, namely portraying them as ‘desert people’ with the lack of cultural advancement.
Hiya Fawda’s central purpose as a text works to reveal the corruption that can stem from
‘one bad apple’ within an institution. The opening scene of the film features protests in the
streets, as police lock away protesters for no lawful reason. The almost-likable villain, Hatem, is
the personified representation of this police corruption and brutality. He ravages the town, taking advantage of his powerful position by taking money for ‘favors,’ as well as locking away anyone that he wishes without lawful reason. His control and influence not only over the town, but within the police force, allows him to act as he pleases, as seen in his dungeon of hidden
prisoners as well as his violent beating and torture of the prisoners. Gordon states that Hatem
“presents the real rot of society” (107). He shows how one ‘bad apple’ within an institution, can
bring so much harm to society.


The main female characters in Hiya Fawda, portray feminine resilience and strength.
Nour, a teacher at the school, longs for her headmistress Widad’s son, Sharif. However, Nour is
sought out by Hatem, who has an unhealthy obsession with her. Nour rejects Hatem over and
over again, never giving into his perverted charms. However, Hatem tricked Nour and
subsequently abducted her, he then beat her senseless and proceeded to rape her. Nonetheless, when Nour awoke, she picked herself up, and figured out how to get home. When Widad and Nour’s mother understood the gravity of the situation, they later led a riot in the streets to go and capture Nour’s rapist, capitalizing on the town’s hate for Hatem. For women to be leaders of this riot is significant, revealing their strength throughout the film.


Throughout Hiya Fawda, typical Hollywood stereotypes of Arab cultures are combated.
The thriving cinema scene in Egypt was originally coined the “Hollywood of the Orient,” as
stated by Schochat (23). Yet, as seen in Hiya Fawda, typical stereotypes of ‘desert people’ as
portrayed in the West, are discredited. Themes of Western culture are not borrowed, and
Egyptian identity is established. Widad’s role as a respected mother for Sharif resembles family
cultures and values in the society. Also, Sharif’s girlfriend can also be seen as a representation of Western culture. Her short skirts, promiscuous lifestyle, and disrespectful attitude could be
attributed to views of the West (Marshall). Hiya Fawda combats stereotypes and creates its own
narrative culture.


Works Cited
“Chaos, This Is.” IMDb, IMDb.com, 28 Nov. 2007, http://www.imdb.com/title/tt1085799/.
Hiya Fawda. Directed by Yousef Chahine and Khaled Youssef, 2007.
Joel Gordon. “Chahine, Chaos and Cinema: A Revolutionary Coda.” Bustan: The Middle East
Book Review, vol. 4, no. 2, 2013, pp. 99–112. JSTOR, https://doi.org/10.1163/18785328-
13040201.
Marshall, Lee. “Chaos (Heya Fawda).” Screen, 11 Sept. 2007, http://www.screendaily.com/chaosheya-fawda/4034520.article.
Schochat, Ella. “Egypt: Cinema and Revolution.” Critical Arts 2 (1983): 22-32.
Staff Writer. “New Film Exposes Abuses by Police.” The Columbus Dispatch, The Columbus
Dispatch, 27 Jan. 2008, http://www.dispatch.com/story/news/2008/01/27/new-film-exposesabuses-by/23340236007/.