Stds That Cause Sore Gums

La Graine et le Mulet , of Abdellatif Kechiche

After Dodge, film of rare accuracy and freshness of youth the Suburbs French and its relationship to love and language, Abdellatif Kechiche filmed his third feature in the middle of North African immigrants in the south of France.
The screenplay is simple: an old shipyard worker Maghreb Sète, said unprofitable, decided to open a restaurant dedicated to fish couscous, a specialty of his ex-wife, with the help of his daughter new girlfriend (Hafsia Herzi, absolutely gorgeous).

The beauty of the film lies in the humanity and generosity with which the director films his characters and scenes from everyday life, those moments that might seem very trivial but which turn out dense and sometimes bitter. The mobility of the camera, the lively dialogues, cut very tight, make a film of uncommon strength. Poetry emerges from these moments filmed as blocks of this, the camera explores the filmmaker, introducing us in a different space-time, making us so close to the characters and their stories. The scene of the family meal or that the confrontation between his mother and Rym are moments of pure presence, where dialogue becomes the cement of capturing a tireless presence world and a future.

The relationship with language is one of the centers of the film. Kechiche filming scenes where characters speak the French language so special, transformed by the slang became rougher and more jerky, fertilized and interspersed with Arabic expressions earthy, with accents of both towed and tonics. But language is not only the place of finding of a sociological transformation, it carries very far in exploring these characters and their settlement in life, in this in the sensuality of reality. Something torrential totally dynamic and almost uncontrollable emerges from these scenes, which seem never to end and for this reason become both familiar and strange. It seems that the word causes the characters, it transcends them while anchoring them in a very strong sociological reality. Like the scene where Rym tries to convince his mother to attend the party organized by Slimane on the boat. While Rym can not stop talking to her mother, getting all possible arguments, urging her not to succumb to selfishness, the director films the girl's face passionate and generous, his every beat of cilia, his eyes blazing and sad tears. The scene lasts forever without the tension is released or boredom sets in, because there is just such a dialectic between dialogue and face, such a burst of meaning of those words and simple truths uttered by the girl who is himself carried away by the relentless torrent of words. Each character moves and in a language of its own, which becomes part of his character, his way of being in the world, and beyond, which carries a whole social context.

The beauty of the film is Kechiche also he managed to turn a traditional North African dish the issue of a drama of human existence. The scenes relating to the preparation of couscous could well be mere demonstrations of cultural diversity and culinary habits of a North African immigrant families. They might fall into the worst figure in the folk or exotic appeal. Yet it is not because the final scenes transform the disappearance of the meal that was to be served to guests in a tragic moment. When the son of Slimane leaves, taking with him the couscous in the trunk of the car, the film turns into another dimension, infinitely more poignant. While Slimane continues his desperate race through the streets of Sète behind children who stole his bike, Rym is unleashed in a steamy belly dance to save the situation dramatically and make the guests wait. The parallel connection between the race to the death of this old man out of breath and dancing in the life of sensual girl is absolutely breathtaking. Since both are fighting for their common dream, each in its own way. The couscous is then not only the traditional dish around which are family gatherings or pretext to open a restaurant, it the gimmick that sets the characters in a fight to thank you for life, wandering in a desperate survival. Like the bicycle's "Bicycle Thief" or the book "Where is the house of my friend," the couscous into the anthology of these things flying or subtraction reveals the tragedy of poverty when an object key to survival is lacking. We will long imbued in us images of the chase on the night of the man rolled by life in the deserted streets around the port where it finds no other help than his old man legs and shortness of breath, just as we keep itself Images This girl who offers her body as food to the eyes suddenly captivated, a dance born of a desperate situation but the sensuality of the artist and the filmmaker transfigure into a Dionysian celebration of the movement.