Where Do We Go Now?

2012

Where Do We Go Now? (2012)

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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

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Critic Reviews for Where Do We Go Now?

All Critics (72) | Top Critics (25)

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.

Jun 28, 2012 | Rating: 3/4

"Where Do We Go Now?" is more interesting than satisfying.

Jun 22, 2012 | Rating: C+ | Full Review…
Detroit News
Top Critic

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.

Jun 22, 2012 | Rating: 3/4 | Full Review…

This is energetic, bursting with sincerity, yet also frustrating and disappointing.

Jun 19, 2012 | Rating: 2/5 | Full Review…

It is, at times, a charming reprieve from the usually dour cinematic explorations of Middle Eastern conflicts.

Jun 14, 2012 | Rating: 3/5 | Full Review…

Labaki never claimed to be Noël Coward, but the facile comedy leads to a dilution of the message she strives so strenuously to make.

Jun 1, 2012 | Rating: 2.5/4 | Full Review…
Newsday
Top Critic

Audience Reviews for Where Do We Go Now?

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.

Carlos Magalhães
Carlos Magalhães

Super Reviewer

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.

Cynthia S.
Cynthia S.

Super Reviewer

"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.

Michael S
Michael S

Super Reviewer

½

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.

Walter M.
Walter M.

Super Reviewer

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