Arab Blues feels immediately appealing. The film kicks off with a delightful scene—an elderly man speculating on what Sigmund Freud might have looked like—and then moves into the story of a young woman, Golshifteh Farahani, returning from Paris to Tunisia to establish a psychoanalysis practice. She anticipates facing disapproval for her profession, and quickly receives confirmation of this from her uncle. Despite this, she possesses an independent spirit, bravery, and resilience, setting the stage for what follows. I found myself thoroughly enjoying all of the characters and their portrayals in this film, particularly Farahani, Feryel Chammari, and Aïsha Ben Miled. The actors consistently outdid each other, creating a pleasurable experience as they delivered beautiful lines and performed with an authenticity that felt genuine. There's a significant social commentary woven throughout, but Arab Blues primarily presents itself as a lighthearted comedy centered on the challenges faced by a woman in contemporary Tunis—a place still grappling with outdated beliefs and traditions, which is unfortunately familiar across many places. Bolstered by its soundtrack, humor, and ability to maintain viewer interest, Arab Blues stands out as one of the most enjoyable comedies I’ve seen recently. I'm happy I made time for the 2020 European Union Film Festival of India (EUFF). **Grade A-**.

Source on TMDB