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
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...
It has been so long, that I didn't felt speechless in front of a movie, specially a middle eastern one... I had the great chance to see the movie Tannoura Maxi ("Heels of War" - the English title) in Dubai International Film Festival few days ago, and I felt not just in love with every single frame of it, but it won the privilege of touching me straight into the heart... And as a first film for a new Lebanese Director I really wasn't expecting that much of maturity and richness, I wasn't expecting that I will be confronted to a brilliant film!
Dealing with the story of his own parent in that sensual and erotic way as well as exposing the shades of his country in a certain critical period was astonishing! I never expected that a Lebanese artist will have the boldness to dig into his privacy with no restraint, to broadcast his little secret with good conscience...
I cried more than once, and each time I wasn't able to explain why am I crying... It is not a drama at all, but Emotions are that much high in many scenes to a point that you feel yourself a baby in a need of the affection of your own mother... Feminine sides in me was boosted.. I felt that I should express my love more, that I should be proud of my feelings... Heels are not the ones of war, but the ones of love, passion, sensuality, resistance... The war is not between countries, religions, states... but between human feelings, between love and oppression, between freedom and traditions...
The Director gives the viewers the privilege of sharing his emotions by keeping them on the threshold of their houses... He will peek through door locks, more specifically the one belonging to his parent's room... Idols will become puppets manipulated by the hands of their own descendant.
Briefly, I was astonished with the quality and the cinematic language of this unreleased yet Lebanese Movie... I felt from the first scenes that am in front of a poetry, in front of a wonderful painting, of a mature treatment of a middle eastern story... I felt in Love with the movie without knowing why... I wanted to contemplate every shot, to analyze every move, every eye contact... I enjoyed the music to the maximum, and specially the ending song... I wanted to applaud high in the end, but same time I wanted to stop the cheers of the people in the theater to listen to the breathtaking final song...
I felt that I want to go back to Lebanon and to feel for real the familiarity of every actor, of every true and authentic situation... Yes it is a 100% authentic movie! Other than Nadine Labaki, I think Joe Bou Eid is the only Director who is dealing in a serious way with the Lebanese Cinema... So proud of having like this film out, so proud that Lebanon started showing the world that he contains great artists who need just the chance to expose and show their talent and their wonderful Potential!...
I will not stop watching this movie, (anyways it is a movie that needs to be watched minimum twice...) a movie that portrays crossing a stage, cutting the umbilical cord, a movie that speaks to everyone who is experiencing any kind of relationship, any kind of transition, to everyone who is maturing or moving on the path of discovery and revelation...
Dealing with the story of his own parent in that sensual and erotic way as well as exposing the shades of his country in a certain critical period was astonishing! I never expected that a Lebanese artist will have the boldness to dig into his privacy with no restraint, to broadcast his little secret with good conscience...
I cried more than once, and each time I wasn't able to explain why am I crying... It is not a drama at all, but Emotions are that much high in many scenes to a point that you feel yourself a baby in a need of the affection of your own mother... Feminine sides in me was boosted.. I felt that I should express my love more, that I should be proud of my feelings... Heels are not the ones of war, but the ones of love, passion, sensuality, resistance... The war is not between countries, religions, states... but between human feelings, between love and oppression, between freedom and traditions...
The Director gives the viewers the privilege of sharing his emotions by keeping them on the threshold of their houses... He will peek through door locks, more specifically the one belonging to his parent's room... Idols will become puppets manipulated by the hands of their own descendant.
Briefly, I was astonished with the quality and the cinematic language of this unreleased yet Lebanese Movie... I felt from the first scenes that am in front of a poetry, in front of a wonderful painting, of a mature treatment of a middle eastern story... I felt in Love with the movie without knowing why... I wanted to contemplate every shot, to analyze every move, every eye contact... I enjoyed the music to the maximum, and specially the ending song... I wanted to applaud high in the end, but same time I wanted to stop the cheers of the people in the theater to listen to the breathtaking final song...
I felt that I want to go back to Lebanon and to feel for real the familiarity of every actor, of every true and authentic situation... Yes it is a 100% authentic movie! Other than Nadine Labaki, I think Joe Bou Eid is the only Director who is dealing in a serious way with the Lebanese Cinema... So proud of having like this film out, so proud that Lebanon started showing the world that he contains great artists who need just the chance to expose and show their talent and their wonderful Potential!...
I will not stop watching this movie, (anyways it is a movie that needs to be watched minimum twice...) a movie that portrays crossing a stage, cutting the umbilical cord, a movie that speaks to everyone who is experiencing any kind of relationship, any kind of transition, to everyone who is maturing or moving on the path of discovery and revelation...
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.
Poor story-line, poor scenario, poor performances.
The movie is full of eye-candy. Very little else, except quick-wins like the Rayovac commercial, the traditional dough-making scene, etc, obviously added in to trigger nostalgia without having any real role. Close-ups of the main characters and colorful scenic shots, despite their beauty, are excessive and quickly turn into a nuisance - a failed attempt to overshadow the lack of substance in the movie.
The love story fails to come across as genuine - as the rest of this movie.
Generally, presumptuous and a waste of time!
The movie is full of eye-candy. Very little else, except quick-wins like the Rayovac commercial, the traditional dough-making scene, etc, obviously added in to trigger nostalgia without having any real role. Close-ups of the main characters and colorful scenic shots, despite their beauty, are excessive and quickly turn into a nuisance - a failed attempt to overshadow the lack of substance in the movie.
The love story fails to come across as genuine - as the rest of this movie.
Generally, presumptuous and a waste of time!
Amazing scenery of Love in contemporary Cinema
I had a lot of expectation for this film but when I saw it, my expectation was much lower then the power of this controversial movie
Some adored it, some other had their personnel opposite point of view, but for my side I never felt taken by an Arab movie as much as I was taken by "Tannoura Maxi"
From the first image, the actress captivated me she exhorted her inner demons and hooked me... She delivers from her insides, water, blood, and a living creature.
A woman who continues to capture attention, to capture us as a shutter would in a dark room, in his world of demon women, and innocent girls. She comes from the outside world, and penetrates the village, taking away the community's virginity. A little refugee girl becomes the refuge of a man, about to undertake in a mission of life. She comes as a matador to prove herself and bear out her passion. Never lacking Red, she will mark the stones, soil the village, and invade the monasteries. She will transform the cassock into a Maxi skirt. She will fall madly in love, and will drown in a revolted sea of agitated waves. Silently, she will deploy her charm, and will function through her emotions. She becomes unveiled when facing love, and her fragility suddenly becomes manipulative.
A Film that's much more like a moving modern art, and a moving Romanesque painting Watching it several times is a must to get lost in each of it's wonderful shades...
From the first image, the actress captivated me she exhorted her inner demons and hooked me... She delivers from her insides, water, blood, and a living creature.
A woman who continues to capture attention, to capture us as a shutter would in a dark room, in his world of demon women, and innocent girls. She comes from the outside world, and penetrates the village, taking away the community's virginity. A little refugee girl becomes the refuge of a man, about to undertake in a mission of life. She comes as a matador to prove herself and bear out her passion. Never lacking Red, she will mark the stones, soil the village, and invade the monasteries. She will transform the cassock into a Maxi skirt. She will fall madly in love, and will drown in a revolted sea of agitated waves. Silently, she will deploy her charm, and will function through her emotions. She becomes unveiled when facing love, and her fragility suddenly becomes manipulative.
A Film that's much more like a moving modern art, and a moving Romanesque painting Watching it several times is a must to get lost in each of it's wonderful shades...
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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