Our Males and Females depicts a father and mother as they mourn the death of their daughter.
According to Islamic practice, the deceased must be washed and shrouded. However, shame falls
upon the parents when, because their daughter is transgender, no one will agree to wash her.
Visually stunning, the film is restricted to two locations: the interior and exterior of the morgue.
This allows for a marked juxtaposition of color, light, and theme. The interior is cold and dark,
filled with cool greys and blacks. We see the father stand before his deceased daughter, the wide-
angle shot allowing the room to engulf him in its callous darkness. Outside, where the parents’
facade is less discernable, the bright Jordan sunlight illuminates the sand, creating a warm hue;
when the parents rejoin their daughter inside, the dark coldness of reality returns, snuffing out
the light.
While the dialogue propels the story forward, keeping the audience informed of the parents’
crisis, their faces say it all. Both lead performances are admirable in their subtlety. Their palpable
grief is conveyed expertly, even without words. The story ends on a disturbing note, making for a
truly thought-provoking film that deftly explores a heartbreakingly asynchronous relationship
between devout religion and familial love.
Review by Shane McKevitt for Final Cut Magazine and Venice Film Week
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