Olfas Töchter

This film has the worst intro I have ever seen. I couldn't stand it out, behind the scenes should be behind the scenes, why I had to watch all that crab that makes the viewer less interested and bored af! I couldn't watch the full film and closed it after 20 minutes. It's one of the worst (if not the worst) watch experiences I've been through!

Does it get better? I don't know and really I don't care. Maybe these types of films aren't for me, all I just saw is crab and horrible way of storytelling that doesn't suit my taste. I don't know why the director chose this annoying way it made me so uncomfortable!

It's an incredible film (documentary) with heart-wrenching, funny and highly nuanced performances. It wouldn't be right to call it a "performance" as the reality is literally unfolding in front of your eyes. But still. The film, for me, has completely blurred the lines between what is real and what is not. By the end of the film, I was left with a funny feeling in my stomach, and its a rare feeling for all I believe. I hope it comes out on a platform soon so that it reaches the right kind of audience and gets the appreciation it deserves.

The filmmaker, the actors, and lastly Olfa and her daughters -- they all have my heart.

Four daughters is a film like no other. Mixing documentary with reenactment of the past with actors is as interesting as it is confusing to watch.

I found the untreated trauma, lack of emotional development and self reflection of Olfa painful to watch, eventhough the film gave a good glance on what life can look like as a victim of generational trauma. I wouldn't say I completely understand her actions but it's clear how her experiences broke her judgement on what's good and bad.

And for the youngest daughters, I very much hope they get the treatment and rest they deserve. Some say the making of the film might have been therapeutic for them, but I highly question that. The point where the male actor stopped the scene on the bed was heartbreaking and made me question whether the makers understood what they were dealing with.

I feel like both Olfa and her daughters - who are adults (looking at their behavior I thought they were younger), are not aware enough of their own trauma to judge whether partaking in such a film is a good thing for them. Same goes for the makers. But then again, the fact that I think that might say more about me and how i view trauma, therapy and personal choice than about them.

You're probably reading this with the benefit of hindsight but as I am writing it in Feb 2024, I can't help but wonder what's going to happen at the Oscars. This should be a close one. 20 Days in Mariupol is a hard core documentary and really powerful one (I would say still in pole position for the golden bald guy) but Four Daughters is a wonderful film. It deserves at least just as much to win.

The way it's laid out, the structure, the perspective, even a healthy dose of suspense. Very insightful, very daring, brave, unforgiving. Its shortcomings are minimal and have to do with the style - I would have appreciated a stronger cinematic touch, slightly more careful camera work to compliment its originality. And perhaps more clarity here and there.

But other than that, wonderful.

Four Daughters, the brainchild of Tunisian director Kaouther Ben Hania, is a documentary unlike any other I've seen. It weaves a heartbreaking narrative around Olfa Hamrouni, a mother grappling with the loss of her two eldest daughters to Islamic extremism. Ben Hania doesn't get into the specifics of radicalisation; instead, she focuses on the emotional fallout and the gaping hole that ideology-shattered families leave behind.

The film's brilliance lies in its unconventional approach. Ben Hania employs a blend of documentary techniques and fictionalised reenactments. Olfa and her two remaining daughters work alongside actors who portray the lost sisters. These staged scenes, though initially jarring, become surprisingly poignant. They allow Olfa and her daughters to confront their past, to rewrite memories, and perhaps even find a semblance of closure.

While the acting by the non-professionals is understandably raw, the emotional heft of their performances is undeniable. There's a palpable sense of vulnerability in Olfa's every word, a quiet desperation that tugs at your heartstrings. The film doesn't shy away from the complexities of grief and the anger that often simmers beneath the surface. It's a testament to Ben Hania's direction that these nuanced emotions translate so powerfully to the screen.

Technically, Four Daughters is a well-crafted piece. The camerawork is unobtrusive, allowing the focus to remain on the characters and their stories. The score is a melancholic tapestry of traditional Arabic music and modern soundscapes, perfectly complementing the film's emotional core. The editing is sharp, seamlessly weaving together the documentary and reenacted elements.

The approach that the director has taken to blurring the lines between documentary and fiction might leave some viewers disoriented. And the movie doesn't delve deeply into the socio-political context that fuels extremism, which could be a missed opportunity for some viewers. However, these shortcomings pale in comparison to the film's overall impact. Four Daughters is a powerful exploration of loss, resilience, and the enduring strength of the human spirit. It is the kind of movie that makes you think and talk about things like faith, family, and the allure of extremism.

Four Daughters is often a difficult watch, but it's a necessary one. If you're looking for a documentary that transcends the genre, a film that burrows into your soul and lays bare the human condition, then Four Daughters is a must-see. Just be prepared to have your heart broken, then pieced back together, stronger, and forever changed.