“Lingui” –“Sacred Bonds” [MOVIE REVIEW]
Achouackh Abakar Souleymane as Amina in “Lingui.” Photo courtesy of MUBI.
Mahamat-Saleh Haroun has written and directed a heartfelt drama about the bonds between a mother and her child under difficult, nay, impossible times. Set in N’Djamena, Chad, the lives we see in this dusty metropolis of shacks, cinder block buildings, and open air marketplaces are marginal, at best. But for Amina, a single mother of teenaged Maria, existence is even more tenuous.
Amina attends the Mosque regularly where the Iman constantly reminds her that God will forgive her only through constant prayer. If she misses a service, he is a scolding presence on her doorstep. It’s not really a door, though. It’s a piece of corrugated metal attached tenuously to a frame yielding a modicum of privacy for her and her daughter in their small boxy shack. In many ways, this dirt-floored hovel is representative of Amina’s lot in life, trapped in a judgmental patriarchal society ruled by cultural and ethnic beliefs that marginalize women.
Amina supports the two of them by weaving basket-like portable stoves from the steel wires found in tires. It is a grueling, meticulous, and dangerous task. She buys the tires from junk dealers, dissects the rubber to reach the wire in the tire belt and uses the wire to twist together the stoves, selling them at the open market. She has much competition as other women, with the same product, underbid one another.
Almost preternaturally cheerful, she goes through town, clothed in a lovely flowing robe with matching Hijab, acknowledging neighbors, shopping, and greeting passers-by. Brahim, a man she met at the mosque, seems to be a constant presence. But all is not well. Maria has grown sullen and stopped speaking to her. The headmistress calls Amina in to inform her that Maria has been expelled because she is pregnant. The shame is almost unbearable. Amina, herself, had been sent home from school in shame when she became pregnant at the same age. Her family cast her out and her boyfriend abandoned her. She had been so careful, watchful, and loving with Maria. It’s incomprehensible. There had never been any indication of a boyfriend. Maria, tight-lipped, refuses to discuss the situation and just snarls at her mother. She wants an abortion. But abortion in this Muslim country is not only forbidden in the religion but is illegal in the country.
Amina doesn’t know where to turn. The doctor she consults is adamant; it is too dangerous. Although…for a million francs ($1750) there might be a way. Where is she going to come up with that kind of money? On a good day selling baskets she might be able to make 6 or 8,000.
Seeing beyond her religious beliefs to her child’s need, she does everything to raise the funds. When she was in the same situation, her family and religion abandoned her. It has been just the two of them and she is desperate that her daughter, a good student, find a better life than she had. As righteous as she has become, her original sin has hung over her like adhan, the call to prayer from the minaret recited five times a day.
Suddenly, stepping back into her life is her younger sister, now married to a prosperous man. She is contrite that she never supported her sister and embarrassed that she is frantic for Amina’s help. She does not have the million francs Amina needs, but she will give her jewelry to sell for some of the funds. Tearfully, the sister explains that she is in desperate straits. Her husband is demanding that their nine year old daughter be circumcised, a barbaric process that will damage the girl for life. How can she prevent it? Amina believes she may be able to find a way around this dilemma. The sisters can help each other.
Achouackh Abakar Souleymane as Amina and Rihane Khalil Alio as Maria in “Lingui.” Photo courtesy of MUBI.
Unspooling at a leisurely pace, the narrative begins to pick up speed as Amina comes to the realization that Maria’s happiness is more important than the religion that may have given her some comfort but has never supported her as a woman, a mother, or a daughter. Both her religion and society have placed her in the untenable position of sacrificing the one person she lives for and who depends on her. Amina will always be judged by the one mistake she made. This cannot be the future for Maria. The network of support offered Amina and which she then offers to her sister is surprising and strong. Her own ferocity surprises and bonds her closer to Maria.
There are surprises, none of which I will reveal, but mainly this is about the bond that cannot and will not be broken between mother and daughter. Hypocrisy breeds villains and there is one surprising predator whose calming, seemingly irreproachable presence underscores the corner into which Amina must fight her way out in order to save her daughter and, ultimately, herself.
Mahamat-Saleh Haroun’s hand is assured and empathetic. The cinematography of Mathieu Giombini will have you choking on the dust and sweating in the ever-present heat. Haroun has created characters of great depth and he put them in the hands of a superb cast. Led by Achouackh Abakar Souleymane’s Amina, she wears her steely determination secretly, in contrast to the ever smiling face she shows the rest of the world. Rihane Khalil Alio plays Maria with a recognizable teenage petulance that covers a greater fear. The excellent Youssouf Djaoro as Brahim is the sole actor with numerous credits, almost all in movies directed by Haroun.
That this film did not make the International film shortlist is very surprising. It’s depth continues to haunt long after the movie ends.
In French and Arabic with English subtitles.
Opening Friday February 18 at the Laemmle Royal.