“Beyond the Mountains”: A naive ode to freedom

The opinion of the “world” – why not

after a very beautiful my dear son (2018), Tunisian filmmaker Mohamed Ben Attiyah once again explores the depths of the filial relationship. After spending four years in prison for destroying his workplace, Rafiq (Majd Mastura) finds his freedom with one idea: he goes to his ex-wife and kidnaps their son. Far, far away from society and social realism, the road movie begins along the Tunisian highlands.

beyond the mountains Refined as it progresses, it finally takes the form of a parable: the shepherd leaves the flock to join the father and son; Rafiq, who looks like a prophet, discovers a superpower. The final movement brings us closer to a thriller, but these successive mutations lack a sense of urgency: the story seems to navigate visually and deploy its symbols without us quite knowing what they symbolize. Or vice versa, we understand very well: the film is an ode to freedom, far from the determinisms of social life, but in a somewhat naive game of oppositions: city/countryside, prison/flight. Because of its inaccuracy, the fairy tale loses sight of the reality it was supposed to represent.