Satin Rouge

All I heard about this film was that it was from Tunisia. Nothing prepared me for a delightful trip into the cabarets and clubs where this ancient art is practiced.

Director Raja Amari has created the right atmosphere for this little film that is far better than some multi-million dollar duds. Probably the whole budget of this film would have only bought a couple of props in a Hollywood blockbuster.

The story is very sweet. Lilia, played with great charm by Hiyam Abbas, strikes the right note and makes the film work. The relationship between Lilia and Salma, the daughter, is strained. Lilia is not only beautiful, but she's full of life. She discovers the world of dancing with the help of a charming array of down to earth dancers who take her into their realm. They show her how to open up and regain a life that has been cut short by the death of her husband.

Lilia transforms herself into our eyes and all we can think is to shout at her to do her thing, enjoy life to the fullest.

A very satisfying time at the movies.

As a gay man, I feel that "Satin Rouge" has a very gay sensibility. Anyone who has ever braved society's strictures to come out of the closet will have a visceral understanding of what Lilia goes through as she voyages from the purdah of widowhood to the freedom of belly dancing in a cabaret.

I kept wondering how "Satin Rouge" would look and feel if the film had been made by another director in another country. Specifically, I found "Satin Rouge" and its characters very reminiscent of Pedro Almodovar (whose work also has a gay sensibility). If the film had been made in the United States, it would probably have to have a gay male lead character coming out into drag. I really can't compare the belly dancers of Tunisia -- at least as they are presented in "Satin Rouge" to anything other than American drag queens. To have the main character take up stripping in a nightclub, or hooking on the streets, would not be at all the same.

In any case, "Satin Rouge" kept my interest up right to the very end. It was the kind of movie that could have gone either of two ways. It could have ended both comically and tragically. There are certainly laughs along the way, but some of them were nervous laughs. I won't spoil your viewing pleasure by telling you how the movie finally turns out.

If you have a fondness of belly dancers like I do me, than this is an excellent movie. This movie has a perfect presentation of belly dancing in the Middle Eastern world. To me belly dancing is more than just a dance. It is a beautiful culture. Belly dancing is glamorous, sensual and mysterious. Belly dancers where such beautiful costumes and have such beautiful and sensual movements movements. That is why belly dancers are sometimes called "The flowers of the desert".

This movie is about Lilia a depressed single mother and widow with a teenage daughter. One night Lilia who one night walks into a cabaret where belly dancers perform. Lilia befriends one of the dancers. Lilia tries one a belly dance costume and the belly dancer that Lilia has befriended talks her into performing at the cabaret and Lilia becomes one of the regular belly dance performers. Lilia is also able to relieve herself of her melancholy by letting herself go.

So this film shows that belly dancing can have great mental benefits as well as great physical benefits. So if you like belly dancers than I certainly recommend this movie.

Another female-centric movie which is somewhat Karmen Gaei meets Sirens. Karmen Gaei being a similarly African film with long sequences of song-and-dance, and Sirens being a middle-aged woman who discovers new found sexuality within her.

This movie starts off somewhat languidly, and lulls you into a sleepy mood. The main protaganist, Lilia, a beautiful widow, goes about her sheltered life comfortably. Everyday she goes to the market, chats on the phone and fusses over her daughter, much to the latter's chargrin. She entombs herself with memories of her late husband together in the apartment. In one of her many quests to control her daughter, she accidentally stumbles onto a cabarat a few streets from her house. Ever so slowly, the movie merges her mundane world with the frenzy of the cabarat world. The cabarat has an irresistable charm, with its incessant drumbeats, and riots of colours that draw people like flies to the light. And that is what happens to Lilia. To the rest of us, it is a breath of fresh air. Unfortunately, just like Karmen Gaei, the song-and-dance sequence goes on for far too long for non-africans. The terrible pacing, which is a blasphemy in the western world of CGI and action, snuffs out whatever interest is left of the viewer.

The one good saving point of this movie is the portrayal of Tunisian society. The titanic struggle between secularism and Islam, the east and west, the young and old, conservatism and liberation, threatens to boil over at some point, but they never do. Somehow the Tunisian society resolve these issues much more elegantly than say, more fundamentalist Muslim countries like Saudi Arabia or Egypt.

Watching this movie makes me feel I've just been to the modern city of Tunis to pay a visit to a boring aunt for the weekend.

Rating : 5.0

As a 29 year old woman from Tunisia, I am satisfied and even proud of this movie. Here is another Tunisian movie that portrays Tunisian woman as liberated from the traditions, the religion, the social conformism, as opposed to women in some other Arabic/Muslim countries. I am excited to know that this movie has an international success. Hopefully, this will change people's prejudice about the society and the the situation of women in North Africa and the middle East. (by the way, Tunisia is in North Africa, not the middle East).