THE PAST AND PRESENT OF THE BEDOUINS IN ELITE ZEXER’S SAND STORM

Abstract

Many reviews have been written about foreign-language winning film Sand Storm by female filmmaker Elite Zexer, presented at the 2016 Sundance Film Festival. Nearly all reviewers and critics expressed their own opinion about the portrayal of the interaction between traditional Bedouin life and modern globalization. A seemingly simple statement made by one filmmaker became the basis for thousands of perspectives, interpretations, and evaluations. The parent-child relationship between Suleiman and Layla is built on mutual understanding and respect, evident from the opening scene of the movie. The unexpectedly “European” dynamic between them is disrupted by tribal intervention, leading the audience to believe in the strength of their relationship. However, the perception changes when Layla, initially driving, switches places with her father before entering their village. This action serves as a reminder to Western viewers that the film portrays Muslim reality, where women are often forbidden to drive or face severe limitations. Even the hijab is less noticeable at the beginning of the film due to the light-hearted attitude of the father and daughter. Suleiman and his daughter exchange guilty glances like conspirators when they notice some fellow villagers on the road. The film is characterized by numerous wordless episodes, vividly portraying Arab reality and conveying the movie director’s position: those who can understand will do so even without words. Similarly, Federico Fellini did not extensively explain what he wanted to convey to his audience through his films.