Incluvie – Better diversity in movies.
Identity in film with Incluvie stamps, scores, reviews.

Incluvie – Better diversity in movies.
Explore identity in film with Incluvie stamps, scores, reviews, and insights.

Damascus, My First Kiss poster

Damascus, My First Kiss (2012)

Syria is a vibrant melting pot of nationalities, religions and minorities, living together as one. The nation's multiplicity imbues its population with a dynamic spirit. Yet Syria remains a patriarchal society, meaning that the daily lives of Syrian citizens are defined and dominated by men. Lina Alabad's beautiful film asks the question: What, then, is the role of women in Syria? How extensive is their access to freedom and autonomy? And what effect do the limitations imposed upon them by society have on their attitudes towards sexuality and their own bodies.
- / 5
PopScore
Representation

Pictures and Videos


Incluvie Gala

Movie Information


Syria is a vibrant melting pot of nationalities, religions and minorities, living together as one. The nation's multiplicity imbues its population with a dynamic spirit. Yet Syria remains a patriarchal society, meaning that the daily lives of Syrian citizens are defined and dominated by men. Lina Alabad's beautiful film asks the question: What, then, is the role of women in Syria? How extensive is their access to freedom and autonomy? And what effect do the limitations imposed upon them by society have on their attitudes towards sexuality and their own bodies.

Rating:
Genre:Documentary
Directed By:Lina Al Abed
Written By:
In Theaters:11/10/2012
Box Office:

Runtime:42 minutes
Studio:

Articles You May Like


Review: The Roses – Marriage and the Sweet Taste of Revenge

The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.

Nilufer Ozmekik