Bab'Aziz

Bab'Aziz is a visually stunning and thought-provoking film directed and co-written by Nacer Khemir and released in 2005. The movie features remarkable performances by Parviz Shahinkhou in the eponymous role of Bab'Aziz, Maryam Hamid as his vibrant granddaughter Ishtar, and Golshifteh Farahani in the role of Zinat. This Franco-Tunisian-Iranian co-production is the concluding part of Khemir's Desert Trilogy that began with Wanderers of the Desert (1984) and The Dove's Lost Necklace (1991).

Bab'Aziz is essentially a parable set against the endless expanses of the desert, and it leads the viewers into a magical, yet contemplative journey through the landscapes of the soul. The narrative centers around the blind dervish Bab'Aziz and his dynamic granddaughter Ishtar as they traverses across an infinite desert with a singular goal - to attend a grand Sufi gathering.

Blind Bab'Aziz doesn't know where this gathering will take place as there are no signs, maps, or specific locations, but he confidently says that "those who are invited will find the way." The desert here not only stands as a physical reality but also reflects a dimension beyond the physical world, representing the vastness of spiritual secrets and questions, the answers to which the protagonists are journeying towards.

As Bab'Aziz and Ishtar cross the sands of the desert, they encounter a vibrant cast of characters, each riddled with their own spiritual quests. Their meetings with a poet seeking his long-lost love, an accomplished prince dwelling on the fragments of his existence, and a troupe of musicians hoping for divine inspiration unfold through a series of stories within the story, creating a labyrinth of tales that echo the central narrative.

The navigation through these stories, each filled with wisdom and beauty, isn't linear but rather cyclical and labyrinthine, much like a Sufi interpretation of life and afterlife. By incorporating stories within stories, a narrative framework traditionally known as the Persian tale-telling tradition or mathnawi, Khemir weaves a dazzling tapestry of human hopes, dreams, desires, and existential dilemmas.

Despite the vast emptiness of the desert, Bab'Aziz is a film abundant with color, both visually and metaphorically. Its vivid cinematography, interspersed with breathtaking dune landscapes and mystical architectures, is a tribute to the splendor and opulence of Islamic art. The soothing score, composed by Armand Amar, engages seamlessly with the visual narrative, providing an audio-visual treat to the viewers.

The performances are passionate. Shahinkhou's portrayal of Bab'Aziz embodies the depth, patience, and acceptance of a devout spiritual seeker. Young Maryam Hamid as Ishtar shines brightly in her role, depicting innocence, curiosity, and faith in her grandfather's vision. Farahani's Zinat, juxtaposed with the central characters' journey, presents a tender depiction of selfless love and dedication.

The film doesn't shy away from exploring profound philosophical and spiritual themes, heavily influenced by Sufi mysticism. Khemir has beautifully layered the narrative with Sufi discourses, parables, and poetry that act as reminders of the prevalent themes of impermanence, spiritual awakening, and unity which are universal to human experience.

In closing, Bab'Aziz is not just a film but a lyrical poem that invites viewers into a meditative journey towards the great mysteries of existence. It is not merely to be watched but to be experienced – to get lost and then found in its moving narrative and visually arresting frames. The movie is a spiritual feat that reminds us that the path to truth, although winding and endless like a desert, is full of stunning vistas and illuminating visions. It is a film that slows us down and transports us away from our busy lives to a world we hardly come across, a world that is as tranquil and contemplative as it is beautiful and magnificent. Bab'Aziz leaves an indelible imprint on the viewers, inviting them to partake in a shared journey towards the mystic and the divine, long after the credits have rolled.