Film Review: Ponderous plotting damages Egyptian drama ‘Poisonous Roses’

A still from the movie 'Poisonous Roses'. (Image Supplied)
Updated 24 October 2018
0

Film Review: Ponderous plotting damages Egyptian drama ‘Poisonous Roses’

MALMO: Set in the squalor of Cairo’s sweltering, stinking tanneries district, “Poisonous Roses” tells the story of a sister so devoted to her brother that she would sabotage his future happiness to keep him near.

A fictional follow-up to his acclaimed 2011 documentary “Living Skin,” Ahmed Fawzi Saleh’s debut feature is a bold creation that eschews conventional Egyptian cinema tropes to champion the heroic fortitude of the country’s underclass.

Yet these laudable motives are undermined by ponderous plotting and unconvincing characterization that leaves the film hollow and with questions unanswered.

Saqr (Ibrahim El-Nagary) is a 22-year-old manual worker in the tanneries, while his older sister, the devout Taheya (Marihan Magdy), is a toilet cleaner. Both toil in their unloved jobs, with the tanneries’ monstrous, antiquated machinery and the polluted streams of wastewater it creates a constant neighborhood menace.

Every day, Taheya travels by minibus to deliver Saqr’s lunch to his place of work, an act of kindness her brother seems ungrateful for and the viewer is left wondering why she wouldn’t just give him the food when he leaves their ramshackle apartment each morning.

Although devoted to her brother, Taheya shows him no real warmth, nor vice-versa, in a relationship that’s curiously lacking intimacy. Neither smiles in the other’s presence.

Saqr reveals to his sister that he has met a girl (whom we never see) while Taheya is aghast to discover he’s plotting to leave Egypt for Italy aboard a smuggler’s boat. Desperate, she enlists a magician (Mahmood Hemaidah) to perform a complicated ritual that will thwart both Saqr’s fledgling romance and his departure.

Taheya’s obsessive attachment to her brother is puzzling, although the film is loosely based on Ahmed Zaghloul Al-Sheety’s 1990 novel “Poisonous Roses for Saqr,” which itself draws inspiration from the Ancient Egyptian myth of Isis, who marries her brother.

Yet at Malmo’s Arab Film Festival, writer-director Saleh told the audience that Taheya’s love was platonic and her actions were to protect the only man in her life.

The siblings’ mother is an occasional, near-silent presence while their father is unmentioned and unseen, with the two siblings the only characters of any depth. Although worthy, the film fails to make the audience care about their respective fates.


Saudi artists draw inspiration from Islam

Wafa Alqunibit says her work has its place in the Kingdom. (Photo/Supplied)
Updated 18 January 2019
0

Saudi artists draw inspiration from Islam

  • Wafa Alqunibit: “The difficulties that I faced were getting the names on point, because a lot of them are very similar to each other

JEDDAH: The work of Saudi sculptor Wafa Alqunibit is on display in a Jeddah art gallery. A small glass box holds objects that have the appearance, shape and texture of dates. Only they are wrought from metal and glint silver and gold.
Alqunibit concedes that art can sometimes be a taboo subject in Saudi society, but says her work has its place.
“I do this to promote and represent our culture and religion as I belong to a very religious family. We have our freedom and we have open minds and I just wanted to portray this image to the world,” she told Arab News.
Her Instagram feed shows other examples of her art, including sculptures featuring the distinctive ringed and slightly curled horns of the Arabian oryx, and videos of her carving, sanding and sawing using machinery that can be seen in any carpentry or masonry workshop.
But her journey toward the arts — specifically sculpture — has not been straightforward.
“I went to Portland (in the US) to complete my doctorate in human resources. But I ended up changing my major to arts and moved to Atlanta, Georgia, and they accepted me as a painter.”
But her professors thought she had different strengths — with one telling her she was born to be a tough person.
“At first I thought he was referring to me as an aggressive person, but later when I started sculpting I found out what he meant.”
She uses her work to communicate with people, especially those who misunderstand Islam, and recalled living in the US at a difficult time for Muslims.
“I took support from the arts, to tell people what we really are and now my artwork is displayed in so many galleries and I have been given the title of religious artist.”
Another artist taking inspiration from culture and religion is 26-year-old author Allaa Awad, who has taken the 99 names of Allah and turned them into poetry.
Her debut work, “Ninety-Nine: The Higher Power,” includes poems about purity, mercy, blessings and peace.
“I have encountered many people in life. They have a negative concept about life and God and I just wanted to turn that around and put my own perceptions of what I think God is, who He really is and how we should perceive Him,” she told Arab News.
She also experienced a struggle in her artistic journey, like Alqunibit did, but in a different way.
“The difficulties that I faced were getting the names on point, because a lot of them are very similar to each other. The best part was how people reacted to it on a spiritual level and how they were able to relate to what I had to say, rather than what online research had to say.”