Still this single case of their alone communication with its final interruption of people pretending to be from police, which have come for the blind neighbor without a warrant, lowers both Salem and Nada from heaven to the earth. Now they again realize the whole desperateness of their state with their hollow tries to free from the cage of inequality.
Film’s title “The Extras” itself probably speaks for director’s intention to underline the subordinate role of ordinary people who have no money so cannot be powerful and make decisions for the benefit of the same citizens. The obvious reason for such a title is in the situation of Syria in the nineties when the representatives of the Arab socialist autocracy held the reins of power.
So, with the help of drama and tragicomedy Nabil Maleh establishes several acute for his country themes, such as: a subject of humiliated state of ordinary Arabs and their social vulnerability to the repression of autocratic rulers, being depicted on the example of the blind neighbor musician and through Nada’s reflections about people who are forced to be silent, and the theme of love relations between Muslims (the case of Salem and Nada, Adel and his fiancée).
In fact, the film also deals with Syrian identity, which is realized through the striving of main characters for freedom and democracy within their lives and the present of their country. Moreover, the social inequality is a crucial point of the film, which is shown not only through the unjust acts of police and inability of Salem-lawyer to help the oppressed neighbor, but also through various theatre parts of Salem as an extra.
This is a particular point of social situation in Syria, which appears to be under critics of the film. Poverty and injustice are another two peculiarities of Syrian socio-political situation of the nineties, which keep pace with each other, and their