A young teacher arrives at a village in the middle of the desert. His task is to, well, teach the children. Only problem is, the entire village is cursed, and the children disappear one by one to join a group of ‘wanderers of the desert’. Before leaving, a well speaks, urging them to break all mirrors in the village, and use the shards in an unexplained ritual. The story-telling of this beautifully shot film is both loose and low-paced, in step with recent Arab history. Torn between the mystical, anecdotal past, nostalgia for Andalusia -a paradise lost, and modernity in the guise of the wrathful police officer, the youth vanish into an aimless existence.
Tunisian director Nacer Khemir’s ‘Al-Haimoune’ or ‘Wanderers of the Desert’ perfectly captures the soul of the Arab World pre-revolution. Not in detailed exegesis, but as a broad metaphor for homelessness. A representative of the national state inspires confidence nor inspiration. The past offers a mere labyrinth of illusion, fairy tales, and unsubstantiated longing. The village itself, ruins of beautiful courtyards and crumbling arabesque walls, are reminiscent of so many abandoned villages formerly inhabited by Jews, the archetypal wanderers of the desert whose exile ended half a century ago but only in name, and not without displacing another people.
Whence from here? As the era of oil draws to a close, so must the Middle East’s subservience to the West that actually began long before the discovery of crude. The ballot box can only be the start of the end of wandering. Both Arabs and Jews have a long road ahead crafting a new symbiotic identity. Out of the desert and into a modernity that is not premised on the sword.