Nacer Khemir, a Tunisian filmmaker, spins a mystical masterpiece with “Bab’Aziz — The Prince Who Contemplated His Soul.” (2005) It’s an exquisite journey wrapped in the robes of Sufi mysticism, where Dervishes are not just a motif but the heartbeat of the narrative. Bab’Aziz, a blind old man, wanders the desert with his granddaughter Ishtar — yes, named after that Ishtar. On a spiritual quest to a Dervish gathering that springs up in the desert every 30 years. As they trek across the barren landscapes of Iran, their journey becomes a tapestry of interwoven tales, each echoing the mystical Sufi tradition. They don’t know where or when the gathering will be, but Bab’Aziz’s faith assures him they’ll find it. Along the way, he shares a tale of a prince whose chase after a gazelle leads him to a spring that transforms his soul, compelling him to forsake his riches for a life of spiritual contemplation.
Their path crosses with others, each carrying their own transformative stories. What starts as a seemingly disjointed narrative mosaic beautifully comes together, enhancing and deepening Bab’Aziz’s own spiritual quest.
The film’s magic also lies in its visual and auditory feast. Mahmoud Kalari’s cinematography paints the desert in vibrant colors and captures the rich textures of Tunisian settings and costumes, making every frame a portrait worthy of a National Geographic spread. The Sufi-influenced soundtrack is hypnotic, almost turning the film into a musical journey through the soul-stirring landscapes of the Arabian desert.
Ishtar, sharp and spirited, brings a touch of humor to their serious voyage. Their destination, a desert rave of Dervishes that meets once every three decades, is depicted with such ecstatic joy, it resembles a mystical Burning Man. Given the rarity of North African films in mainstream cinema, “Bab’Aziz” is a celebratory dance of cultural and spiritual cinema.
Socrates once said, “Death may be the greatest of all human blessings,” a sentiment that resonates deeply after watching “Bab’Aziz” The film is laden with questions about the unknown and the unseen — echoed by Ishtar in her innocent queries about their destination. Bab’Aziz’s response encapsulates the film’s spirit:
ISHTAR: But what if we get lost?BAB’AZIZ: He who has faith will never get lost. He who is
worriless won’t lose his way.
This is existential iconism at its best. There are no maps in their world, only faith. And as they navigate by faith, the film reveals that perhaps searching is more important than finding.
The narrative is a winding series of stories, each seeking a different truth — love, spirituality, enlightenment — yet all finding that the journey itself is the true destination. Don’t be misled by the majestic desert or the mystical allure; this isn’t just another “1001 Nights” spin-off. It’s a deeper, more philosophical journey that explores the conflicts and harmonies between ancient traditions and modern perceptions.
In essence, “Bab’Aziz” offers a universal exploration of the passions that drive and define humanity, a story of seeking and finding that touches the soul as deeply as the sands of the desert.
Best experienced with a side of hashish or a mellow marijuana edible to fully immerse in its dreamy landscapes.
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