It was the summer of 82, when a priest, about to be ordained, was exhausted by temptations and an arrogant girl felt passionately in love... A sifted memory and a personal history of a narra... Read allIt was the summer of 82, when a priest, about to be ordained, was exhausted by temptations and an arrogant girl felt passionately in love... A sifted memory and a personal history of a narrator who tells with nostalgia and poetry the meeting of his parents until their marriage...It was the summer of 82, when a priest, about to be ordained, was exhausted by temptations and an arrogant girl felt passionately in love... A sifted memory and a personal history of a narrator who tells with nostalgia and poetry the meeting of his parents until their marriage...
- Awards
- 5 wins & 2 nominations total
Diamand Abou Abboud
- La Danseuse
- (as Diamand Bou Abboud)
Antoine Balaban
- Abou Ziad
- (as Antoine Balabane)
Seham Haddad
- Oum Amer
- (as Sihame Haddad)
Featured reviews
Choosing to see Tannoura Maxi is one of the easiest choices there is to make, if you are as crazy as I am about Visual Storytelling.
Nowadays, there is so much emphasis on verbal communication in modern cinema; the audience has lost their ability to indulge in beautiful visual communication, where the story unfolds in front of your eyes rather than inside your ears.
There is much to say about the well composed film that takes a rather daring step towards projecting the essence of chemistry, and love between two people.
The film explores the undying tension, the untamed desire, and the seduction that draws from lust, in a time of war, pain, and grief.
It was quite a surprise going inside every character's persona in that personal way, where the audience feels much like a trespasser inside a person's head, hearing about their inmost flaws, wants, and needs. It elevates the movie into becoming somewhat of a private diary, unveiling itself slowly as the movie gradually comes to an end; where you finally find yourself relating towards this character rather than that, or the other rather than this; that's how personal it gets.
The music was as beautiful as the breathtaking images that resemble hand drawn memories.
The sound design was well crafted, and the era which the film took place was loyal to what it represents.
All and All, I'd say the movie sends me off to two places. One, it certainly takes me to a place of warmth, love, and struggle. Two, it takes me into the deviated mind of a curious little boy, who had the love to make some of the images inside his head for the public to see.
And my mom always wore heals too, even when going to get water from the well.
Nowadays, there is so much emphasis on verbal communication in modern cinema; the audience has lost their ability to indulge in beautiful visual communication, where the story unfolds in front of your eyes rather than inside your ears.
There is much to say about the well composed film that takes a rather daring step towards projecting the essence of chemistry, and love between two people.
The film explores the undying tension, the untamed desire, and the seduction that draws from lust, in a time of war, pain, and grief.
It was quite a surprise going inside every character's persona in that personal way, where the audience feels much like a trespasser inside a person's head, hearing about their inmost flaws, wants, and needs. It elevates the movie into becoming somewhat of a private diary, unveiling itself slowly as the movie gradually comes to an end; where you finally find yourself relating towards this character rather than that, or the other rather than this; that's how personal it gets.
The music was as beautiful as the breathtaking images that resemble hand drawn memories.
The sound design was well crafted, and the era which the film took place was loyal to what it represents.
All and All, I'd say the movie sends me off to two places. One, it certainly takes me to a place of warmth, love, and struggle. Two, it takes me into the deviated mind of a curious little boy, who had the love to make some of the images inside his head for the public to see.
And my mom always wore heals too, even when going to get water from the well.
A movie that gave me the desire to love, to think, to write about its small hidden and so interesting layers
A narrator who has decided to peek through door locks more specifically the one belonging to his parent's room. Idols who become puppets, manipulated by the hands of their own descendant. He digs into their privacy without restraint. He broadcasts their little secret with good conscience, and sometimes unconsciously
Between the sacred and the profane, a sewing machine is in the act of stitching a hatching memory, a memory that seeks guiding points, among his toys, his photo albums, and his music box
A memory of a child that arrogantly decides to exist before the meeting of his own parents, to even achieve attending their own marriage, to organize it, design it, imagine it, to film it and above all to be put face to face with a camera that denudes, that unveils, that penetrates the absolute intimacy. The time machine will equate the 'sewing machine' that runs just as a negative roll would. A sewing machine with a series of Christmas lanterns that certainly served the small and old trees of grandmothers or old cousins decorating the plateau of an intimate shooting.
A child playing with the heels of his mother, who dances in her studio What's in those boxes? Is it beads or buttons? Small toys or forgotten photo albums? Scissors? A story board? A magazine of 82, Catherine Deneuve on the cover, existed on the set of that memory box, in the studio of a narrator who exhibits himself.
A real charming emotional movie to be definitely seen more than once Eager to watch it again with in Italy in the very near future I hope.
A narrator who has decided to peek through door locks more specifically the one belonging to his parent's room. Idols who become puppets, manipulated by the hands of their own descendant. He digs into their privacy without restraint. He broadcasts their little secret with good conscience, and sometimes unconsciously
Between the sacred and the profane, a sewing machine is in the act of stitching a hatching memory, a memory that seeks guiding points, among his toys, his photo albums, and his music box
A memory of a child that arrogantly decides to exist before the meeting of his own parents, to even achieve attending their own marriage, to organize it, design it, imagine it, to film it and above all to be put face to face with a camera that denudes, that unveils, that penetrates the absolute intimacy. The time machine will equate the 'sewing machine' that runs just as a negative roll would. A sewing machine with a series of Christmas lanterns that certainly served the small and old trees of grandmothers or old cousins decorating the plateau of an intimate shooting.
A child playing with the heels of his mother, who dances in her studio What's in those boxes? Is it beads or buttons? Small toys or forgotten photo albums? Scissors? A story board? A magazine of 82, Catherine Deneuve on the cover, existed on the set of that memory box, in the studio of a narrator who exhibits himself.
A real charming emotional movie to be definitely seen more than once Eager to watch it again with in Italy in the very near future I hope.
When personal parentheses open, they give time for meditation, imagination
A powerful movie that leads to a real reflection in a period where movies are just an entertainment tool for pop corn grabber...
The images that remains in your head after watching this movie gives you pleasure even more than the moment you are watching it An aesthetic based on the slow images at times but also on careful framing and cutting related to the emotion felt by the characters or the viewers themselves.
The thrust of aesthetics and film structure sent the film in certain moments, to a meditative- contemplative level, on a journey through time in an imaginary space ... From here, the relation between memory and the unreal create themes that justify the modern treatment sometimes.
The first intention was to confront the viewer with a film about a true story reproduced by the imagination of a child narrating it in his own way. In storytelling, the genre 'tale' is revealed and the desire to keep a sensational spell, threw me without feeling in the romantics and particularly the colorful poetry.
An unexpected avant-guard treatment for a movie done with a lot of bravery, for a First Film signed by its director...
The images that remains in your head after watching this movie gives you pleasure even more than the moment you are watching it An aesthetic based on the slow images at times but also on careful framing and cutting related to the emotion felt by the characters or the viewers themselves.
The thrust of aesthetics and film structure sent the film in certain moments, to a meditative- contemplative level, on a journey through time in an imaginary space ... From here, the relation between memory and the unreal create themes that justify the modern treatment sometimes.
The first intention was to confront the viewer with a film about a true story reproduced by the imagination of a child narrating it in his own way. In storytelling, the genre 'tale' is revealed and the desire to keep a sensational spell, threw me without feeling in the romantics and particularly the colorful poetry.
An unexpected avant-guard treatment for a movie done with a lot of bravery, for a First Film signed by its director...
I have just watched Tannoura Maxi, All I have to say is Wow! Coming from a MIddle Eastern background myself I have deeply been touched by this movie. The storyline, is realistic as can be, I felt like I was living every moment. From beginning to end I was captured, the scenery was excellent,I loved the vivid sets that hold true to Lebanon's beauty, the characters, the sublime humor and of course who can forget the unforgettable Love story in between the two main characters!
This movie holds true to its roots and storyline, it is a must watch for anyone who is from the middle east or anywhere in the world! If you are interested in viewing a truly organic love story, this is the movie for you!
Love!
This movie holds true to its roots and storyline, it is a must watch for anyone who is from the middle east or anywhere in the world! If you are interested in viewing a truly organic love story, this is the movie for you!
Love!
I am in love with every single frame of this movie
Just inspiring, just leading to true reflexion
One of its kind in its artistic and esthetic's choices.. Poetry from the beginning till the end, with a new way of interpretation that no other Lebanese Director had the courage to do it this way.
From The opening scene, which begins with a bucket of water and ends with the house, we can feel an opening to an antique village, a heritage, a country, to Lebanon. This house of the past is revisited by actors that become characters; aliens that morph into the skin of those most familiar. This space becomes, throughout the film, a place of meeting; meeting with the past; meeting of the real with the imaginary.
The child during the film creates a kind of brackets. He concludes a life cycle: we return to the same space that of which we came out of, but certainly with modification, with change. The final jump the child takes sends him to new territories, towards a new discovery, a new infinity, a new virtual imaginary space, a new film. Memory reaps nothing but the harvest of interference. One throws himself into the past, tries to imagine his future, and creates a present that one overlooks relentlessly. The film that doesn't lack traveling in, makes absence to traveling back, except for two critical moments: the opening scene and the end shot. At the beginning, when the camera starts backing out from the close up of the mother, it reveals the entire scene of Childbirth, bringing all the characters close around, one next to the other, until the baby's delivery. The camera here draws the path of the newborn's journey to the outside world. The child comes out and is liberated; the camera also moves away to better simulate the situation. It is liberated from the real story and becomes the camera that will weave just as a sewing machine would, its own film.
The controversial issues that this movie talked about is so deep and true to a point it really frustrated some parts of closed societies who ask for censorship
I give all my respect to this piece of art.
From The opening scene, which begins with a bucket of water and ends with the house, we can feel an opening to an antique village, a heritage, a country, to Lebanon. This house of the past is revisited by actors that become characters; aliens that morph into the skin of those most familiar. This space becomes, throughout the film, a place of meeting; meeting with the past; meeting of the real with the imaginary.
The child during the film creates a kind of brackets. He concludes a life cycle: we return to the same space that of which we came out of, but certainly with modification, with change. The final jump the child takes sends him to new territories, towards a new discovery, a new infinity, a new virtual imaginary space, a new film. Memory reaps nothing but the harvest of interference. One throws himself into the past, tries to imagine his future, and creates a present that one overlooks relentlessly. The film that doesn't lack traveling in, makes absence to traveling back, except for two critical moments: the opening scene and the end shot. At the beginning, when the camera starts backing out from the close up of the mother, it reveals the entire scene of Childbirth, bringing all the characters close around, one next to the other, until the baby's delivery. The camera here draws the path of the newborn's journey to the outside world. The child comes out and is liberated; the camera also moves away to better simulate the situation. It is liberated from the real story and becomes the camera that will weave just as a sewing machine would, its own film.
The controversial issues that this movie talked about is so deep and true to a point it really frustrated some parts of closed societies who ask for censorship
I give all my respect to this piece of art.
Details
- Release date
- Countries of origin
- Official sites
- Language
- Also known as
- Heels of War
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $1,000,000 (estimated)
- Gross worldwide
- $117,797
- Runtime
- 1h 35m(95 min)
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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