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Where Do We Go Now?

Et maintenant, on va où?

Lebanon, France, Italy

2011

110 Min
Color
2.35:1
Arabic
  • Currently 3.5/5 Stars.
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DIR Nadine Labaki

PROD Anne-Dominique Toussaint

SCR Nadine Labaki, Jihad Hojeily, Rodney Al Haddad

DP Christophe Offenstein

CAST Nadine Labaki, Claude Moussawbaa, Leyla Fouad, Antoinette El-Noufaily, Layla Hakim, Yvonne Maalouf

ED Véronique Lange

PROD DES Cynthia Zahar

MUSIC Khaled Mouzannar

Cannes (Un Certain Regard): Prize of the Ecumenical Jury - Special Mention, Toronto (Special Presentations): People's Choice Award, San Sebastián (Zabaltegi-Pearls): Audience Award, Helsinki (Politics!), London (Film on the Square), Stockholm (Competition): Best Screenplay, Best Music, Sundance (Spotlight), CPH PIX (World Views), San Francisco (New Directors)

Synopsis

On the edge of a cratered road, a cortège-like procession of women solemnly makes its way towards the village cemetery. Takla, Amale, Yvonne, Afaf and Saydeh stoically brave the oppressive midday heat, clutching photographic effigies of their beloved menfolk, lost to a futile, protracted and distant war. Some of the women are veiled, others bear wooden crosses, but all are clad in black and united by a sense of shared grief. As they arrive at the cemetery gates, the procession divides into two congregations; one Muslim, the other Christian.

Set against the backdrop of a war-torn country, Et maintenant on va où? tells the heart-warming tale of a group of women’s determination to protect their isolated, mine-encircled, community from the pervasive and divisive outside forces that threaten to destroy it from within.

United by a common cause, the women’s unwavering friendship transcends, against all the odds, the religious fault lines which crisscross their society and they hatch some extraordinarily inventive, and oftentimes comical, plans in order to distract the village’s menfolk and defuse any sign of inter-religious tension.

A series of chaotic incidents tests the women’s ingenuity as they manage, with sass, to successfully stave off the fall-out from the distant war. But when events take a tragic turn, just how far will the women go in order to prevent bloodshed and turmoil? –Pathé Distribution

Director

Original

Nadine Labaki

Born in Baabdat, Lebanon on the 18th of February 1974 to Antoine and Antoinette Labaki, Nadine participated as a contestant on the televised talent show, Studio el fan, in the early 90’s in the “directing” category. For the competition, she directed a music video, “Habeebi Ya”, for an amateur singer called Carla. Carla is now a well known presenter in Rotana music channel’s program, Rotana Café.

Her first video was “Tayr El Gharam” for the Lebanese artist Pascale Machaalani. Later on, she did another two videos for Noura Rahal, but these videos did not draw much attention. Her follow up effort with Katia Harb for the music video of the song “Ma Fina”, garnered more recognition.

Labaki’s real breakthrough was Nancy Ajram’s video, “Akhasmak Ah”. The video showcased Nancy as the waitress of a traditional Egyptian coffee shop where she serves and entertains male customers. The video raised controversy, but Nadine justified her use of this character as a powerful and attractive… read more

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Luís S. Tavares

11Mar13

This has it all. The strong message. A light comedy flow with a touch of drama and sadness. Inspirational characters. Worth of 5 stars without a doubt. And Nadine Labaki is someone I'll DEFINITELY keep an eye on.

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Adam Z

19Feb13

this movie's pretty awesome. not as good as Caramel, maybe, overall, if we're talking consistently good over the entirety of the film's running time, but definitely better at points. It's real funny. The drama's a little less convincing. The final act kicks ass. The movie overall cements Labaki as a director worth keeping an eye on. And, perhaps contrary to the movie's spirit, I've got to mention that she's a hottie

Picture of Nikyatu

Nikyatu

8Dec12

Three words: Claude Baz Moussawbaa

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Jordan Peters

25Nov12

Labaki throws lots of stuff at the wall to see what sticks, and in the end only a few things do. There's an offbeat, joyous feminist musical in there somewhere.

Nikyatu likes this

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wholeness of the self

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Western audiences are still largely confounded by the Middle East (the term itself has pejoratively Eurocentric origins). It remains difficult for them to believe that the same countries (“the others…  read review

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