A One Mann’s Movies review of “In A Whisper”. (From the 2026 London Film Festival). (2026, 4*, ’15’).
Original Title: À Voix basse.
Another of those LFF films that I went into without expecting much from and came out very impressed. This is a really well-made film, beautifully shot, well acted – especially by the lead Eya Bouteraa, in only her second film – and with a great score.
One Mann’s Movies Rating:
Plot:
32-year-old Livia (Eya Bouteraa) and Alice (Marion Barbeau) are lovers flying into Tunis from Paris. Livia is returning to her family home city for the funeral of her beloved uncle Daly (Karim Remadi) who died under suspicious circumstances. But as she pries into what happened to her uncle, she must decide if she is finally ready to reveal parts of herself to her loved ones.
Certification:
UK: NR; US: NR. (This film has not yet received a classification by the BBFC, but I would expect it to be a 15 based on some strong language and some scenes of love-making. I’d argue with the BBFC, because of the loving nature of the scenes, that this could almost be a 12A.)
Talent:
Starring: Eya Bouteraa, Hiam Abbass, Salma Baccar, Marion Barbeau, Feriel Chamari, Badis Galaoui, Lassaad Jamoussi, Karim Remadi, Lassaad Jamoussi.
Directed by: Leyla Bouzid.
Written by: Leyla Bouzid.
Running Time: 1h 51m.
Review:
Positives:
- The film hums with atmosphere and African beats, emphasised by the music and the chanting of the prayers associated with the funeral process of Daly. The misogynistic culture seeps through into some of the scenes: for example, when a police officer questions Livia and she says she is an engineer he replies “engineering isn’t for women”.
- Everything is shot in a vibrant, beautiful style by DP Sébastien Goepfert, with some scenes (Livia, standing by a window in the moonlight, for example) a thing of utmost beauty. Livia has flashbacks to her childhood, the first being beautifully done in the rear-view mirror of her car with the three kids in the back laughing and giggling… a pan back to her… and then she gets out of the car and no kids are there. It’s simple but elegant cinema.
- The matriarchal family structure is wonderfully observed, with ‘Granny’ Néfissa (Salma Baccar) ruling the roost and all of her daughters and extended family dancing to her grief-filled song. She has clearly been married to Daly for decades and, despite the significant issues that appear, he is an enormous hole in her life.
- The story is delivered in an intelligent ‘show don’t tell’ fashion leaving you to fill in the blanks: when a distressed older man, Moncef (Lassaad Jamoussi), comes to view the body, you realise that there are ripples running under the surface here you didn’t expect. And when police come knocking on the door the plot thickens.
- The drama is also defined by the score by ‘Yom’ (Guillaume Humery) which combines tinkling piano with a really moody sax to give the film a bit of a noire-ish feeling.
- The acting is really good, particularly from Eya Bouteraa playing Livia. She has SUCH a powerful screen presence, with a gaze that reminded me of Audrey Hepburn. A scene at a police station where she defiantly makes an “I AM SPARTACUS!” statement is absolutely jaw-droppingly good cinema.
- This is a really interesting LGBTQ film, set against the context of a Tunisian law – albeit one regarded as outdated – banning homosexuality. This adds a layer of tension to many of the scenes in the film. The film although at times erotically charged, is actually pretty chaste in its depiction of sex. There is one hot and more explicit scene (although without nudity) between Livia and Alice before a truly deliciously tasteful sex scene between the two women, shot from above: white bed; white sheets; images overlaid and overlapping as they make love. One of the best and most loving sex scenes I’ve seen in cinema during 2026.
Negatives:
- There is a lot going on in this film that is not explained, including a couple of ‘farks’. What the Fark? Well, these are actually a form of wake held during a funeral period in Tunisia.
- The family is so large and disjointed that as a viewer it becomes quite hard to work out who everyone is!
Summary Thoughts:
The more I think back on this film, the more I love it. It was thought-provoking, uplifting, fulfilling and sexy. If Eya Bouteraa’s agent doesn’t use the strength of this film to get her some much more high-profile films, then she needs to fire him or her and get a new agent…. because this lady should be going somewhere.
Where to watch?
Trailer:
The trailer for the film is here: https://www.youtube.com/watch?v=0-RibbPq6FQ.
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