Behind the Mountains (2023) ‘MIFF’ Movie Review: An Idiosyncratic Project That’s Perfect for the Festivals

Mohamed Ben Attia’s “Behind the Mountains” is precisely the kind of quirky, idiosyncratic project that’s made for the film festivals. Premiering initially at Venice and London film festivals in 2023, it will now grace the first Muslim International Film Festival this week, where it should hopefully get some more deserved eyes on it. A film that thrives on being hard to define, it is so utterly independent and original in its thinking and presentation of ideas, and the type of film that will wash over you and etch itself into your mind long after the credits roll if you let it.

The Tunisian director takes his previous experience working with social realist films such as 2016’s “Hedi” and 2018’s “Dear Son” to ground this fantastical story and construct an atmosphere that is equal parts gritty and playful. The film has an explosive opening sequence, as we are introduced to Rafik (Majd Mastoura), a man recently released from a stint in jail after an incident in which he impulsively vandalized his workplace and proceeded to attempt suicide by throwing himself out of the window.

All of this exposition is conveyed visually and non-linearly, putting us immediately inside the psyche of a man so disillusioned with society, his mind so scrambled from the disconnect to the world around him. Much to the displeasure of those around him, no motives are given as to why this man would have thrown away his family, salary, and status – his life essentially.

However, they aren’t necessary when Mastoura is delivering such a commanding performance, forcing the world and us as an audience to just come to terms with his decisions. It is this sweeping criticism of societal structures that, while sometimes can come across as a little too vague, does instill a sense of foreboding threat throughout.  There isn’t a singular antagonist or time-based stakes; instead, this inexplicable, inescapable feeling, this understanding that society will always end up crushing individuals like him, plagues the entire piece.

Because he is different, he doesn’t fit in. He has a secret, and it is this revelation around which the whole film shifts and takes a delightfully unexpected turn. Mastoura expertly conceals layers of desperation behind a finely veiled facade of control. Once he kidnaps his son from school, the film transitions away from the intense greyness of urban life to stunning rural scenery shot by cinematographer and regular collaborator alongside Attia, Frédéric Noirhomme. His control continues to slip away from him, and the narrative twists ensure your engagement, as no roadmap is provided, and there is no indication as to where exactly this film will take us next.

“Behind the Mountain” never holds your hand but also never reaches out, perhaps leaving you slightly apathetic at the end, as the narrative oddity and thoughtful symbolism can only take you so far in terms of emotional investment. However, the complex exploration of the parent-child relationship does sell you on this. Rafik’s son Yassine is so young that the four-year absence means he has almost no memory of his father. This is crucial, as the film becomes not only about Rafik’s personal journey of spiritual liberation but also a film about the emotional bonds that tie parents and children together. We see their slow development of connection and the societal barriers that would seek to diminish this.

The film is non-judgemental in regards to any of the characters, all from varying facets of society – we encounter well-off in-laws, a “perfect” middle-class family, and a quiet young shepherd – which may lead to audiences feeling it has nothing to say. But it isn’t trying to. It deliberately divorces itself from grandiose ideas or set pieces rather than letting the words and images speak for themselves. Mohamed Ben Attia also wrote the screenplay for the film, and it served well due to Attia’s distinct ability to instill conversations with poetic ideas and philosophical musings without ever feeling forced or obvious.

It’s a delightful journey from start to finish. Just as Rafik does, the film whisks you away to a heightened reality. Attia is so self-assured and confident in his vision that it shines through, where, like Rafik, it feels at home in its nebulosity and freedom. Nail-bitingly tense at moments, blissfully whimsical in others, “Behind the Mountains” never seeks to justify its own existence. It just is. It is a charming film oozing with creativity and subtle intensity, quite unlike almost any other movie you will see this year!

Check Out Our Festival Coverage.

Behind the Mountains (2023) Movie Links: IMDb, Rotten Tomatoes, Wikipedia, Letterboxd
The Cast of Behind the Mountains (2023) Movie: Majd Mastoura
Behind the Mountains (2023) Movie Genre: Drama | Runtime: 1h 38m

Where to watch Behind the Mountains