College student Myriam (Mariam Al Ferjani) endures an unending night of Kafkaesque pitfalls and humiliations in Tunisian director Kaouther Ben Hania’s unsettling film, Beauty and the Dogs. After being raped (offscreen) by police, justice – and dignity – seem out of grasp at every turn. Nurses refuse to help due to lack of I.D. (her papers were left in her rapist’s police cruiser). Doctors can’t examine her until she’s taken out a complaint (forcing her into the grip of her assailants). The “good cops” are anything but, interested more in protecting their image than solving crimes. It’s infuriating – and quite compelling.
Taking place shortly after the violent Arab Spring protests which led to Tunisia’s democratization, Beauty and the Dogs is told in nine single-take chapters. It’s clear that, while more freedoms are enjoyed, many hard-lined and outdated sexual and gender-based restrictions are still commonplace. Standard rape apologist tactics such as victim blaming and familial shaming almost work in breaking Myriam down.
Her only ally is a man she just met (Ghanem Zrelli) who encourages her presses charges. He insists that the violence of the Arab Spring and the basic rights they’ve won as a result are meaningless if the police can commit such acts unimpeded. Myriam agrees but is subjected to indignity after indignity along the way. She’s strong, but how long can she keep it up?
It’s a gritty movie. The long takes are impressive and hidden in plain sight. It took me until the second scene to catch the gimmick. Camera and actor movement keep things from stagnating, but the form is still somewhat limited. I applaud the effort, but a more traditional approach to cinematography may have ramped things up another notch or two while providing some needed breathing room.
Beauty and the Dogs is an intense film with not much relent. It’s ultimately satisfying, but the journey is harsh and unabating. It’s acted well, made well, tells an absorbing story, and serves as a bold voice for what I hope is an emerging film movement. It can be abrasive and uncomfortable to watch, but when exposing systematic injustices, I suppose that’s a price worth paying.
James is a writer, skateboarder, record collector, wrestling nerd, and tabletop gamer living with his family in Asheville, North Carolina. He is a member of the Southeastern Film Critics Association, the North Carolina Film Critics Association, and contributes to The Daily Orca, Razorcake Magazine, Mountain Xpress, and Asheville Movies.