Fatma and her daughters Najeh and Waffeh not only sing at weddings, their long experience enables them to help in any way they can, once dressing the bride, another supporting the bride caged in the sumptuous armor that is her wedding dress, and again, soliciting from friends and relatives cash offerings for the young couple. Women sing, to the frenzied beat of their drums, and smile at uncertain, awkward, tense, perhaps frightened brides.Marriage is the absolute goal for a woman, but what can happen afterward we see in intimate moments with our protagonists; Waffeh is the victim of an abusive husband who beats her and frightens her children; Najeh, a divorcee, knows that in the patriarchal society in which they live, her life can only begin again when she is honorably married, and so she submits to the lies and stalling of a man she met online who promised to marry her.A poignant and profound film that explores what the three protagonists are, when they are free, in the summer and singing at weddings: wonderful women, full of energy and life, and what they become in the winter, when society takes over their lives and forces them into the kitchen, or eliminate into oppressive relationships with men we never see, Najeh’s brothers exist as figures to be feared and escaped through a marriage to a man who is only a voice that manipulates and dominates, not a person, just as Waffeh’s husband is only a voice barking threats or orders, behind a wall or on the phone. Age has freed Fatma from obligations to men and given her the wisdom of her gaze, which laughs, supports, pities and never judges. A beautiful, warm, very competent cinematography affectionately wraps and ennobles the humble spaces in which the protagonists move.Teresa Cavina