Le collier perdu de la colombe - Tawk al hamama al mafkoud


Le collier perdu de la colombe - Tawk al hamama al mafkoud

Nacer KhemirTunisia – 1991

The fairy tale "the dove's lost necklace" by Nacer Khemir tells the story of Hassan, a young man who is taught calligraphy by his master. One day he runs across a portion of an old text which convinces him that it holds the secrets to love. With the help of an impudent young boy and the boy's monkey (whom the boy thinks is an enchanted prince), Hassan sets out to find the rest of the manuscript. What he finds instead is the beauteous Aziz. Despite their being separated by war, they are soon reunited. This film takes us in the midst of a time when djinns and visions were still, real. In its world we discover the peaceful coexistence of different cultures, religions and forms of life.

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Original Title Le collier perdu de la colombe - Tawk al hamama al mafkoud
German Title Das verlorene Halsband der Taube
French Title Le collier perdu de la colombe
Other Titles The Dove's Lost Necklace
Directed by Nacer Khemir
Country Tunisia
Available Formats 35mm, DVD, DCP
Screenplay Nacer Khemir
Film Editing Denise de Casabianca, Kahena Allia
Soundtrack Jean-Claude Petit
Cinematography Georges Barsky
Sound Michel Chouquet, Mokhtar Labidi
Décors Edwin Francis
Costumes Naama Jazi, Maud Perl
Production Carthago Films, Tarak Ben Ammar
Runtime 88 Min.
Language Arabisch/d/f
Navin Chowdhry Hassan
Walid Arakji Zin
Ninar Esber Aziz/Prinzessin Moghole
Noureddin Kasbaoui Meister der Kalligraphie
Chlé Rejon Myriam
Jamil Joudi Giaffar
Mohamed Mourali Maalem

Filmfestival Locarno
Prix special du Jury

«Hassan möchte wissen, was Liebe alles heissen kann, und bekommt von seinem Meister mit auf den Weg, dass ein Leben allein nicht genüge, all ihre Dimensionen zu erfahren. Khemirs Film lebt von der strengen Leichtigkeit der arabischen Kalligraphie.»

«La haute culture andalouse, celle de Samarcande et des Mille et une Nuits.»

«Ein arabisches Märchen und ein Stück Realität: Arabische Schönschrift, schmuckvolle Ziegelsteinarchitektur und feinstes Hocharabisch (ein Genuss für Kenner!) verbinden sich zu einem Film, den man wohl am ehesten als "verfilmtes Gedicht" begreifen kann. Der Film kann in Zeiten europäisch-arabischer Animositäten mithelfen, die humanistischen Seiten des Islam wieder deutlicher ins Blickfeld zu rücken.»

«Weshalb Andalusien? Weil in Andalusien mehrere Kulturen aufeinander trafen und weil zwischen den verschiedenen Religionen und Völkern ein lebhafter Dialog stattfand.»
Nacer Khemir

«Hassan, l’élève-calligraphe est à la recherche des noms de l’amour. Cette quête est devenue mienne et j’ai continué à les interroger de toutes parts, certains réunissant jusqu’à huit significations différentes. 
Nacer Khemir


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