You will be redirected back to your article in seconds

Film Review: ‘The Day I Lost My Shadow’

The powerful story of a Syrian mother separated from her son and trapped in the dangerous countryside around Damascus is undercut by characterless visuals.

Soudade Kaadan
Sawsan Arsheed, Samer Ismail, Reham Al Kassar,

Official Site: https://www.imdb.com/title/tt8900142/?ref_=nm_flmg_cin_1

The first 15 minutes of “The Day I Lost My Shadow” pack a punch that never quite returns to Soudade Kaadan’s fiction debut. Set in Damascus and environs at the start of the war in 2012, the film follows a mother whose search for a simple cooking gas cylinder leads her into a nightmare journey of internecine conflict that robs people of their shadows when it doesn’t snuff out their lives. Shooting in Lebanon largely with exiled Syrian cast and crew, Kaadan aims for a cinéma vérité style with touches of magic realism, yet characterless visuals aren’t able to achieve the desired poetic impact. Still, the topicality, together with Venice’s Lion of the Future prize for best debut, assures an active festival life.

Panic appears to overtake a Damascus neighborhood as pharmacist Sana (Sawsan Arsheed) and her young son Khalil (Ahmad Morhaf Al Ali) race upstairs to their apartment, stalling when a security agent demands to know where they’re headed and then shooting past a funeral on a lower floor before reaching the safety of home. Once through the door, the reason for the mad dash becomes clear: They’re wanting to beat water rationing and do the laundry before the power cuts. These early moments are the best, warmly capturing the loving relationship between mother and son, whose mutual emotional dependence is crucial for appreciating the level of Sana’s stress later in the film.

The next day she lines up for a replacement gas canister, looking forward to making a hot meal for Khalil, but supplies quickly run out. Anxious to find one at another location, she teams up with siblings Jalal (Samer Ismail) and Reem (Reham Al Kassar), hiring a cabbie (Yassin Albokhari) to take them to the outskirts of town. An unexpected road block leads the driver to bolt in desperation, and they find themselves hiding from government soldiers in an olive grove. It’s there that Sana notices Jalal has no shadow.

The concept owes something to folklore and the idea that someone without a shadow is a person without a soul, but Kaadan gives it an intriguing, hypothetically effective spin: those without shadows are traumatized by the brutality of war (in Jalal’s case, he lost his after witnessing his brother’s torture and death). Though less than 10 miles from the city, the trio are trapped in the countryside with no means of communication, hiding from roaming soldiers and government allies while seeking a way of getting back to Damascus.

Thanks to the way Kaadan swiftly built sympathy for the bond between Sana and Khalil, the mother’s deep distress at being separated from her son, with no means of contacting him, carries palpable weight, adding a level of angst as she searches for a way to get home. The film is at its best in conjuring the fear of a society careening toward catastrophe, trying to live normal lives at the start of the war even while bombs are falling within earshot. Sana’s almost used to negotiating the chaos in a city rent by fighting, but the uncertainty of the surrounding areas, and the difficulty of identifying allies, become too much to bear when added to concerns for her son.

While the story itself is potent, the dialogue is unremarkable and the characters of Jalal and Reem are less compelling than their situations warrant. Visuals are also a weak point, as lackluster compositions fail to bring out the subject’s full, terrifying potential.

Film Review: 'The Day I Lost My Shadow'

Reviewed at Venice Film Festival (Horizons) Sept. 3, 2018 (also in Toronto – Discovery; London – First Feature Competition; Busan – Window on Asian Cinema; Los Angeles – World Fiction). Running time: 91 MIN: (Original title: “Yom Adaatou Zouli”)

Production: (Lebanon-France-Qatar) A KAF Production, Acrobates Film, Metaphora Production prod. (Int'l. sales: Stray Dogs, Paris.) Producers: Amira Kaadan. Co-producers: Soudade Kaadan, Claire Lajoumard.

Crew: Director, writer: Soudade Kaadan. Camera (color): Eric Devin. Editors: Pierre Deschamps, Kaadan. Music: Kinan Azmeh.

With: Sawsan Arsheed, Samer Ismail, Reham Al Kassar,Oweiss Mokhallalati, Hanane Hajj Ali, Ahmad Morhaf Al Ali, Yassin Albokhari. (Arabic dialogue)

More Film

  • European Union Placeholder

    European Parliament Gives Final Approval to Controversial Article 13 Copyright Directive

    The European Parliament on Tuesday gave final approval of Article 13, a controversial directive that shakes up the rules around copyright in the continent with ramifications for online platforms, content owners and creators, and the general public. The proposed new framework, now approved, has sparked widespread debate among the platforms, public, and content firms. The platforms, [...]

  • Fox Disney Layoffs

    Fox Studio Quickly Fades Away as Disney Starts Work on Integration

    In the waning days of 21st Century Fox, there was a run on the searchlight. As Disney neared the completion of its $71.3 billion acquisition of 21st Century Fox, employees on the Fox lot rushed into the studio’s gift shop to pick up mugs, shot glasses, sweatshirts, hats and T-shirts emblazoned with 20th Century Fox’s [...]

  • Small Theaters Struggle to Survive in

    Inside Indie Movie Theaters' Battle to Survive

    Nestled at the foot of a large hill on the edge of downtown Providence, R.I., Cable Car Cinema was known to local moviegoers as ”the one with the couches.” That was a charitable description. They were love seats, really — perfect if you were with a date but awkward if you went to see a [...]

  • Nadine Labaki

    Cannes: Nadine Labaki to Head Un Certain Regard Jury

    Lebanese filmmaker Nadine Labaki has been named president of the jury for Un Certain Regard in Cannes. The Festival said Labaki had been chosen after “moving hearts and minds at the last Festival de Cannes with her Academy Award- and Golden Globe-nominated ‘Capernaum,’ which won the Jury Prize.” More Reviews Concert Review: Yoko Ono Earns [...]

  • Osmosis

    Netflix Unveils Four More French Originals, 'Gims,' 'Anelka,' 'Move,' 'Of Earth And Blood'

    As it prepares to open a fully-staffed office in France and ramp up its investment in local originals, Netflix has unveiled three new documentaries, “Move” (working title), “Gims” (working title), and “Anelka” (working title), and the feature film “Of Earth And Blood” while at Series Mania in Lille. Announced during a panel with Netflix’s commissioning [...]

  • Miramax Developing 'I Won't Be Home

    Film News Roundup: Miramax Developing 'I Won't Be Home for Christmas'

    In today’s film news roundup, “I Won’t Be Home for Christmas” is in the works, the NFL has made a documentary about female team owners and D Street Pictures has signed Kenny Gage and Devon Downs to direct the dance feature “Move.” HOLIDAY PROJECT More Reviews Concert Review: Yoko Ono Earns a Wide-Ranging, All-Female Salute [...]

More From Our Brands

Access exclusive content