Les filles d'Olfa

One of the finest movies of the year, Kaouther Ben Hania's "Four Daughters" offers an illuminating exposé into family dynamics and generational trauma within a radically repressive society. Following a single mother and her two youngest daughters re-enacting their childhood with stand-in actors portraying the mother (for whenever she is overwhelmed playing herself) and her two oldest daughters who eventually went on to join the Islamic State, the movie brilliantly navigates the trauma and the bitterness of their tragic past without ever appearing distasteful.

With one of Tunisia's most talented contemporary directors at the helm, Kaouther Ben Hania presents an expertly crafted documentary that stresses the importance of independence, education, and societal deradicalization.

Four Daughters, the brainchild of Tunisian director Kaouther Ben Hania, is a documentary unlike any other I've seen. It weaves a heartbreaking narrative around Olfa Hamrouni, a mother grappling with the loss of her two eldest daughters to Islamic extremism. Ben Hania doesn't get into the specifics of radicalisation; instead, she focuses on the emotional fallout and the gaping hole that ideology-shattered families leave behind.

The film's brilliance lies in its unconventional approach. Ben Hania employs a blend of documentary techniques and fictionalised reenactments. Olfa and her two remaining daughters work alongside actors who portray the lost sisters. These staged scenes, though initially jarring, become surprisingly poignant. They allow Olfa and her daughters to confront their past, to rewrite memories, and perhaps even find a semblance of closure.

While the acting by the non-professionals is understandably raw, the emotional heft of their performances is undeniable. There's a palpable sense of vulnerability in Olfa's every word, a quiet desperation that tugs at your heartstrings. The film doesn't shy away from the complexities of grief and the anger that often simmers beneath the surface. It's a testament to Ben Hania's direction that these nuanced emotions translate so powerfully to the screen.

Technically, Four Daughters is a well-crafted piece. The camerawork is unobtrusive, allowing the focus to remain on the characters and their stories. The score is a melancholic tapestry of traditional Arabic music and modern soundscapes, perfectly complementing the film's emotional core. The editing is sharp, seamlessly weaving together the documentary and reenacted elements.

The approach that the director has taken to blurring the lines between documentary and fiction might leave some viewers disoriented. And the movie doesn't delve deeply into the socio-political context that fuels extremism, which could be a missed opportunity for some viewers. However, these shortcomings pale in comparison to the film's overall impact. Four Daughters is a powerful exploration of loss, resilience, and the enduring strength of the human spirit. It is the kind of movie that makes you think and talk about things like faith, family, and the allure of extremism.

Four Daughters is often a difficult watch, but it's a necessary one. If you're looking for a documentary that transcends the genre, a film that burrows into your soul and lays bare the human condition, then Four Daughters is a must-see. Just be prepared to have your heart broken, then pieced back together, stronger, and forever changed.

Filmmaker Kaouther Ben Hania has created an interesting fictional documentary that remains powerful and emotional with strong themes explored, great conversations between the characters and actors and Hania's approach on the realism. Hania had previously made The Man Who Sold His Skin and Beauty and the Dogs which while they aren't perfect, they are ambitious Tunisian movies that are defiantly with a watch. Four Daughters might just be Hania's best work so far.

Hania's direction and approach on the film is perfect as she is able to balance out the setting and themes of the troubles of the Islamic system and it's consequences and affects on the characters. The themes of motherhood, violence, culture and memories are well-explored and the dialogue and commentaries were though-provoking and interesting to observe. Many of the actors that are portraying the characters for the documentary were interesting to observe as each actor brings out the best emotions and complexity of the character situations, setting and personalities without feeling out of place. They all had interesting things to say and many are really likable.

Many of the camerawork is pretty good, the color presentation is beautiful, and the conversations between the actors are well-done. There are some lines and moments that are still burned into my memory because of how well and powerful they were. There wasn't a single boring moment throughout as I was both meant with emotions of laughter, tears and slightly horrified due to the contexts it explored. Having won the L'Oeil d'or award at the 2023 Cannes Film Festival, I can see why.

Overall, it's definitely a bit different on the typical documentary approach but I absolutely loved how powerful and emotional the movie is.

Incrediby strange and powerful and emotional film. In a sense, it is a movie about film-making, since we see the actors and the real people the documentary is about interacting in the scenes, between the scenes, and in the research phase. I had moment of pure outbursts of laughter intertwined with moments of unease and even horror depicting the tragedy of olfa and her daughters relations and bleak life choices. The mother, played by the real woman the documentary is about, is an extremely complex, charismatic, violent, funny, overbearing, relatable character who steals every scene, even in the presence of professional actresses.

It's an incredible film (documentary) with heart-wrenching, funny and highly nuanced performances. It wouldn't be right to call it a "performance" as the reality is literally unfolding in front of your eyes. But still. The film, for me, has completely blurred the lines between what is real and what is not. By the end of the film, I was left with a funny feeling in my stomach, and its a rare feeling for all I believe. I hope it comes out on a platform soon so that it reaches the right kind of audience and gets the appreciation it deserves.

The filmmaker, the actors, and lastly Olfa and her daughters -- they all have my heart.