A fresh perspective on Mauritius
In his second feature film, David Constantin presents a unique portrayal of Mauritius, far removed from the stereotypes often portrayed in Western films. This isn't a story of luxurious hotels, exotic dancers, or pristine beaches. Instead, it delves into an urban world marked by sweatshops, run-down bars, tin shacks, and stray dogs. The director even integrates moldy images of paradise into the film, openly challenging the postcard image of our island.
Constantin's Mauritius is both beautiful, with its dark, starry sky, neon lights, and altars, and filled with despair. This sense of desolation is illustrated through the lives of the three main characters: Bolom, an old alcoholic; Ronaldo, a restless young man longing for new horizons; and Ajeya, a Bangladeshi immigrant seeking a better future.
While the film's criticism of local society may lack subtlety at times, it remains impactful. Certain scenes, which might be disconcerting for foreign viewers, strike a chord with Mauritian audiences, such as a cemetery scene that showcases tombstones bearing the names of shame—humiliating surnames given to former slaves after the Slavery Abolition Act of 1833.
Creative visuals and a well-paced script
"Simin Zetwal" also offers visually stunning and imaginative cinematography. Although the pacing may feel slow at moments, the story is complemented by cleverly written humorous scenes (a special mention goes to Guillaume Silavant, who flawlessly portrays an eccentric policeman).
The cast delivers outstanding performances, with Jérôme Boulle once again shining in his role as Bolom, capturing the character's essence perfectly. While Edeen Bugheloo and Sharonne Gah Roussety are relatively new to acting, their performances contribute to the film's overall quality.
International acclaim
Despite its imperfections, "Simin Zetwal" stands as a vibrant homage to the Mauritian working class and local culture, establishing itself as one of the best Mauritian feature films to date. The film has already garnered four international awards, including the Best Editing Prize at the Journées Cinématographiques de Carthage (Tunisia), the Bronze Award and the Fipresci Award (Critics' Prize) at the Luxor African Film Festival (Egypt), and a Special Jury Mention at the FESPACO (Burkina Faso). Hopefully, it will inspire other talented filmmakers on the island to pursue their ambitions in the local film scene.
