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At the Arthouse

Desert Flower tackles the rarely-talked-about subject of female circumcision

Regina Scruggs
Apr 1, 2011 | 6:00 am
  • Liya Kebede as Waris Dirie in "Desert Flower"
    Film still by Walter Wehner/National Geographic
  • Liya Kebede, left, with Waris Dirie
    Film still by Walter Wehner/National Geographic
  • Film still of Liya Kebede, left, and Sally Hawkins in "Desert Flower"
    Film still by Walter Wehner/National Geographic
  • Liya Kebede as Waris Dirie in "Desert Flower"
    Film still by Walter Wehner/National Geographic

Desert Flower, a 2009 movie making its Houston debut today, is based on the 1999 best-seller of the same name, written by Waris Dirie with Cathleen Miller. Dirie is a Somali-born woman who fled her home country to escape an arranged marriage; she eventually became an international top model of the late '80s and early '90s.

The movie stars Ethiopian-born Liya Kebede, herself a well-known model and actress, along with a British supporting cast of familiar names. Sally Hawkins (Happy-Go-Lucky, the current Jane Eyre), Timothy Spall (the Harry Potter films, The King's Speech), Anthony Mackie (The Adjustment Bureau, The Hurt Locker), and Juliet Stevenson (Bend It Like Beckham, Infamous) round out the impressive cast.

So where has Desert Flower been?

Just based on the synopsis, that cast, and the trailer, you might think it's a fairly-commercial rags-to-riches story where a poor African girl makes good in the decadent, capitalist West. Dirie, however, had more to deal with than learning the ways of a new culture. She was also the victim, at 5 years old, of the practice of female circumcision (also known as female genital mutilation), a common ritual in parts of Africa, Asia, Australia and South America. It is also practiced in the United States by immigrants from these regions.

National Geographic Entertainment is giving Desert Flower a limited release in theaters after it played the festival circuit, primarily in Europe. (In Houston, it's playing at the Edwards Grand Palace.) Sherry Hormann, a U.S.-born filmmaker who lives and works in Germany, adapted Dirie's book for the screen and also directed. Hormann deftly handles a sensitive subject which wasn't widely discussed until recently. Although the movie is rated "R" there is no graphic depiction of the ritual; it is discussed in detail, however, so that the viewer does know just what happened to Dirie.

So what is this practice, who does it, and why does it occur? This ancient rite of passage requires that the female genitals be partly or entirely removed or injured with the goal of inhibiting a girl's sexual feelings; it is thought this will help keep the girl "pure" before marriage. It's typically performed before puberty, often on girls between four and eight, but sometimes even younger. In certain societies there are designated women who perform this practice; sometimes they are also midwives, sometimes healers, nurses or doctors. Often the ritual is performed without anesthetic, under unhygienic circumstances.

In the movie, Dirie, who survived this operation (many girls don't), is sold by her father in marriage at 13 to a man old enough to be her grandfather. She refuses this match and runs away, across the desert, to Mogadishu and her estranged grandmother. Eventually she is sent to London to be a maid in the residence of the Somali ambassador. When war breaks out in Somalia, the London embassy is shut down and Dirie, knowing she cannot return to her country, becomes a street person. After years of servitude as a maid, she still knows very little of London life, language, and mores.

Yet, she learns. She's befriended by Marilyn (Hawkins), a Cockney shopgirl and aspiring dancer; they become roommates and light comedic moments occur as they get to know each other. Tall, strikingly beautiful, and (once she overcomes her language difficulties) naturally friendly, Dirie begins to be noticed by a rooming-house neighbor (Craig Parkinson), an American tourist (Mackie), and a fashion photographer (Spall), who takes her to a model-agency head (Stevenson).

It's not a smooth ride to the top of the modeling world, however. One of the most poignant moments occurs when Dirie, not yet comfortable with English, goes to the hospital for an infection arising from her long-ago operation. A British doctor asks a Somali male nurse to translate his instructions to her, but by subtitles we see that the nurse berates her instead "for bringing shame on our people."

Desert Flower is an entertaining film which manages to be more than just a tale of empowerment. It's the story of one woman's triumph over adversity, yes; but it's also a learning experience. One incredible fact: Although the barbaric practice of female genital mutilation has been condemned by the World Health Organzation and the United Nations, it's still commonly performed on as many as 6,000 girls per day.

The real Waris Dirie has become a United Nations spokesperson for women's rights. On International Women's Day 2011 (March 8), Dirie stated, "In Egypt and Tunisia, the people have succeeded in overthrowing their dictators and are working on establishing democratic systems. Let's make sure that while we watch, support, and appreciate the steps taken in these countries, and hopefully in Libya soon, we do not forget to keep an eye on the situation of women in these societies. Let us not pass by this opportunity to make lasting changes and improve women's rights in North Africa and all around the world."

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news/entertainment

Movie Review

Supergirl fails to take flight in a movie weighed down by grief

Alex Bentley
Jun 26, 2026 | 3:15 pm
Milly Alcock in Supergirl
Photo courtesy of DC Studios and Warner Bros. Pictures
Milly Alcock in Supergirl.

Last year's Superman reboot brought a renewed sense of optimism for, if not the concept of the comic book movie, then at least the DC Comics universe. After more than a decade of DC films that felt mostly creatively bankrupt, the leadership of James Gunn gave the story a sense of fun. That included the brief introduction of Kara Zor-El, aka Supergirl, who’s now getting her own showcase in, naturally, Supergirl.

When we first met her in Superman, Supergirl was in rough shape, arriving at the Fortress of Solitude visibly inebriated. Nothing has changed at the beginning of this film, save for her aimlessly traveling around the universe with her rambunctious dog, Krypto. One of her random stops puts her in the same bar as Ruthye (Eve Ridley), who is looking for help tracking down Krem (Matthias Schoenaerts) and a group known as the Brigands after they brutally murdered her family.

Kara is initially loath to offer aid, but when Krem shoots a poison dart into Krypto while escaping, her motivation goes way up, especially since Krem holds the antidote. Kara, with Ruthye doggedly following her, uses every means available to her to find Krem, a journey that is hampered by galaxies having different colored suns than the one that gives her powers, the yellow sun.

Directed by Craig Gillespie and written by Ana Nogueira, the film is a big step back in the fun category, not least because Supergirl is deep in her feelings for much of the film. Her personal trauma, which is detailed in occasional flashbacks, gives a reason for her depression, but fails to land fully. The story seems to want everyone to be sad, as it includes a child trafficking ring and multiple instances of families being murdered.

Milly Alcock and Krypto in Supergirl Milly Alcock and Krypto in Supergirl.Photo courtesy of Warner Bros. Pictures

To try to counteract that downer material, the filmmakers give Supergirl many opportunities to show off her fighting skills. While still CGI-heavy, the action scenes contain enough of a semblance of reality that they feel exciting. Unfortunately, this is undercut by the inclusion of several slow-motion sequences, giving the impression that the filmmakers didn’t trust the actors to deliver the goods on a consistent basis.

Superman (David Corenswet) makes a handful of appearances in the film, and while his presence is welcome given how well the character came across in the previous movie, it also doesn’t allow Supergirl to become her own person. Almost everything she does is colored by either her cousin or her parents, and since her powers are identical to those of Superman, there is very little that makes her story unique aside from how she’s dealing with the fallout.

Alcock (House of the Dragon, Sirens) gives an appealing performance despite her character being drunk and/or moody most of the time. She definitely sells what Supergirl is going through, so if given a better story in a future film, she’s proven her capability. Schoenaerts makes for a pretty good villain, although he’s aided by a look that includes a face full of studs. Jason Momoa has a memorable supporting role as the bounty hunter Lobo, even if his character doesn’t add much to the story.

While not a full-on disaster, Supergirl does not continue the momentum that Superman started. With a story that’s more concerned with showing audiences death scenes than a hero saving people, the film doesn’t seem to understand the appeal of a character like Supergirl or how to make her someone audiences will return to over and over again.

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Supergirl is now playing in theaters.

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