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All Critics (72)
| Top Critics (25)
| Fresh (38)
| Rotten (34)
| DVD (1)
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.
"Where Do We Go Now?" is more interesting than satisfying.
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 Noël Coward, but the facile comedy leads to a dilution of the message she strives so strenuously to make.
Where Do We Go Now's strength lies in its premise, which gives Labaki licence to create a variety of amusing set-pieces based around the wily women's attempts to placate their agitated menfolk.
Ultimately, the view of human nature expressed in "Where Do We Go Now?" is rather one-dimensional.
Labaki has made something absolutely bold and unique with this tragi-comedy.
A ramshackle curiosity of a film, poorly made and more admirable in intent than execution.
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.
Labaki fails trying to combine in the same film a lighthearted comedy and a serious statement on intolerance in the Middle East, as her story moves with no tact from constant silly jokes to tragedy to melodrama and ends with a naive last scene that is an offense to the viewer's intelligence.
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.
"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.
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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