MALLORY HARTSELL, Special to The Denisonian—
MENA Film Festival Wraps Up with The Man Who Sold His Skin. Denison’s 2nd annual Middle Eastern Film Festival, organized by Dr. Isis Nusair, concluded after four successful screenings. This year’s festival refuted common assumptions of a monolithic “Arab World” with stylistically and thematically diverse selections from various directors, three of whom joined the audience virtually for a Q&A session following their film. Following the final screening, a discussion with Denison’s own Studio Art professor, Dr. Sheila ReStack, was held.
Writer and director Kaouther Ben Hania’s 2020 film The Man Who Sold His Skin provided a fitting finale for the festival. This selection, Tunisia’s first Oscar-nominated film, explores one individuals’ choices when faced with the limitations of autonomous movement as a Syrian refugee. Protagonistic and relentlessly obsessive Sam Ali (Yahya Mahayni) sells the literal skin off his back in order to reach his ex-fiancé, Abeer (Dea Lianne). Separated from Sam after his unfair arrest in Raqqa and ensuing extrication to Beirut, Abeer marries a diplomat with whom she relocates from Syria to Germany. In his desperation to find a way to reach Abeer, Sam provides his back as a canvas for Belgian-American artist Jeffrey Godefroy (Saad Lostan) to tattoo in exchange for Sam’s conveyance to Brussels.
Godefroy’s tactless addition to a global artistic discourse on human commodification takes the form of a Schengen visa, a document that permits entry into 26 European countries, permanently linked to Sam. Post-tattoo, Sam’s troubles seem only to accumulate. His friends in Beirut ridicule his apparent submission to another man. In Brussels, a Syrian refugee advocacy group publicly proclaims his victimization. Godefroy and his assistant seek to orchestrate Sam’s every move, demanding perfection from their frustratingly animated museum display. Even Abeer’s actions eventually disappoint, causing complete disillusionment for Sam.
Though Sam and Abeer ultimately reunite and reconcile, the film’s depiction of Abeer’s experiences leaves something to be desired. While Sam’s narrative satirically portrays an objectifying solution to the restrictive nature of state-controlled borders, Abeer’s somewhat neglected narrative alludes to a realistically more common manifestation of “selling” oneself to secure the future: marriage.
The scenes throughout the film in which Sam jealously censures Abeer for the presumably sexual relationship between her and her husband do little to accentuate the compelling comparison between Sam and Abeer’s respective circumstances. While Sam accepts an offer on his person for safe passage out of Beirut, Abeer does the same to depart Raqqa. The film’s disparate representations of these complementary narratives prevent both from reaching their full potential.
That is not to say that The Man Who Sold His Skin does not admirably articulate significant social and political issues. Professor ReStack’s generous commentary on museums, colonialism, and art helps to contextualize the film within its relevant discourses. On the topic of museums as active agents in systems of exploitation, Dr. ReStack shared, “I do not think that you should go into museums and think this is the pinnacle of learning, art, and beauty, it is really good to go in with a critical eye.”
Dr. ReStack’s comments opened up space to reflect on colonial histories and community responsibility regarding objects housed at the Denison Museum. This discussion demonstrates Denison-specific applications of the Middle Eastern Film Festival. By facilitating conversations about how students can bring about positive change in our community, the festival allowed its attendees to participate in productive dialogue with local and global implications.
Though most of the audience consisted of students in relevant courses (e.g. Gender and Revolution in MENA), our hope is that others will view one (or more!) future screenings after this year’s success. Students can be assured that this is a low-risk opportunity for us to engage in socially and politically relevant discussions, and a valuable way to encounter knowledge outside of a classroom. We should not underestimate the transformative power of collaborative learning experiences for our campus. The Middle Eastern Film Festival has the potential to provide this for those who choose to attend.