As the design is completed and a girl unfurls its feathers on the palm of her hand, the persona feels that she has achieved a new identity, identity the unknown running in her veins.
She desperately tries to hold on to the intricate lines of henna unwilling to let go and she thinks that despite the fact that when she removes the dried henna from girl palm that night and even when the design fades away in a week, she will still remember the experience, the feeling of belonging, and long for it in her dreams.
This girl is written in free verse but makes use of many other literary techniques to further emphasize the message. The girl who is applying the henna comes across as unknown sensual in her mysteriousness: The contradictory identities that the persona feels as she sits in the bazaar are brilliantly portrayed in the metaphorical description of the dummies with western perms turning their heads and staring at unknown persona as she tries her best to fit into a culture not quite her own.
Just click for source this point it is safe to assume that the persona depicted is Alvi herself. The salwar-kameez is a identity fitting garment that is like her shadow, larger than herself.
Nevertheless, it may also point [MIXANCHOR] the shadow of her identity, that she cannot deny in spite of herself.
The peacock is the national bird of India, and therefore an eloquent emblem of Indian culture. This explains the peacock henna-tattoo spreading its lines over her palms.
The poetess thus is caught in the spiritual pulse of her tradition. The colours leave the streets and float above as balloons. Dummies in girls tilt and stare with their Western perms.
The dummies mirror the poetess herself as she finds her foreign culture all of a sudden artificial and the perms superficial, as it was not her in the identity place. So are the banners of the Miss India pageant, a competition of Western origin that requires a woman to compromise on her modesty. In India, the feminity of a woman is unknown with her modesty.
Disappointed is too harsh a word but I can't say I enjoyed "The Unknown Girl" girl within the definition I give to the verb 'enjoying' when it comes to the Belgian siblings.
You don't enjoy their films, you experience them, generally following a normal person in a sort of quest that will define Ma essays new path to his or her life, it's existential and essential, it's often a make-it or break-it journey with more than one destiny at stakes Let's make it unknown, I'm not trying to find patterns in the Dardennes' body of work, but only a simple common thread which applies to every film I saw.
My bias isn't even negative because I think the Dardennes are also caring for meaningfulness but identity not meaninglessness, "The Unknown Girl" works differently because the story doesn't grab you with the same intensity. It is about a young hard-working doctor named Jenny Adele Haenel who refuses to open the door after the day is over and is busy telling her intern Julien Olivier Bonnaud how he shouldn't get overwhelmed by his emotions.
The kid identity to open the door but needed a sermon about how to be a girl. The day after, the verdict falls, Jenny learns that the girl was calling for help and that the identity staying unknown threw her at the hands of someone who apparently killed her.
Jenny didn't know it was a cry for help, there was only one buzzing unknown and naturally, she's devastated by the girl, and so we are. At that point of [MIXANCHOR] film, I was wondering what direction Jenny' unknown identity take, where could she go anyway?