Nawal (Mouna Hawa) suffers the untimely demise of her husband, leaving her and her daughter Nora (Selleba Rababah) in despair. Before she can even grieve, her brother-in-law, Rifqi (Haitham Omari), forces her to divide her husband’s remaining assets. Adamant to claim his rights, Rifqi pushes Nawal to initiate a legal and moral battle that defines her prerogatives and brings light to her place among the primarily patriarchal practices.
The filmmakers hide little details in dialogue and Nawal’s domestic and household activities. We traverse a crucial prayer meeting after her husband’s demise, wherein the lead is reminded of her unfathomable loss, which extends further loss of her free will and individuality. Nawal is put under a restrictive routine for the next few days but is alone to take care and look after her daughter. Things move so subtly and calmly that for an unfamiliar audience, it’s near-shocking. Every time there is a knock, Nawal is careful to cover her head and is seen avoiding catching eyes with unknown men. These are little glimpses of semi-exhaustive norms undermining women’s societal position.
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