Deconstructing gender and family norms in new Tunisian cinema: A queer reading of Ala Eddine Slim’s Tlamess/طلامس(2019)

This article seeks to problematize the concept of queer cinema and then to illuminate conceptual nuances through the analysis of a specific film. The Tunisian feature film Tlamess can be read as queer on two levels. First, its queerness relates to the protagonist, a deserter who undergoes a fundamental metamorphosis: he frees himself from the patterns of military masculinity and, far from the normative world, takes on a maternal role. Second, the dissolution of the traditional gender and family order is staged through cinematic processes that introduce the viewers to a pre-verbal world outside of established symbolic and social patterns. Expressive audio-visual techniques transfer the viewers into this alternative world and create an experience of difference, a kind of mind game. Thus, queer cinema should not only be understood in terms of political activism, as an examination of characters supposedly deviating from gender norms. Rather, and crucially, it emerges in a much broader sense out of the strategies of aesthetic mise en scène.