It begins in a prison cell with a despondent Djo (Joumene Limam) scribbling words on paper as Zina (Nour Hajri) implores her to stand so they may leave. Salvation comes in the form of a lawyer (Afef Ben Mahmoud’s Nadia) and doctor (Fatma Ben Saïdane’s Dora) desperate to figure out what has happened and how they were able to return to Tunisia. Details about this question only start to come into focus as Nouri Bouzid’s The Scarecrows progresses with the explanation that the two women were held captive in Syria by Islamist extremists—sex slaves for the soldiers who raped and impregnated them before removing their children. From one prison to another, their homecoming is met by civil animosity declaring them “damaged goods” and terrorists themselves.
Bouzid says that making this film was his opportunity to shed light upon those victims who’ve been walled off and erased from telling their stories.
Bouzid says that making this film was his opportunity to shed light upon those victims who’ve been walled off and erased from telling their stories.
- 8/30/2019
- by Jared Mobarak
- The Film Stage
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