The Pleasure that Jocelyne Saab unveils within Egyptian society,
stripped down, breaks the law of silence that reigns there, where
individuals act following the logic of a body or bulk, determined, in and by space and time, preceding what resembles the pain of ecstasy or appears to be the specificities of societies and their traditions.

A guiding body, completely overlapped by the social world and its necessities, is undone by the director in an unique and subjective manner where every woman character interacts with the highly developed sensory elements in the images.

Jessie Kosseifi