A young man struggles to support his family Case, Lotfi Nathan’s first feature screening at the Cannes Film Festival in Anne Sartre Regard. Set in Tunisia, it is a quietly exploitative portrait of a man’s life in the wake of his father’s death.
Ali (Adam Besa) has not seen his family for some time but suddenly his two younger sisters are gone. Ali sells gas on the streets without a license and either hides the money he earns or drinks alcohol. Now, he expects her to take action and manage a family, although no one thinks she is fit for the job. It’s a world where decisions are made out of frustration – and this will be the first of many.
Ali apparently lives outside the family home, where his sisters live a quiet and study life – he even likes to sleep on the street outside the house. As her sisters think about the reason, so do we: Does she feel unworthy, unworthy of her father’s bed? Is he trying to protect his sisters? Is he more accustomed to sleeping outside?
Writer / director Nathan and actor Besa are both guessing at our best. Besar is often fascinated by wordless performances. Ali became more vocal as he struggled to get honest work; His frustration is building a heartbreaking climax. Kafka-Esk has the wind because he appeals to the authorities and encounters obstacles at every turn.
There is a universal resonance of his plight, but there is also a strong feeling as people flee Tunisia across the border and are felt after the Arab Spring. There is also a memorable scene when Ali goes to a beach resort to see his brother, who works there. Tourists who have lunch at the table in the sun are openly spending the kind of money that could save Ali’s house. Seeing them through his eyes is a moment that can bring you back to the holidays.
Performance is equally strong: Besa is a versatile actor who can show weakness in one moment and get angry in the next. As Ali’s younger sister, Salima Matug is excellent, although the choice to use her character as a narrator has had mixed results, as has music.
Case This is best done when moving towards rigid realism, inviting us into the life and routine of a person who is not an ordinary victim, but a complex character whose fate is easy to invest.