Where Do We Go Now?

As tension rises in a small, secluded Lebanese village, the Christian and Muslim men of the town sit glued to a single television. As the reception flickers in and out, they watch and wait patiently for news from the outside world. They wait for reports of increased hostilities between their peoples. They wait for headlines about skirmishes and violent attacks. They wait for the rest of the country to tell them that they're enemies. They wait… for an excuse. But while the men remain trigger happy and quick to aggression, the women have an entirely different perspective. Armed only with their wits and compassion, they aim to ease the pain and anger that surrounds them. A modern day parable about the irrationality of violent conflict, 'Where Do We Go Now?' presents a deceptively simple examination of some very complicated issues. With an odd blend of heartbreaking tragedy and whimsical comedy, the film reveals the inherent absurdities of war, bloodshed, and religious intolerance.

Set in an anonymous village in Lebanon, the story focuses on the precarious peace between the town's Muslim and Christian population. As hostilities increase, the women of the city, both Christian and Muslim alike, join together to mitigate the violence. Through a series of simple and elaborate plots, they attempt to distract the men from the country's escalating religious wars. While their silly and ingenious schemes seem to work for a time, a sudden tragedy strikes the village, potentially destroying the fragile truce that the women have worked so hard to maintain.

We initially follow the everyday life of the villagers, getting a general sense for their community. At first, their strife seems quite innocuous with only minor squabbles, arguments, and town gossip, but after a series of vandalisms (or possible misunderstandings), things take a turn for the worst. The women's various attempts to placate the aggression are quite amusing, and the ensemble of female performers (who are mostly nonprofessional actresses) are full of personality, and share great chemistry together.

They try everything to keep their husbands and sons from fighting, including sabotaging a television, and inviting a gang of Ukrainian dancers to the town (proving that all it takes to distract a man is a nice pair of "yabos"). These silly shenanigans are all very entertaining, and work to form an episodic plot that slowly builds toward an interesting climax. As funny as the actresses can be, there is also a palpable sense of loss in their characters, and this level of deep pathos can be absolutely devastating. Their frustration over needlessly spilt blood rings true, and the director successfully rallies together an inspiring and hopeful voice for future peace.

From its opening scene, which features a moody voice over followed by a shot of mourning women solemnly dancing toward a cemetery, the film instantly sets the tone for the strange, storybook blend of drama and whimsy that follows. Director Nadine Labaki manages to create an almost fairy tale like atmosphere, while still maintaining a very realistic emotional core. A quirky sense of humor permeates the work, adding a lighthearted air to the otherwise dreary subject matter. Brief detours into musical fantasy are even offered, including a scene in which the unrealized romance of two star-crossed lovers is interpreted through song and dance.

Despite the film's occasional excursions into musical metaphor and humorous fancy, much of the runtime ends up focusing on the real consequences of religious turmoil, and the filmmakers tackle the resulting tragedies head on. There are several scenes that are truly affecting and heartbreaking, completely eschewing fantasy for stark, cold reality. This seemingly incompatible fusion of tones somehow works, and it's a true testament to Labaki's directing skills that the film is able to balance the comedy and drama so well. The erratic dance between happiness and horror has sadly become commonplace for these characters, and the movie's tone mirrors that fact brilliantly.

Without giving too much away, the film's conclusion might be a little too "cute" for its own good, and if taken at face value the women's ultimate solution to their problems presents a pretty large simplification of some very complex matters. Likewise, some might find the idea that women are somehow above religious fighting while the men are so quick to aggression, to be disingenuous. With that said, the director actually addresses these potential criticisms in the included special features, and her defense is strong. The movie's goal is not to offer a totally realistic examination of or answer to religious conflict, and instead the story is meant to work as a universal allegory and parable. In that sense, the ending is not only perfectly fitting, but also quite fascinating in its own right. It has a wonderful storybook quality and the final image is a stirring summation of everything the filmmakers are trying to say while offering a hopeful but ambiguous look toward the future.

'Where Do We Go Now?' is a film about mothers and wives who are tired of senseless death… tired of burying their husbands and sons. United together, Muslim and Christian women attempt to ease the violence in their village. They attempt to make their men forget one simple falsehood -- that they're "supposed" to be enemies. A funny and tragic parable about the absurdity of religious division and conflict, the movie's plot is simple, but its themes are deep and affecting. Through a mixture of realistic drama and a more fantastical sense of humor, the filmmakers come away with a unique and thought provoking experience. It may not have truly lasting answers or solutions, but it certainly asks the right questions.

The Blu-ray: Vital Disc Stats

Sony brings 'Where Do We Go Now?' to Blu-ray on a BD-50 disc packaged in a keepcase. After some skippable trailers the disc transitions to a standard menu. The packaging indicates that the release is region A coded.