"Memory in khaki": Syrian pain to dispel nostalgia

It may be necessary to say, in this context, even circular and flat, that the films that deserve to be seen today are those that resist their authors and are free of any desire, purely rhetorical or visual, to walk alone, without returning to their point of departure. Stay in it, but prove it, and therefore prove it end to end. Evidence from this point of view, sometimes a harsh act, requires a kind of regression that corresponds to the holding of a metropolis before withdrawing from it, or what it once called a distant philosopher: the decline of evolution, which is obvious, or try to get rid of the imposition of this beginning, who wears, and who comes after him, color Khaki.

It is possible to notice that the film involves two things. On the one hand, the talk of Nostalgia, which actually corresponds to the will of his director, which he presents in the film, is not just a vocal comment, it also reflects the disparity between Syria before the revolution and Syria after the revolution, and between them the European refuge and exile. On the other hand, nothing can be included in this speech, the pain of the Syrians, who does not take advantage of the fact that they fled their country after the siege of the extermination regime, as long as this regime still exists. This pain, Syrian pain that should not hesitate to believe that the pain of the world, and that the pain of "man" and therefore denies, not pain decreases and multiply, these acts are not his dictionary. But it grows up, or agitates, without being angry, and if so, do not get angry for anger.

There is no tension between the two sides, nostalgia and speech, and pain. The conflict is settled in favor of the second, but the first tries to catch up, not to hide it, but to make it, without stratagem, a newly lost memory and inevitable to restore it in detail, from yasmina to the lock of thyme and oil. However, as always, the pain has disappeared from this discourse, so that the "lost" is nothing but imprisonment and therefore no nostalgia, the pain is still closed to the Syrians and continues to be punished . As a result, the greater the number of people speaking in the film, not the characters, the more the speech falls, or rather the disturbance. Even when she tells her companion about the interruption of the umbilical cord, the feeling of freedom outweighs the feeling of division and mourning. However, if the discourse is fragmented, torn, what is the solution to the nostalgia that surrounds it?

In reality, nostalgia is transformed and another meaning is acquired, which is essentially a meaning before it becomes nostalgic. Before becoming, in Arabic, the disease of childhood: the pain of the country. These displaced people are hurting them and that is the beginning of their recovery. At the same time, they suffer and this results from the regime that continues to be exterminated. Suffering is stronger than suffering, and they return there, returning emotionally for the main reason, for a reason that is to overthrow that system in them.