February 24, 2023
MOVIE: THE BLUE CAFTAN
DIRECTED BY MARYAM TOUZANI
STARRING: LUBNA AZABAL, SALEH BAKRI, AYOUB MISSIOUI
RATING: 3 ½ STARS Out of 4
By Dan Pal
The Blue Caftan may be a slow burn of a film but for those who stay patient with it, they’ll be rewarded with a truly powerful story about the delicate nature of love and the various roles it can play. In a small village in Morocco, Halim and his wife Mina run a caftan store which Halim inherited from his late father. Halim is deeply committed to his work and to the tradition associated with it. He doesn’t use a sewing machine but spends as much time as is needed to meticulously craft a beautiful garment. Mina is intense, often angry, and keeps a watchful eye on all Halim does. Recently, a young apprentice named Youssef has been hired. The handsome man is just as committed but there are early indications that he and Halim have a mutual attraction.
Like the stitch work that goes into making the caftans, the film itself takes its time in developing its story. There are many lingering shots of the detailed work that Halim and Youssef are creating. Likewise, the sexual tension is communicated through side glances and touches. We learn early on that Halim visits a local bathhouse for release. However, he is completely dedicated to Mina, especially as an illness begins to take away her strength.
So much of the communication here is done without words. Each of the actors, especially Lubna Azabal as Mina, skillfully provide subtle indications of their thoughts and feelings. Saleh Bakri as Halim and Ayoub Missioui as Youssef let the slow release of their emotional connection remain quiet and controlled. Writer/director Maryam Touzani makes the interesting choice of using primarily close-ups throughout the film. This puts all the actors’ non-verbal communication in the spotlight and they are all up to the challenge. The tight shots also emphasize the fine attention to detail needed in the work they do but also to how close and intimate their world is. None of them are straying too far out of their comfort zones as the local Arab community would probably frown upon it.
To suggest their ability to break free from traditions though, there is a great scene when Halim takes Mina to a local bar where all the men are watching a soccer game. She enthusiastically shouts as a goal is scored, even if it is for the wrong team. This is Mina’s way of taking a risk, first by being there and second by expressing her excitement. So, as much as all three characters remain in a world that is fairly controlled, they’ve each found ways to break loose from what binds them.
In the end this is a film about the power of love – for finely detailed work and for each other. Mina fulfilled the love that was missing in Halim’s life when he was younger and Halim shows the utmost in appreciation for that love. The same is also true of the love that develops between Halim and Youssef. To say anything more would be giving away too much but it is the fine craftsmanship of this film that one needs to envelope themselves in versus a narrowly defined approach to telling a story. Let this one take its time. The reward is definitely there.
The Blue Caftan played last Fall as part of the Chicago International Film Festival. It opens today at the Music Box Theater.
MOVIE: THE BLUE CAFTAN
DIRECTED BY MARYAM TOUZANI
STARRING: LUBNA AZABAL, SALEH BAKRI, AYOUB MISSIOUI
RATING: 3 ½ STARS Out of 4
By Dan Pal
The Blue Caftan may be a slow burn of a film but for those who stay patient with it, they’ll be rewarded with a truly powerful story about the delicate nature of love and the various roles it can play. In a small village in Morocco, Halim and his wife Mina run a caftan store which Halim inherited from his late father. Halim is deeply committed to his work and to the tradition associated with it. He doesn’t use a sewing machine but spends as much time as is needed to meticulously craft a beautiful garment. Mina is intense, often angry, and keeps a watchful eye on all Halim does. Recently, a young apprentice named Youssef has been hired. The handsome man is just as committed but there are early indications that he and Halim have a mutual attraction.
Like the stitch work that goes into making the caftans, the film itself takes its time in developing its story. There are many lingering shots of the detailed work that Halim and Youssef are creating. Likewise, the sexual tension is communicated through side glances and touches. We learn early on that Halim visits a local bathhouse for release. However, he is completely dedicated to Mina, especially as an illness begins to take away her strength.
So much of the communication here is done without words. Each of the actors, especially Lubna Azabal as Mina, skillfully provide subtle indications of their thoughts and feelings. Saleh Bakri as Halim and Ayoub Missioui as Youssef let the slow release of their emotional connection remain quiet and controlled. Writer/director Maryam Touzani makes the interesting choice of using primarily close-ups throughout the film. This puts all the actors’ non-verbal communication in the spotlight and they are all up to the challenge. The tight shots also emphasize the fine attention to detail needed in the work they do but also to how close and intimate their world is. None of them are straying too far out of their comfort zones as the local Arab community would probably frown upon it.
To suggest their ability to break free from traditions though, there is a great scene when Halim takes Mina to a local bar where all the men are watching a soccer game. She enthusiastically shouts as a goal is scored, even if it is for the wrong team. This is Mina’s way of taking a risk, first by being there and second by expressing her excitement. So, as much as all three characters remain in a world that is fairly controlled, they’ve each found ways to break loose from what binds them.
In the end this is a film about the power of love – for finely detailed work and for each other. Mina fulfilled the love that was missing in Halim’s life when he was younger and Halim shows the utmost in appreciation for that love. The same is also true of the love that develops between Halim and Youssef. To say anything more would be giving away too much but it is the fine craftsmanship of this film that one needs to envelope themselves in versus a narrowly defined approach to telling a story. Let this one take its time. The reward is definitely there.
The Blue Caftan played last Fall as part of the Chicago International Film Festival. It opens today at the Music Box Theater.