Hidden Faces
Safaa Fathy is originally from Egypt but has lived in Paris a long time. She left her home country 10 years ago but returned there recently to participate in a film portrait about the much-admired writer, Nawal El Saadawi. A vehement advocate for the rights of Islamic women, Saadawi reveals and denounces the mechanisms of patriarchal oppression both in her writing and in everyday life. Yet as Safaa Fathy reads aloud from Saadawi's books, a growing disappointment in her role model takes hold. Safaa Fathy visits her own family while in Egypt, which becomes a guided tour into this male culture of female subjugation. A tradition justified by certain interpretations of Islam which are blossoming in the current day climate of fundamentalism in present day Egypt.
Credits
Original Title: Hidden Faces
Language:
English
Country of Origin: Great Britain
Year : 1990
Duration: 52 Min.
Color
Director: Kim Longinotto, Claire Hunt
Script: Kim Longinotto, Claire Hunt
Camera: Kim Longinotto
Editing: John Mister
Music: Jaz Coleman, Anne Dudley
Starring/Featuring: Safaa Fathy
Production: Twentieth Centry Vixen, Kim Longinotto, Claire Hunt
Festivals: Cinema du Réel, Paris (F)
Awards: Best Documentary, Melbourne Film Festival (AUS), Public Prize & Jury Special Mention, Films de Femmes, Créteil (F)
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About the Film
When the film crew arrive in the village
– this is where women's rights activist Nawal El Saadawi has initiated a project to promote the financial independence of women - they witnesses a disagreement between Nawal El Saadawi and her assistant. The argument culminates with Nawal El Saadawi slapping her female employee. Rightly so, as Saadawi sees it: the assistant was late for work. The event sets off a process of disillusionment in which the film's supposed main figure fades somewhat into the background and is supplanted by a new and sharpened perspective. Safaa Fathy examines her own family and uncovers a tradition of draconian female subjugation carried over into the present day .
Young women caught between tradition and modern, 'Westernized' life
Safaa Fathy's mother
talks about a marriage that was without joy, without friends, and without rights. A wedding day photograph shows a glowing couple dressed in Western clothes, but Safaa's mother hasn't lived like that for a long time. She now covers her head with a veil – part of the imprisonment that her husband had in store for her. Her husband is now dead so her son is now the head of the household and he perpetuates the tradition of patriarchal oppression with harsh cruelty.
No escape
A pattern of repression and open oppression is revealed to Safaa on this journey home. What began with a cosmopolitan openness to the world has been jerked into the backwaters of a dark archaism.


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