Set in Algeria in 1997, Papicha reflects on a very dark time in the country’s history. With complex political and social issues resulting in Islamist rebels committing terrorist attacks and violence against those who refuse to conform, there’s far to much to successfully pack into a feature film. In a stroke of genius, Mounia Meddour uses a personal story that is relatable worldwide. Papicha may not always feel polished or perfect, but it exhibits vulnerability and creates a sickening sense of terror.
Lyna Khoudri, in a phenomenal performance that captures the frustration and youth of Vincent Cassell in La Haine, plays Nedjma, a young fashion student who is witnessing a series anti-feminist and anti-freedom acts committed in her country. We first see Nedjma heading out for a night on the town with bestie Wassila (Shirine Boutella). What should be a simple enough excursion has the girls evading roadblocks, bribing taxi drivers, and using disguises. It’s an intense opening and immediately illustrates the difficult times these girls inhabit. It only gets worse from there, as posters demanding women wear hijabs are erected all over town “Sister, your image is dear to us, take care of it or we will.”, and groups of Islamist girls invade french lessons, “Damned are those who speak a foreign tongue.”
Meddour brilliantly traverses between so many themes, and knows how to make it an international message while still painting a personal account. The anger is transposed straight from Nedjma to the audience. It’s annoying, it’s infuriating, and it soon becomes terrifying during a spectacularly shot and acted tragic incident. Khoudri exhibits such a passionate response in said scene, while Meddour shoots it in such a way to keep us distant while still feeling the full impact. Khoudri carries the film with star making quality and it’s no surprise she has landed a role in Wes Anderson’s next star studded outing, with name prominently displayed on the poster, even more so than more established stars.
There’s a lot going on in Papicha, as Nedjma decides to put on a fashion show out of defiance and solidarity, and sometimes it does feel as though there could have been some cuts made here and there. The film excels when being personal, but can be disrupted with a few too many subplots and attempts to shock when we’re already emotionally exhausted and completely behind Nedjma.
Such small quibbles aside, Papicha feels so remarkable in what it achieves. Here we have a film that encompasses and celebrates the power and strength of femininity and fashion and juxtaposes this against a hellscape that really highlights their importance. It’s a stark reminder that such oppressive regimes are not a thing of the distant past, and can rise at any time. Papicha makes you glad of the freedoms you have, and furious at those who encroach on the freedoms of others.
Papicha arrives on Digital HD and in limited UK cinemas on Friday 7th August.
Papicha
Summary
Papicha makes you glad of the freedoms you have, and furious at those who encroach on the freedoms of others.
