Leila Albayaty reclaims the sons of her memory – Liberation

At the beginning it is the chirping of a chopper, a fluette and approximate voice of a young unknown young woman, who we learn from her amnesia, a bohemian artist, of Iraqi origin, living between Berlin, Cantal, Baghdad and Cairo, which she loves to sing rather than speak, that she is called Leila, most often carries smoked glasses, a bit of a slightly posing rock, Forgotten after being overturned by a car several years ago.

After the collision and coma, she no longer recognized anyone, her knee seemed fucked up. She made the re -educational journey, reappears to speak, identify people, walk and dance with the friends screaming. But who is Leila, that’s what she never knew, even before the accident. Also, this second feature film has the magnificent ambition to remedy that. Her film wants to save her, since she is a self -portrait, which she realizes: Leila Albayaty.

The voice of the Ménestrelle of the first seconds opens gradually, and becomes a song, the song of Leila, in the language which she had so far learned, the Arab of her Iraqi father, exiled after having been persecuted by the Baasist regime from which he is dissident when Saddam Hussein takes power in 1979. The song of Leila, who learns the Arab to be able to compose becomes the film.

Three layers can be identified at the beginning, three discordant talents: the drawings she paints, her voiceover or cha