In lieu of an abstract, here is a brief excerpt of the content:

  • “Coming to Terms with the Past Will Allow One to Continue”: Interview with Leyla Bouzid about As I Open My Eyes
  • Olivier Barlet
    Translated by Beti Ellerson

In French theaters on December 23, 2015, As I Open My Eyes is an event: the revelation of a young Tunisian filmmaker and a film of great significance. This interview, which focuses particularly on the cinematic gesture, is a useful way of measuring its importance.

Olivier Barlet:

Why the title As I Open My Eyes?

Leyla Bouzid:

It reflects the eighteen-year-old character Farah as she opens her eyes to life, but also it is about her raised consciousness throughout the film. It also relates to the emerging awareness of her mother. Similarly, it is about a country opening its eyes to its reality. And in a more down-to-earth way, it is the title of a recurring song in the film.

OB:

With Farah, is it not the opportunity for you to show what you have lived, your youth?

LB:

It has often been said and believed that the Tunisia under Ben Ali was cool; however, I grew up in an environment where this was not the case. When the revolution took place, I had a strong urge to return to this period.

OB:

The film is constructed on the contrasting elements of the vitality of Farah and her band on the one hand and the concessions of the other adults on the other. But one wonders whether the adult element will gradually take over in terms of safeguarding this vital energy that will become the revolution. [End Page 207]

LB:

This very forceful momentous energy is at the heart of the film and was the basis of the artistic choices at all levels. For me, this burst of energy will gradually contaminate the generation of adults, the city, etc., though constantly confronted with attempts to stifle it. Everyone will try to tame this energy. Will this energy be ultimately crushed? This is the suspense of the film.

OB:

You mention the artistic choices. They are indeed striking, in the way of filming the concerts with Farah’s constant fluctuations.

LB:

Yes, the film has this energy that takes it to a final calm. In writing the script, I cut the scenes as short as possible, which gives this sense of energy. For the group, there could have been a fake band with perfect playback, but I wanted to capture that live energy, perhaps with off-key notes and a bit on the rough side. We dialogued a great deal with the cinematographer and musician regarding the rehearsal and concert scenes.

OB:

You’re not a musician, though the music and songs have an important place in the film. What was your experience in this context?

LB:

It was the big challenge of the film! The music is very relevant: a song can spread very quickly without the authorities able to control it. I wrote suggestive texts, with emotional color for each song, and during the preparation stage, I went to see a friend, Ghassen Amami, who writes beautiful lyrics in Tunisian. Some were written in one setting and others after going back and forth. For the musicians, I wanted an electric rock band with electric oud, but that would be an acoustic mix of rock and electronic music with the energy of popular traditional Tunisian music, of mezoued, of mensiettes, etc. 1 I met a lot of musicians but only through a chance encounter I was able to find Khyam Allami, who is Syrian and has lived a bit in Tunisia. He is an oud virtuoso but also has the rock band Alif Ensemble. We shared the same interest in grouping influences within the same momentum. He put himself into the skin of a young Tunisian of 2010 and it was very productive. He wrote the music, especially for the voice of Baya Medhaffar, who played the role of Farah. He also helped me during the casting, worked with the musicians at rehearsals, was present during the shooting of the music scenes, ensured that the performances took place live, was there during the sound mixing, etc. And, as he...

pdf

Share