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Und die Mezzosopranistin Christina Daletska setzt sich mit aller Kraft f\u00fcr die Menschen in der Ukraine ein.", "effective": "2023-09-13T09:33:00+00:00", "end": null, "getObjSize": null, "head_title": null, "image_field": null, "image_scales": {}, "mime_type": null, "nav_title": null, "review_state": "website_workflow--STATUS--veroffentlicht", "start": null, "title": "Gesundheitsrechte \u2013 nicht f\u00fcr alle gleich", "type_title": "TopicPage" }, "pills": [], "previous_item": {}, "review_state": "website_workflow--STATUS--veroffentlicht", "sidebar_date": null, "sidebar_item_1": null, "sidebar_item_2": null, "sidebar_label": null, "sidebar_link": "", "sidebar_text": "Von Boris B\u00f6gli. Erschienen in \u00abAMNESTY \u2013 Magazin der Menschenrechte\u00bb vom September 2023.", "slblocks": { "311d7ddab73c4a248a4543b45bf97f76": { "@components": { "actions": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2023-3/die-vier-toechter-und-der-boese-wolf/details/@actions" }, "aliases": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2023-3/die-vier-toechter-und-der-boese-wolf/details/@aliases" }, "breadcrumbs": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2023-3/die-vier-toechter-und-der-boese-wolf/details/@breadcrumbs" }, "contextnavigation": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2023-3/die-vier-toechter-und-der-boese-wolf/details/@contextnavigation" }, "footer": { "@id": "https://amnesty-api.webcloud7.ch/de/@footer", "data": { "msg": "Not extandable for caching reasons, please call @id in a separate request." } }, "linklist": { "@id": "https://amnesty-api.webcloud7.ch/de/@linklist", "data": { "msg": "Not extandable for caching reasons, please call @id in a separate request." } }, "navigation": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2023-3/die-vier-toechter-und-der-boese-wolf/details/@navigation" }, "navroot": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2023-3/die-vier-toechter-und-der-boese-wolf/details/@navroot" }, "types": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2023-3/die-vier-toechter-und-der-boese-wolf/details/@types" }, "workflow": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2023-3/die-vier-toechter-und-der-boese-wolf/details/@workflow" } }, "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2023-3/die-vier-toechter-und-der-boese-wolf/details", "@type": "TitleTextBlock", "UID": "311d7ddab73c4a248a4543b45bf97f76", "allow_discussion": false, "created": "2025-10-12T12:38:58+00:00", "cta_href": "", "cta_label": null, "cta_new_window": false, "cta_type": "", "id": "details", "is_folderish": true, "items": [], "items_total": 0, "layout": "view", "lock": {}, "modified": "2025-10-12T12:38:58+00:00", "next_item": {}, "parent": { "@id": "https://amnesty-api.webcloud7.ch/de/magazin-amnesty/2023-3/die-vier-toechter-und-der-boese-wolf", "@type": "ArticlePage", "description": "Die Trag\u00f6die einer tunesischen Familie: Mit dem Experimentalfilm \u00abLes Filles d\u2019Olfa\u00bb hat die Regisseurin Kaouther Ben Hania ein aussergew\u00f6hnliches Werk geschaffen.", "effective": "2023-09-20T17:31:00+00:00", "end": null, "getObjSize": null, "head_title": null, "image_field": null, "image_scales": {}, "mime_type": null, "nav_title": null, "review_state": "website_workflow--STATUS--veroffentlicht", "start": null, "title": "Die vier T\u00f6chter und der b\u00f6se Wolf", "type_title": "ArticlePage" }, "previous_item": {}, "review_state": null, "text": { "content-type": "text/html", "data": "

Olfa hat zwei T\u00f6chter. Einst waren es vier, doch die beiden \u00e4lteren sind verschwunden. \u00abSie hat der Wolf gefressen \u00bb, sagt die tunesische Regisseurin Kaouther Ben Hania zu Beginn ihres Films. Was das Verschwinden von Rahma und Ghofrane mit der Familie gemacht hat, steht im Mittelpunkt ihres Films \u00abLes Filles d\u2019Olfa\u00bb. Sie l\u00e4sst sechs Protagonistinnen auftreten: Mutter Olfa sowie die j\u00fcngeren T\u00f6chter Eya und Tayssir spielen sich selbst. Hend Sabri doubelt Olfa in schwierigen Szenen, Nour Karoui und Ichraq Matar stellen die verschwundenen Schwestern dar.

Gespr\u00e4che mit den reellen Familienmitgliedern werden in dem Film mit nachgespielten Szenen aus ihrem Leben verwoben. Dazwischen tritt die Regisseurin selbst auf. Auch auf Kameramann Farouk Laaridh, der ebenso intime wie pr\u00e4zise Bilder komponiert hat, wird Bezug genommen.

Olfa erz\u00e4hlt aus ihrer katastrophalen ersten Ehe. Aus der Zeit des kurzen Gl\u00fccks mit einem neuen Partner, der sich aber als Dreckskerl mit Drogenproblem entpuppt. Eya und Tayssir lassen ihre von Armut und Gewalt gepr\u00e4gte Kindheit Revue passieren, die schwierige Beziehung zur Mutter, die ihre T\u00f6chter moralinsauer vor dem Frauwerden bewahren will. Als sie in Rahmas Tagebuch den Namen eines Jungen \u00abmit Augen blau wie der Sommerhimmel\u00bb entdeckt, setzt es Schl\u00e4ge ab \u2013 und es zeigt sich, dass dies kein \u00abAusrutscher\u00bb ist.

Mit dem Arabischen Fr\u00fchling, der ab 2011 neue Freiheiten und Umw\u00e4lzungen bringt, gehen die Familienmitglieder unterschiedlich um. Rahma beginnt sich im Gothic-Stil schwarz zu schminken, Ghofrane enthaart ihre Beine und zieht mit einem Motorradfahrer um die H\u00e4user. Derweil missionieren Islamisten auf den Pl\u00e4tzen und schwatzen den Frauen im Quartier den Niqab (Gesichtsschleier) auf. Rahma und Ghofrane beginnen, sich von ihrer Mutter zu entfremden.

Es wird viel geweint in \u00abLes Filles d\u2019Olfa\u00bb. Aber es wird auch gelacht, gesungen und getanzt. Wenn die vier Schwestern herumalbern, ist pl\u00f6tzlich unklar, ob es sich um eine nachgespielte Szene oder eine \u00abDrehpause\u00bb handelt \u2013 derart vermischt Ben Hania Fiktion und Realit\u00e4t. Eingefangen wurden diese Bilder hinter einem diskreten Zweiweg- (\u00abVerh\u00f6rraum \u00bb-) Spiegel. Einen normalen Spiegel \u2013 in der Person von \u00abDouble\u00bb Sabri \u2013 h\u00e4lt die Regisseurin der Mutter hin, die sich ihrer Erziehungs-Verfehlungen schmerzhaft bewusst wird.

\u00abDeine verbliebenen T\u00f6chter sind die Generation, die den Teufelskreis der Gewalt durchbrechen wird\u00bb, sagt Sabri zu Olfa. Die erfrischenden Charaktere von Eya und Tayssir sind denn auch das Hoffnungsvollste in einer Familiengeschichte voller Traumata und Tragik. Diese beiden T\u00f6chter sind nicht \u00abvom Wolf gefressen \u00bb worden. Wer mit dem Wolf gemeint ist, wird allerdings erst zum Schluss des Films aufgedeckt. \u00a0\u00a0

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Die vier Töchter und der böse Wolf

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