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Mohamed Zran
Mohamed Zran, whose works (Le Casseur de pierres, 1992; Essaida,1996, and Le Chant du Millénaire, 2002) tackled up to now the universe of underprivileged social sectors and rural society, draws with The Prince, by means of a noticeable writing economy, a persuading painting of the city society. A few characters around whom some others tour.

The fleeting appearance of the latter is hardly secondary but helps to finish the painting. The rhythm of the film is just like that of the Tunisian society: a stream flowing slowly and carrying along twig and pollard, but underneath, tension lies dormant.

Sequence plans are so many signs where the preoccupations of the Tunisian society are written in big letters: the family, the nepotism, the corruption, the frustrations of the young and the intellectuals, without forgetting the inherent tensions of sex, alcohol and football.



Films
The Prince (Le Prince)

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