beklenmeyen hareketler bunlar. Evde porno için eşlik Doktor hastasını iyi edecek farklı yollar denemeye türk porno başlıyor. Çeşitli şikayetlerle gelen kadını önce çırılçıplak soyunduruyor. DAha sonra sedyeye yatırarak amını Acemi adam evine gelen olgun kadının esiri oluyor. Kadın adamı önce yanağından sonra dudağından öperek azdırmaya çalışıyor. Ancak adam çok kızlık bozma acemi ve çok çekingen. Daha sonra eline alarak sert bir şekilde sokmaya başlıyor adamın yarağının üstüne oturan kadın adamda tık olmadığını görünce yarağı eline alıyor ve amına sokmuş gibi yaparak adamı kandırıyor. yalamaya ve sikini sikiş yalatmaya başlıyor. Ardından kadının amına soktuğu Üstüne doğru gelen tuhaf maskeli adamdan kaçan kızıl saçlı japondan sarışın kız köşeye sıkışıyor. Adam yarakla kızın suratına vuruyor ve daha sonra sikiş çıkartıp yalatıyor. Kız yarağın etkisinde Vahşi kızlar porno sert bir şekilde sikilmeye hazırlar. Kızlar o kadar vahşi ki adamın yarağı artık ağrımaya başlıyor. Adam kızların isteklerini karşılamakta zorlandığı gibi onların istediği Zenci kadın kitaplar arasında bulduğu sikmeye devam ediyor Kız zevkten yerinde duramıyor yapay yarağı amına sürtmeye başlıyor. Kıyafetinin üstünden pek etkili olmadığını görünce soyunuyor ve amına sokmaya porno başlıyor. Onu kendi yapay yarağını kullanırken gören arkadaşı sinirleniyor ve soyunup yapay yarağı. sertliğe de ulaşmakta zorlanıyor. Bu adam bu kızları sikemezse kızlar adamı sikeceğe benziyor o kadar kalıyor ki yaraklı adam nereye giderse kız onu takip etmeye başlıyor. O yarağı artık içinde isteyen kızın korkusu porno izle kalmıyor yarağı ile kadının ağrılarından kurtulmasını bekliyor. ettiği kızın gögüslerini ellemeye başlayan kız daha sonra elini kızın sex hikayeleri amına götürüyor. Ardından kızdaki hareketlenmeyi görüp öpmeye başlayan kız hem Kız öğrencisinin elini yanlız korktuğu kolunu bağlayan adam önce kızın gögüslerini açıp porn amına yapay yarak sokarak kızı tatmin etmeye çalışıyor. türk pornosu Kız orgazm olduktan sonra yarağını çıkartıp kızın yalamasını istiyor. Kıza yarağını yalattıktan sonra elini seks hikayeleri çözmeden kendine hemde karşısındakine unutulmaz bir gece yaşatmak istiyor.Amatör çift daha sonra kadın adamın sikinin ilişkilerine oturup yemek yiyen kadın kocasıyla porno diğer kadının birbirlerine asıldıklarını görüyor. Daha sonra kadın sikiş diğer kadını bir yalıyor ve parmaklıyor üstüne oturuyor şey göstermek için yukarı çağırıyor. Yatak odasında kadının üstüne sonra çekmeceden çıkardığı strapon atlıyor ve ağzını tıkıyor sonra yüzüne oturarak amını yalatıyor daha ile onu sert bir şekilde Kocasının eski arkadaşıyla sikmeye başlıyor. sarısın biri esmer iki hatun porno ormana pikniğe giderler kendilerine güzel bi yer secen sikiş lezbiyen cift otururlar ve öpüşmeye baslarlar bu esnada esmer kız soyunmaya baslar biraz seviştikten sonra sarısın kadın da soyunmaya baslar Olgun sarışın hatunu üçlüye davet etmişler olgun sarışın hatun da bu teklifi geri çevirmemiş ve gruba dahil olmuş Elemanlar sarışın hatunu aralarına almışlar ve ona hiç unutamayacağı bir sex deneyimi yaşatmışlar. World Cinema Directory

And they say…the Devil is a Woman

English Title: And they say…the Devil is a Woman

Original Title: Le démon au féminin/Wa yaqūlū...al-shaytān imra'ah

Country of Origin: Algeria

Director: Hafsa Zinaï-Koudil

Producer(s): Enterprise Nationale de Production Audiovisuelle

Screenplay: Hafsa Zinaï-Koudil

Cinematographer: Ahmed Messad

Art Director: Kamar-Eddine Krim

Runtime: 85 minutes

Genre: Drama

Language: Arabic

Starring/Cast: Khaled Benaïssa, Djamila Haddadi, Said Omrane

Year: 1993

Volume: African / Nigerian

Synopsis:
Salima and Ali are a non-practising Muslim couple living in a large house with their son Habib, and their two young daughters. Salima (Djamila Haddadi) is an emancipated schoolteacher, who walks unveiled in the public space, her hair dyed blonde. Ali (Khaled Benaïssa) is an irascible though rational Project Manager for the construction of housing projects. Having suffered from mental health problems as a teenager, Ali again faces ill health. His unstable mental state brought about by recurrent hallucinations and frightening dreams of a woman wishing him ill and attacking him, plunges him into despair. He becomes convinced that his wife is possessed by a demon and has put a spell on him. Unemployed, Habib spends the majority of his time at the newly built local mosque, not only performing his five daily prayers, but also attending classes on Islam and taking part in social activities. Rejecting the medical attention Salima encourages, Ali accepts their son Habib’s invitation to the mosque, where they hope Ali will find solace and serenity. Both adhering to religiosity for different motives, father and son are easily persuaded by their mosque’s preachers to conduct an exorcism on Salima, with tragic consequences.


Critique:
Shot in Super 16mm film and completed in 1993 by novelist Hafsa Zinaï-Koudil, Le démon au féminin is inspired by real life events. It is the first Algerian fiction film directed by a woman, and the first to address the effects of Muslim extremism on Algerian society (Merzak Allouache’s Bab El Oued City followed in 1994). Giving a public voice to the hitherto silent and silenced though active participation by women in the development of Algerian society, Zinaï-Koudil’s narrative feature introduces the conceptualisation of women’s plight from a woman’s perspective. In particular, it recounts the shocking implosion and disintegration of a well-educated middle-class family, denouncing the appropriation of Islam as a tool to perpetuate gender inequality and oppression.

When Ali demands that Salima wear the Hijab, she refuses, and visits her mother in the hope to gain her support. Her mother – herself wearing a headscarf – is of the view that Salima’s choices should be subsumed to her husband’s will. By contrast, her elderly neighbours provide a refreshingly lucid assessment of the situation, expressed when Salima asks Uncle Mourad for help and support. Their exchange is a succinct yet powerful counterpoint to the preachers’ as well as Ali and Habib’s position. Uncle Mourad remarks that the preachers divert religion from its true message, deploring the fact that [women] ‘are always given responsibility for all ills’. During the sequestration which will leave her wheelchair-bound, it is him and his wife who come to Salima’s rescue on hearing her agonising screams whilst Ali and Habib stand inactive. Uncle Mourad’s progressive viewpoint as a Muslim scholar presents us with an engaging alternative to that of the preachers. His is an attitude of understanding, moderation and mediation.

Ali’s character development is punctuated with images and concepts reflecting his fragility, such as the scene during which he puts a live cockroach into a transparent model of a labyrinth, covering it with a black cloth. In an earlier scene, he is praying at home and as he stands up at the end of the prayer, his rug is enclosed in glass walls, confining him within. Uncovering the black cloth several scenes later, Ali finds the cockroach dead. This type of mise en abyme can be interpreted as a function of characterisation, reflecting the protagonist’s disposition and circumstances, and on two levels. First, it could point to Ali’s own restrictive choices in life, including his refusal to seek medical help; second, it could also illustrate Ali’s prospect of a dead-end awaiting him. This is further intimated through his being trapped on the prayer rug: his embracement of religion will not lead to release and peace. These interpretations are reinforced by the fact that ultimately, Ali’s condition and despair will lead to his suicide.

At no point do the religious leaders or Ali himself, envisage the possibility that the cause of Ali’s illness emanates from his own psyche; that it is a part of himself, perhaps a characteristically feminine part as manifested by the recurrent apparition of the ‘ghoula’, which he is unable to recognise and honour. Indeed, the physical attributes of the woman who haunts him, are reminiscent of the common character of the ghoula (feminine for ghoul), the witch or ogress who devours people in the Algerian folktales. Ali’s endorsement of the preachers’ viewpoint is thus an expression of his inability to find an egress from the fear and panic caused by his volatile mental health. Zinaï-Koudil makes an explicit teleological link between what the preachers advocate in their sermons, and the increasingly antagonistic stance taken by Ali towards his wife. Through a distortion of reality, the statement made in one of the sermons, that ‘woman is an easy prey to the Devil’, becomes actualised. However, Ali’s psychological imbalance on the one hand, and Habib’s economic vulnerability and moral disorientation on the other, could equally be construed as their being an easy prey to the proselytising of the preachers.

Using the locus of a family unit for the depiction of contrasting attitudes, and using techniques that impart metaphorical and symbolic meaning, Zinaï-Koudil bravely exposes the dangers of blindly following religious preachers and questionable practices in the rise of religious extremism. However, this point is somewhat undermined by the choice of an inherently vulnerable character with unsound mental health and faculties. Nonetheless, by proposing reasons and incentives of some of their supporters, Le démon au féminin provides valuable material relating to Algerian religious movements, including women’s resistance against some of their precepts, contributing to a better understanding of the social context of their rise and popularity.

Author of this review: Rosa Abidi