THE MAN WHO SOLD HIS SKIN
Tunisia/Belgium, 2022, 104 minutes, Colour.
Yahya Nagayni, Dea Liane, Koen De Bouw, Darina Al Joundi, Christian Vadim, Wim Delvoye, Monica Bellucci, Saad Lostan.
Directed by Kauotha Ben Hania.
The writer-director of this film, Tunisian, visited the Louvre in 2011 and saw the human painting, Tim, the work of Belgian artist, Wim Devoye. She was intrigued, especially learning that Tim had been optioned and is contracted to sit at the whim of his owner, displaying the painting on his back.
So, based on a true story, this film is a fictionalised version, nominated for Oscar consideration, and featuring the actual artist, of Wim Devore, as the insurer in this film.
The setting is Syria, a young man in love with a woman whose family, wealthier, is in favour of an arranged marriage with a diplomat based in Belgium. Then civil war breaks out. The man is arrested, interrogated, and, with the help of his sister, is this able to escape to Lebanon. Working there for some time, he encounters an artist who admires his back, which the audience has seen prominently, and asks if he can use his back for a painting, a painting of the format of a visa. He agrees.
The consequences are a visa, travel to Europe, comfort, sitting in galleries displaying the painting. He has a social life. He does contact his mother back in Syria but is caught up with the comfort of his life. Then, he is auctioned, protest against the Civil War and human trafficking making a display, the man himself terrifying those of the auction with a prank that seems that he has a bomb.
When he is interrogated, the translator is the woman he loves, now married and living in Belgium, her husband jealous, attacking the man, destroying a painting, also arrested, and his wife pleading for the man to help him.
Freed by the artist, the man then contact his mother who has been injured during the Civil War and returns home.
An arresting story, freedom for artists and their choices, their canvases… But, questioning the person whose body is used for the art, ownership, echoes of human trafficking…
- Based on a true story? Belgian artist? (The actual artist appearing as the insurer in this film, Wim Dell for a)?
- The initial setting, Syria, 2010-2011, the Civil War, the repercussions? Sam Lee and his relationship with A beer, in the train, the proposal, the tension, the exuberance, the announcement, the dance? The reality of the situation, Sam RV and his family, work, appears family’s disdain, the arranged marriage with Ziad, his position in Belgium?
- Sam, his experiences, arrest, interrogation, arranging with his sister, the escape to Lebanon on, crossing the border, settling in Lebanon on, his friends, work, contact with his family, the news about A beer’s wedding?
- Jeffrey, the artist, his background, approaching Sam? The earlier shots of Sam’s back, preparation for the proposal? The proposal, Sam’s reaction, passport, going to Europe, the demands on him? The painting, the fees are on his back, the design, style, the effect on Sam?
- Saw a, working with Jeffrey, her control, manner, relationship with Sam?
- The exhibitions, Sam’s role, sitting in posture, head bowed, the display of his back? The media, museums, visitors?
- The effect on Sam, the comfortable life, the hotel, finance, time, arriving, his dressing gown, the display?
- Abeer, in Belgium, her marriage, her jealous husband? Sam and his difficulties, Serena taking his passport to control him? The issue of the option, his being sold? The protests by the Syrians at the auction, his appearing, fears of a bomb, the prank?
- His interrogation, a beer as the translator, communication with her, her husband’s reaction, suspicions, coming to the Gallery, destroying the painting, the fight, his being arrested, a beer and her plea for Sam’s help, his hesitation, helping?
- The issue of the option, the issue is identity, the parallel with human trafficking? Jeffrey and his letting him go?
- The contact with his mother, life in Syria, her injuries, his sister? The decision to return to Syria?
- The offbeat story, issues of art, issues of human exploitation?
