and sexuality, by locating their root causes in the related phenomena of social division and political exploitation.
Bouzid’s Man of Ashes (1986) is a landmark film in the history of Tunisian cinema, noteworthy for its analysis of male sexuality that involves positioning the sexual abuse of young boys by an older male authority figure as a key narrative element, and for its recognizable lament of Tunisia’s lost Jewish community. Golden Horseshoes (1989) derives from Bouzid’s own prison experiences, as its formerly incarcerated protagonist is tormented by memories of torture and violence. Bezness (1992) analyzes the problem of sex tourism on the streets and beaches of Tunisia’s tourist towns through the contemporary story of a poor young man who, while attempting to earn money from foreign visitors through prostitution, claims to follow Muslim tradition when dealing strictly with his sister. Bent Familia (aka Tunisiennes) (1997) offers an intimate portrait of three middle-aged women in contemporary Tunisia: Aida, a tough, brash professor who is divorced and unashamed of her sexuality; Fatiha, a shy Algerian refugee who has suffered violent abuse in her own country and fears for her remaining loved ones; and Amina, the film’s central character, who seeks strength to cope with her confining, authoritarian husband. Clay Dolls (2002) continues Bouzid’s practice of interweaving character perspectives through montage and nonlinear narratives, to analyze the emotional and psychological survival strategies of two young, rebellious rural women, Fedhah and Rebeh (Hend Sabri), recruited to work as domestic servants in the homes of wealthy Tunisian families. Making Of (2005) addresses the lure of Islamism for young Tunisians acting in response to political repression and economic disadvantage.
In addition to directing, Bouzid adapted and scripted several acclaimed Tunisian films during the 1990s, including Férid Boughedir’s Halfaouine: Child of the Terraces (1990) and A Summer in La Goulette (1995) and Moufida Tlatli’s The Silences of the Palace (1994) and Season of Men (2000). He is also a significant critic of Arab cinema, having written the important essay “New Realism in Arab Cinema: The Defeat-Conscious Cinema” (1988), among other works. Bouzid founded the Tunis École des Arts et du Cinéma in 1994, where he still teaches. He has also taught film in the Faculty of Philosophy of La Manouba University in Tunis and at the Film Institute in Gammarth. Bouzid was awarded the Chevalier des Arts et Lettres in France in 1992 and the Presidential Prize of the Cinema in Tunisia in 1998, as well as the 2007 Ibn Rushd Prize for Freedom of Thought for his work in challenging injustice and promoting critical thought in Arab society.
Bouzid has made two films since the 2011 revolution that complete a trilogy begun with Making Of (2009). The first, Millefeuille (2013), focuses on two young female friends who are seeking out spaces where they can free themselves from the pressures imposed on them by families, friends, and coworkers. This takes place at a time when, paradoxically, the Arab Uprisings provide them with a glimpse of a new and more equitable social order. The Scarecrows (2019) recounts the return of two women from Syria to Tunisia. Volunteers for the Islamist forces, they have been sequestered and sexually abused. One, Djo, has lost the capacity to talk but writes compulsively wherever she can, on loose sheets of paper, notebooks, or even on the walls; the other, Zina, finds solace in a friendship with a gay man who provides her with temporary shelter.
BRIDE, THE (1973)
This first installment of Lütfi Ö. Akad’s migration trilogy focuses on a rural Turkish family’s troubled attempt to survive and adapt to life in urban Istanbul. As with the trilogy’s subsequent installments, The Wedding (1973) and Blood Money (1974), The Bride centers on the challenges faced by women under such conditions. Hülya Koçyiğit plays Meryem, a woman who must abandon her traditional role as a housewife for work in a factory. In Blood Money, the plot is slightly revised, as Meryem migrates from a village to Istanbul with her two children.
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