Nawara is an Egyptian film directed by Hala Khalil. A dramatic film that opened the festival of Luxor, it portrays the realities of the African continent. This film is about the life of a young woman in Egyptian society after the Arab Spring. Despite her house maid, she lives in absolute poverty. Beyond the precarious situation in which Nawara and Aly are, this film reflects the fate of Egyptian women after the “revolution.” Shared between their hopes and hardships of life, these young people dream about their wedding with great pomp, dressed all in white, in the streets of their city as Nubian culture demands. They need no more than these to be happy: all they want is a good marriage, running water in their homes, to offer the father Aly the hospital care he needs and a dignified burial for Nawara’s grandmother.
This is a film both touching and heartbreaking. Nawara and Ali, the two protagonists both belong to the poorest class of society. They are two lovers who seek their voice in the midst of this mess. The pursuit of this happiness, which seems to them to be unattainable leads them to a thousand torments. The arrest of Nawara breaks the heart of Aly and the spectators who were hoping probably to the end, to see the lovers get married.
As a humble spectator, it’s still our biggest regret. Indeed, beyond the precariousness in which the protagonists live, this is the unfinished sensation that the film leaves. In fact, the story of the protagonists seems to be left open and not having been written to the end. The main plot does not end, because despite reaching a climax illustrated by the passion of the main characters, this love does not seem to materialise. As much as it is used to writing the end of the films, even the most informed moviegoer would have much difficulty in giving an end to Nawara.
– By FabAfriq – Cedric Kamgna