“To die”… The mafia turns into a piano recital
From Tunisia this time, director Philip Asmar tried to work on renewing the lines of his dramatic work “For Death”, following the first part, which brought the characters Sahar (Maggie Bou Ghosn) and Reem (Daniella Rahma) to light, following modifications to the series, including his name, as it was “ Gemini”.
Asmar’s attempt to travel to Tunisia seems smart, as it added a new dimension to the events that repeat themselves, but by drawing additional lines for the arenas of Reem and Sahar’s confrontation. New Worlds did not avoid a group of mistakes that appeared in the first episodes, such as raid attempts, and police officers who spoke in a Syrian or Lebanese dialect instead of Tunisian. The most important question, with regard to the third part, revolves around deviating from reality: What is the criterion for choosing Tunisia specifically and portraying all this corruption there?
Asmar succeeded in drawing a new Syrian line, and for this purpose he chose Fayez Kazak, Yamen Hajali, and Mehyar Khaddour, in order to evoke an image that seemed better than the second part. A picture of another reality that is not devoid of corruption, and is looking for victims to trap them.
Maguy Bou Ghosn realized what she wanted in the new part, to take control of the game in a smooth manner, as well as Daniela Rahma, who still maintains a good level in the way she deals with the lines of the game written by Nadine Jaber.
The latter was not satisfied with two women this season, but relied on the presence of Ward Al-Khal, to play the role of the mafia leader, Karma, who was accidentally trapped by Sahar and Reem, and perhaps the opposite is true. The uncle tries to overcome herself through two images; The first says that she is a passionate pianist and musician, but she is a criminal and a murderer. She does not confess to anything, but rather seeks to collect money by various means from drug smuggling and money laundering.
What is wrong with director Philip Asmar is that he does not dwell on the details of Ward Al-Khal’s character, as it has become a third side with Sahar and Reem. Asmar mixes literalism and evil in the character of the uncle in a way that seems somewhat surreal, such as watching a murder directly on her personal phone, while she plays in cold blood on the piano. Perhaps the soulful sense of music might not go well with the killing instrument in the hands of her colleagues, Reem and Sahar. The uncle lacked more emotion, or the predominance of evil signs, along with the playing.
As for the presence of the popular neighborhood, it is clear that Nadine Jaber did not give this space what it deserves, and it appeared cold despite the preoccupation of its residents with an orphanage that was established inside it with the support of Sahar and Reem, and is run by Hanan (Randa Kaadi).
The upcoming episodes may contain what might be recorded as an addition to a series project whose events were exhausted from the first to the third part, but Asmar’s attempts to revive it every time, and carry what is new.
