Aziza - Short Film

 Aziza [2019]

Starring: Caresse Bashar, Abdel Moneim Amiry

Directed by Soudade Kaadan

Language: English

Sometimes, it is difficult to imagine that short films can be so powerful - in such a short time it is so difficult to evoke such complex and emotive reactions so a topic. The movie originally started in quite an odd way, where it was very difficult to understand the somewhat crazy back and forth dialogue. However, as it progressed, it melded into quite something quite different: a narrative of fear, attachment, and an exposé about the nature of a migratory experience. 

The most interesting element of this movie was the presentation of attachment. The name 'Aziza' came from the name of the car the Syrian couple had. The car, Aziza, was the only remnant of a Syrian life in this new, unfamiliar landscape of Lebanon. It was interesting to see how the entire story advanced in relation to the car - it became a focal point for the couple's relationship, their memories of life in Syria, and their insulation and distance from Lebanese society. The attachment to Aziza almost meant that the migratory experience of fear and alienation was almost limited, as through this attachment, they were able to imagine a life of content without violence in Damascus. 

Another element of the film was the relationship between hallucination and fear. The hallucination of trouble, and the expectation of horrible situations stems from a deep insecurity and fear: fear of having to acclimate to a place where migrants were almost treated in a discriminatory fashion. However, hallucination was also presented in a beautiful way: hallucination of a past life in Damascus, a life without fear allowed for a strengthened relationship, a relationship where tensions were eased, and the acclimation to a new life was made easier. 

It is ultimately remembrance, however, that drives the plot. The nostalgic reminiscence of life before conflict, of normalcy was the driving factor in the film: the nostalgia of previous life influenced the actions of the two characters in the production. The intense yearning for the past: from anything to the dialogue between the characters to the unchanged cassette tape in the car, really added another dimension to the film. 

Lastly, the idea of a lost identity was conveyed in a subtle yet powerful way. The idea of identity was not just expressed through remembrance, but it was expressed through the dialogue of friends that had also left Syria. The characters talked of how the children of those who had moved from Syria would not speak Arabic, and this, in a way, was a way of highlighting the folly of the migratory experience: the forced assimilation to a place meant that original identity is lost, or hallucination is required to regain that identity. 

I know I explained and analysed the film in a kind of convoluted way, but everything falls beautifully into place after watching this. It is so multifaceted, and I really loved it. 

10/10