Lamma shoftak (When I Saw You) - Annemarie Jacir

Tarek è un ragazzino palestinese che nel campo profughi in Giordania non sta bene, vorrebbe tornare a casa.

nella scuola del campo sta male, e nonostante ami la madre (il babbo forse gliel'hanno ammazzato) decide di lasciare il campo in cerca della libertà, forse della strada di casa.

lo trovano dei fedayn (combattenti per la libertà per i palestinesi, terroristi per i maledetti israeliani) e lo "adottano".

è un bambino fra i grandi, e si sente come loro, vuole anche combattere.

intanto lo trova la mamma, e stanno insieme ai combattenti per la libertà.

Tarek è un fratello di Antoine Doinel, lo vedrete.

un film che merita, promesso - Ismaele

 

 

 

Tarek, el protagonista, es un niño rebelde por naturaleza que no encuentra la respuesta a una pregunta simple, pero determinante de su nueva vida: ¿Por qué no podemos volver a casa? No encuentra la respuesta por dos razones. Es tan solo un niño y las causas del conflicto árabe-israelí son ajenas a él, y tal vez su madre, a pesar de ser increpada y culpada por el niño en su ingenuidad, no tiene el corazón para darle una respuesta desesperanzadora. Sabiendo que llegaron al campo de refugiados caminando, Tarek decide un día, en lugar de asistir a la improvisada escuela, simplemente volver caminando a casa. Al poco tiempo es detectado por un grupo de milicianos palestinos rebeldes fedayín, quienes para protegerlo, y llevados por la inmediata empatía que les produce su determinación, astucia y simpatía, tratan de disuadirlo, al menos provisoriamente, de seguir su camino y terminan por adoptarlo como «mascota»…

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In the final scene of The 400 Blows, Jean-Pierre Léaud’s Antoine Doinel famously runs along a beach at low tide before stopping to look at the camera. Antoine, without a home, is unable to cope in an institutional setting, and the ocean is his final oppressor, the ultimate unassailable authority of the boy’s stubbornness and imagination. Annemarie Jacir’s When I Saw You often alludes to this image of Antoine running. Like Antoine, young Tarek (Mahmoud Asfa) has a penchant for fleeing from situations that don’t suit him, but Tarek is also a Palestinian refugee in the aftermath of the Six-Day War. His homelessness is literal; he’ll never find a home because it isn’t there any more…

…In Jacir’s vision, the bearded fedayeen and their coed camaraderie can make their camp seem more like a college campus than a training ground for armed rebellion. They listen to Western music, quote Marx, and paint posters of revolution. It’s not difficult to see why Tarek prefers this to the pedagogical authoritarianism of his refugee-camp classroom. When Tarek’s mother tracks him down, she’s won over by the fighters, not because of their political stance, but because they make her feel like less of a victim. For Tarek, the act of joining the fedayeen is the act of joining a community. Jacir, however, makes sure we know this bildungsroman is a temporary one. Tarek is restless, and unlike a “temporary” refugee camp, the end of the fedayeen training ground is inevitable.

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