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In the wake of the Tunisian revolution of 2010-11, filmmaker Kaouther Ben Hania set out to make a documentary.For their part, the women Ben Hania interviews, who have come of age in secular Tunisia, bear little resemblance to the ideal type of the independently minded feminist. As they discuss the trauma of being randomly attacked by a straight razor-wielding man, the challat's victims seem shallow and image-obsessed. Batout's fiction tells the story of a figure who nicely complements Ben Hania's challat, as it happens, a man obsessed with a different sort of cutting.This mysterious figure dislikes Fathi and commissions Ott to kill him.These three films are difficult works, made satisfying by the understated, socially engaged narrative, improvised approach to direction and acting, and a gritty cinematography that combined to make the work unique within Egypt.Starring well-known actor Amr Waked (opposite the fetching Farah Youssef), this play-by-play drama of Egypt's 2011 revolution opened the previous edition of CIFF, in 2012 .A film that turns its back on matters of political power to tell a story of rampant criminality, one that omits a single mention of the state, is one way to address post-revolutionary Egypt in a way that can speak to Egyptian audiences in the cinemas.
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