Film Review: GIRLS OF THE SUN (Les Filled du Soleil) (France 2018)

Girls of the Sun Poster

A Kurdish female battalion prepares to take back their town from extremists.


Eva Husson


Jacques Akchoti (collaboration), Eva Husson (screenplay)

GIRLS OF THE SUN is director Eva Husson’s (BANG BANG A MODERN LOVE STORY) second feature, inspired by an actual Yazidi female combat battalion that took weapons in a fight against ISIS.  

The story follows ]an impassioned war correspondent, Mathilde (Emmanuelle Bercot), into the Daesh battleground of northwestern Iraqi Kurdistan, where she is embedded with a unit of female peshmerga fighters.  Led by Bahar (Golshifteh Farahani), the unit is made up of women formerly held captive — many as sex slaves (which the film emphasizes a few times)— by Daesh following the massacre of their husbands and the kidnapping of their children. Seamlessly weaving between the harrowing pasts that brought them together and their perilous present, Husson highlights the shared suffering that strengthens their bond and their will to fight to get their village, and their families, back.

GIRLS OF THE SUN is too obvious in its attempt to propagate the importance of feminine issues.  The theme of a woman reporter aided by women fighters escaping the brutal ISIS fighters should be enough of a theme to state that women are just as important as men and can do their job just as well if not better.has a child.  The child has to be a daughter.  When a General insists that enough men have been lost in the war, the female leader says corrects him to say that women have also lost their lives.  All them men are shown as either bumbling idiots, sex abusers and ugly brutes.  The females, however, are sympathetic and most of them are really good-looking.  It is all too easy to make the enemy so vulnerable and the women too strong.  The women also break out into song of Women, Life and Liberty. 

The French reporter can speak Kurdish.  The Kurdish leader can speak French.  Yet another case of making the story too convenient fo its own good. 

The fact that French reporter could have retuned home but instead stayed behind makes no sense, especially since she has a daughter back home. She ha already lost an eye (for audience sympathy) due to a war injury.  Has that not taught he a lesson yet?  She an even joke that losing one eye makes it easier to sleep and she volunteers for guard duty.  Really?

One can only feel sorry that this well intentioned female film with a solid plot idea has not achieved its goal.  To Husson’s credit, she had done enormous research for her film.  She  the encompassed work of filmmaker and journalist Xavier Muntz, who she met in October 2015 while he was documenting the Kurdish resistance to the jihadi insurgency.  Husson ultimately conducted roughly thirty hours of interviews with Muntz as part of her research to make the film. Muntz has a cameo playing himself in the movie.  I hate  to say this, but perhaps a male director would have done a better unbiased job.  


Happy Birthday: Golshifteh Farahani

Golshifteh FarahaniGolshifteh Farahani

Born: July 10, 1983 in Tehran, Iran

First Iranian star after the 1979 revolution to play in a major Hollywood production: Ridley Scott’s Body of Lies (2008) with Leonardo DiCaprio and Russell Crowe.

After playing in Ridley Scott’s Body of Lies (2008), Golshifteh was banned from leaving her home country Iran in February 2008 on her way to London to make a screen test for Prince of Persia: The Sands of Time (2010). The role she was set to audition for eventually went to English actress Gemma Arterton. This was only reported 6 months later when she actually could leave the country. She now lives in Paris, France.

Film Review: PATERSON (USA 2016) Top 10 *****

paterson.jpgDirector: Jim Jarmusch
Writer: Jim Jarmusch
Stars: Adam Driver, Golshifteh Farahani, Nellie

Review by Gilbert Seah

PATERSON is the brilliant but quiet new film from Jim Jarmusch that focuses on a working-class poet (Adam Driver) in a small New Jersey town who practices his craft amidst the quiet magic of everyday life.

Those familiar with Jarmusch will be glad to notice the director’s traits from his early films present in PATERSON The wide camera panning of STRANGER THAN PARADISE and the dead pan humour of DOWN BY LAW are a few examples. But PATERSON is clearly his best film. Jarmusch captures the simplicity of an American small town and both the complexity and beauty of life amidst the daily routine of bus driver wannabe poet called Paterson in the town ale called Paterson.

Jarmusch shows that magic is where one finds it. The pleasures from the film derive from the audience’s observations of the film. For one, the film is a film about Paterson’s routine. It is a week in the life of Paterson beginning on a Monday and ending on the morning of the Monday of the following week. Paterson carries on his daily routine that includes getting up in the morning at the same time at 6:10 (though he wakes up late one of the days). He kisses his wife, eats the same breakfast of fruit loops and milk and goes to work at the bus garage where he drives the the bus of the same route everyday. When he gets home, he walks his dog, Marvin, and stops for a beer at the neighbourhood bar, chatting with the locals.

Amidst the driving and walking, he writes poems – beautiful and simple ones that the audience can relate to. All these might sound mundane, but Jarmsuch has created a really beautiful film, aided by his muse, actor Adam Driver, whose every facial expression registers his mood and emotion. The Toronto Film Critics Association awarded Driver the Best Actor Prize this year.

PATERSON is also a love story. The two lead a simple life of the same daily routines, but it is clear that they care for each other – deeply. It is tolerance and sensitivity that are the ingredients that make their love so strong. In one of his poems. Paterson says, I see other girls but if his wife were to leave him, he would tear his heart out.

It is also noticeable that Paterson is the happiest character in the film. The bartender Doc envies Paterson’s relationship with his wife. Everett, a local is heartbroken from unrequited love while his fellow bus driver, Donny is always full of personal and family problems. Everything seems to turn out right for Paterson, even his wife’s cupcake sale at the farmer’s market.

A key character in the story is surprisingly Paterson’s dog, Marvin. While Paterson straightens the post of his letter box very day after work, it is Marvin that topples it slanting every day when Paterson is at work. Marvin also chews up Paterson’s book of poems one day, an act that brings the film to its climax.
PATERSON turns out to be the perfect poetic film – visually as well as in the character’s writings. Effective, moving and thoroughly captivating, PATERSON is a a genuine feel-good movie without artificial sweeteners!


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