“Walud”: Feminine Agency vs. Patriarchy in Short Film

"Walud" reinstitutes feminine agency in a patriarchal world. Amuna battles male dominance, finding strength in female solidarity. The film critiques misogyny and celebrates female survival. #feminism #shortfilm

“Walud” orbits around this inconsistent world where the patriarchal norms, wed with spiritual convictions, weigh heavily on the existence of women. While it does not limit itself to just depicting the situation, it takes on the task of reinstituting the feminine agency. It says that the notion of females, as displayed in the androcentric discourse, living as beings who have subordinated their lives to males, is nothing but a misconception. Even in the hailstorm of patriarchy, ladies locate friendship to unshackle themselves.

Reclaiming Feminine Power in “Walud”

To reify the feminine firm, “Walud” makes use of a couple of specific technical operations (a weapon that makes cinema an advanced tool). Amuna, in a scene, unabashedly mentions that Aziz’s pal “Ahmed is an unclean pet” that “buys himself an other half with dirty money.” She, in an undaunting voice, asks Aziz, “Just how much does a woman expense? What did you provide for them (for Aziz’s organisation) to ensure that you could afford her?” (Mentioning the European girl whom Aziz has kidnapped). In this scene, and in the scene where Amuna scratches the flag, the electronic camera shows her in a close shot, from a side-lower angle. The bigger image of Amuna from the reduced angle equips the personality, therefore positioning her in a position to respond to Aziz’s prominence.

Beating her blue and black does not enhance Aziz anymore; rather, tormenting Amuna, that is used to it, is merely an act of concealing his impotency. Ultimately, Aziz is deposed from the authoritarian space, as he loses his virility, and the women company (represented by Amuna) is reified as Amuna is successful in her mission to set up an adventure for the lady, in addition to in surviving in her residence (an area of sheer contestation between male supremacy and feminine survival in patriarchal societies).

Amuna’s Resistance: Defying Patriarchy

Before the denouement, a haunting silence tips over the valley, and Amuna returns to her day-to-day jobs. However something has altered. Being the principal designer behind the lady’s getaway, she had to pay a cost since Aziz have to have seen the entire thing as an effort to sabotage his desired recreation, which he must have likewise reviewed as an assault on his faiths (review convictions). Amuna’s blood-clotted face recommends what a harrowing night she should have spent.

Amuna, when she returns home, discovers Aziz standing on her cushion and fixing the torn-down, messy flag. In the absence of Aziz, the abducted lady gently approaches Amuna. Amuna presents her as her sis to the driver (possibly he as well is a militant), and when she leaves, Amuna’s distressed countenance– in a big close-up– recommends as if a thread has been cut, as if her own sis has actually left in the direction of an unknown destiny.

Amuna, when she returns home, finds Aziz standing on her cushion and taking care of the torn-down, dirty flag. At the view of Amuna, he haughtily asks, “Why was the flag on the ground?

Sisterhood and Escape from Oppression

Attempting to restore the women company and encouraging the female personalities to establish them as deserving representatives ain’t very easy to achieve in the period of simply 25 mins, however Alabdulla and Zenker have done that work quite masterfully, and it doesn’t also feel for a second that they have actually utilized numerous minimalistic techniques that the movie is lowered to an abstract concept– that’s a substantial accomplishment to achieve. This summer season, they have actually won the “Best of the Fest” at the LA International Short Movie Event and have actually received the Academy Honors. I, personally, will certainly root for Alabdulla and Zenker merely because what they have actually made is not a combination of gorgeous photos but a political attempt to review dogmatic masculinity!

Expectedly, the woman– “Amuna” (Salha Nasraoui)– is soon purchased by her partner, “Aziz” (Salah Bensalah), to leave him for the initial evening with his newly acquired/ brought (review whichever seems less troubling to you) girl. Outdoors among the gusty night, Amuna can’t rest. The sound (as if) shows the chaos going on in Amuna’s mind.

Symbolism of Blood and Female Resilience

Expectedly, the woman– “Amuna” (Salha Nasraoui)– is quickly gotten by her partner, “Aziz” (Salah Bensalah), to leave him for the first evening with his freshly acquired/ brought (review whichever seems much less disturbing to you) lady. Under the scorching sun, the blood looks palpably red– validation of Amuna’s menstruation, which the manufacturers possibly desired to show as a direct opposition to superstitious Aziz’s insurance claim that just a young woman can offer him children (in a method turning down Amuna’s capability to conceive and lowering her existence to a barren, pointless living being).

The following early morning, participated in a house job, Amuna has her duration. The camera focuses on her red-tinged finger. Under the scorching sun, the blood looks palpably red– recognition of Amuna’s menstrual cycle, which the manufacturers maybe intended to show as a straight contradiction to superstitious Aziz’s claim that just a young girl can give him kids (in a way rejecting Amuna’s ability to develop and minimizing her presence to a barren, pointless living being).

In the absence of Aziz, the abducted girl softly comes close to Amuna. She reveals exactly how her partner was completely shot by the militants. Amuna, that has become accustomed to the patriarchal codes of survival, at first advises her, “They own you. Get used to it.” However, the helpless state of being of the girl and her grief-stricken, subdued countenance forces Amuna to arrange an escapade for her. Covered in a burqa, guised as a deaf woman, the girl leaves Syria and heads in the direction of Turkey. Amuna presents her as her sister to the driver (probably he too is a militant), and when she leaves, Amuna’s distressed countenance– in a large close-up– suggests as if a string has actually been cut, as if her own sister has left towards an unknown destiny.

His favored style is Slow Cinema. Currently, his key focus lies in evaluating movie theater from a class factor of view.