Where Do We Go Now? (2012)
Set in a remote village where the church and the mosque stand side by side, Where Do We Go Now? follows the antics of the town's women to keep their blowhard men from starting a religious war. Women heartsick over sons, husbands and fathers lost to previous flare-ups unite to distract their men with clever ruses, from faking a miracle to hiring a troop of Ukrainian strippers. -- (C) Sony Pictures Classics
- PG-13 (for thematic drug material, some sensuality and violent images)
- Drama , Art House & International , Comedy
- Directed By:
- Nadine Labaki
- Written By:
- Nadine Labaki , Thomas Bidegain , Rodney Al Haddad , Jihad Hojeily
- In Theaters:
- May 11, 2012 Limited
- On DVD:
- Sep 11, 2012
- Box Office:
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Critic Reviews for Where Do We Go Now?
This spirited troupe of women ... makes us citizens of the village, invested in their joys and fears. We grieve with them, under that burning sun, and hope with them for a lasting peace.
With elements of a musical, a melodrama and a multicultural romance, "Where Do We Go Now?" is as hard to define as the crossroads region where it's set.
This is energetic, bursting with sincerity, yet also frustrating and disappointing.
It is, at times, a charming reprieve from the usually dour cinematic explorations of Middle Eastern conflicts.
Labaki never claimed to be NoŽl Coward, but the facile comedy leads to a dilution of the message she strives so strenuously to make.
Drugs, exotic dancers, dodgy deities. This certainly isn't your usual po-faced, worthy Middle Eastern tale.
Part religiopolitical satire, part smalltown sitcom, with a hint of romance, Where Do We Go Now? is pleasingly populated with "characters" and light farce that occasionally breaks out into a movie musical.
The movie is set in a remote Lebanese village, but it's all over the map in terms of content and style. The elements never cohere, resulting in a film more admirable for its pacifist yearnings than for its execution.
Sometimes [Labaki] bites off more than she can chew, and the story's anti-war themes turn as heavy-handed and ponderous as the title question suggests.
Although the tone is often lighthearted, the subject matter between Christians and Muslims is more profound.
Labaki's use of abrupt tonal shifts can be jarring, but her narrative is ambitious and anything but typical.
Given recent developments in Egypt, the questions posed by this Arab Spring-themed musical comedy-drama from Lebanon could not feel more apt.
The stupidity of violence and...religious hatred are beautifully boiled down into a microcosm of humanity that [director Nadine] Labaki infuses with vibrant moments of laughter, music and an uneering sense of how differently men and women view the world.
If Christopher Hitchens were alive to see this film, he would be nodding in sad agreement at the depiction of violent behaviour fuelled by differences in religion
This bittersweet celebration of motherhood deftly blends wry satire with broad comedy while never losing sight of the tragedy of its subject matter.
The result is beyond disastrous, like some unholy attempt by Adam Sandler to update Lysistrata.
Spirited, upbeat and seasoned with musical sequences, Where Do We Go Now? has an abundance of charm.
It's machine-tooled to raise smiles, swell hearts, and tickle tear ducts, yet it does so with sufficient cross-cultural cred you don't feel too yanked.
Audience Reviews for Where Do We Go Now?
Odd little movie..but quirky. Part musical at times (random singing sequences--ex. women singing together whilst they bake goodies to drug the men in their village). Seemed a little confused on whether it wanted to be a comedy, drama, or a musical. It even had a blossoming love connection that they started, then seemed to forget about. Like a said...odd movie.More
"Where Do We Go Now?" walks a fine line from scene to scene. It's religious subject matter is undeniably touchy, but director Nadine Labaki and co. confront these age old issues with lighthearted farce, sentimentality, hard drama, jarring musical numbers and no little whimsy. Few films could have such element coexist to positive results, but Labaki uses them to strengthen the film. They don't come off as superficial and compliment her vision. This is a great little film that deserves to be seen for a myriad of reasons, most of which is it's impressive thematic balancing act. If you are looking for a stern, serious condemnation of religious indifferences, look elsewhere. "Where Do We Go Now?" is a parable that plays by it's own rules, in it's own world, but screams just as loud.More
Labaki fails terribly trying to combine in the same film a lighthearted comedy and a serious statement on intolerance in the Middle East. Her story constantly moves with no tact from constant silly jokes to tragedy to corny melodrama, and finishes in an unvelievably naive last scene that is an offense to the viewer's intelligence.More
In "Where Do We Go Now?" Roukoz(Ali Haidar) and Nassim(Kevin Abboud) travel from an isolated village in Lebabnon on a journey that takes them over a rickety old bridge and past a minefield on errands for the rest of the villagers. And a mine has claimed its most recent victim, Brigitte, a goat, who tastes great spit roasted. One of their customers is Amale(Nadine Labaki, who also directed) whose cafe is being renovated by the handsome Rabih(Julian Farhat). On their most recent excursion, they bring back a satellite dish for nightly viewings. This backfires when violence intensifies in other parts of the country, and the women conspire to unplug it in order to prevent its news from destroying their fragile peace. Desperate, they come up with another plan, with a little help from outsiders...
Along with a tip of the hat to Dr. Seuss, "Where Do We Go Now?" has some memorable imagery but is thin on some of the characterizations and admittedly a little uneven, with three musical numbers, if you include the dance of death that opens the movie.(To be honest, I did love the second song.) But that is only to be expected in a place where violence is feared every minute of the day, as this is a compelling allegory of a war torn country, long divided by sectarian bloodshed. In this particular village, Christians and Muslims live and work side by side, but are buried on separate sides of the village cemetery that apparently only contains the bodies of men, leaving it up to the women to come up with a better way.
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