SILENCES OF THE PALACE

Moufida Tlatli1994

QUESTIONS TO CONSIDER 1. Think about the act of looking in that defines and structure the film How does this engage with the act of looking embodied in the images of harems? Does this film have a “female” gaze, and if so what does that mean?

2. The film contains many divisions, separations, oppositions. What are some of these and how do they function in the film?

3. This story functions as a national allegory. What does it say, in that regard, about colonialism, about independence, and about women’s place in both?

4. Silences are an important theme in the film. What sorts of silences are there in the film? What do we understand about Tunisia, about women, about men, about power through these silences?

CONTEXT Made in 1994 Has dual temporality, the eve of independence in Tunisia (circa 1956) and 10 years after independence (circa 1966), both of which are closely intertwined Film is overtly a feminine film (Tlatli has described it as such) Borrows from both colonial and post-colonial narratives and images of the past Film also references other “male” films of Maghrebi independence, most notaly Mohammed Lakhdar-Hamina’s Chronicle of the Years of Embers (1975)

SETTING

SETTINGS In the palace (the past is entirely in the palace) Upstairs with the royal family In the kitchen Bedrooms (masters and servants) Weddings Hallways and Corridors Alia and Lotfi’s home (present) In the car (with Lotfi driving)

WOMEN’S SPACES (FANTASY VS. REALITY

UPPER CLASS WOMEN VS. WORKING CLASS WOMEN

MEN VS. WOMEN

MALE GAZE VS. FEMALE GAZE

SILENCES

PERFORMANCE AND POWER OR POWERLESSNESS

OCCUPATION VS. INDEPENDENCE

PROMISE VS. REALITY OF REVOLUTION

THEMES Tunisian Independence Critique of Failures of Independence Exploration of Colonial Past Exploration of Women’s Place in Society Critique of Male Power / Control of Women Assertion (visually) of a need for women’s voices and gaze (women’s films)

Exploration of Women’s Roles, Relationships Exploration / Critique of Class Divisions