‘The President’s Cake’ Review: An Iraqi Schoolgirl’s Odyssey Among Grown-ups Is a Tragicomic Gem

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In the story “The President’s Cake,” the lottery that occurs early on is one you wouldn’t want to win. This isn’t due to any Shirley Jackson-style supernatural dread, but rather because the drawing is a result of administrative decree. The “prizes” are actually mandatory extra tasks for schoolchildren, mandated from above to celebrate the upcoming birthday of the country’s leader. Unfortunately for the clever 9-year-old protagonist, who had been hoping to avoid this fate with her prayers, she ends up being chosen, which means she must bake a cake for the obligatory school celebration.

In the 1990s, Saddam Hussein, the ruler of Iraq, arranged a nationwide celebration in honor of his birthday. This was a time when Iraq’s populace endured hardships due to sanctions enforced by the United Nations, a consequence often seen throughout history where civilians suffer for their government’s actions. During this period, America led multiple military operations with “Desert” in their titles.

OR

In the 1990s, Saddam Hussein, Iraq’s leader, organized a nationwide birthday celebration. This was an era when Iraqi citizens faced difficulties due to sanctions imposed by the UN, a common occurrence in history where civilians bear the brunt of punishment for their government’s actions. The American-led military operations with “Desert” in their names took place during this time as well.

OR

In the 1990s, Saddam Hussein, Iraq’s ruler, orchestrated a nationwide celebration on his birthday. This was a time when Iraqi citizens suffered under sanctions imposed by the UN due to their government’s actions, a frequent occurrence in history where civilians pay the price for political decisions. The years saw multiple American-led military operations with “Desert” in their names.

OR

In the 1990s, Saddam Hussein, Iraq’s leader, arranged a nationwide birthday celebration. This was an era when Iraqi citizens faced hardships due to UN sanctions as a result of their government’s actions, a recurring pattern in history where civilians face punishment for political decisions. During this period, the United States led several military operations with “Desert” in their names.

Hasan Hadi’s debut film, co-produced by Iraq, the United States, and Qatar with esteemed American filmmakers such as Eric Roth, Chris Columbus, and Marielle Heller involved, was shot entirely in Hadi’s homeland, Iraq. The cast is primarily made up of untrained actors. This moving comedy revolves around transitions: from home to school, village to city, one stage of life to another – these shifts are symbolized by the canoes navigating tranquil waters across the country’s southern marshlands. The unique backdrop, first glimpsed at dusk in a scene that blends poetry, tradition, family bonds, and omens, establishes the tone for what’s to come, as does the hauntingly beautiful (unacknowledged) soundtrack featuring the oud.

For Lamia (Banin Ahmad Nayef) and her grandmother Bibi (Waheed Thabet Khreibat), living in a rural village amidst the marshland, their girl’s bad luck is more than an annoyance; it’s a struggle. Grandmother Bibi has been abruptly let go from her farming job in the fields, receiving only a jug of milk as compensation, and despite the president providing water trucks, essential items like flour and sugar will be hard to come by, not to mention expensive.

The majority of the narrative focuses on the urban adventures that take place over the course of a day for Lamia, her classmate and neighbor Bibi, Saeed (also known as Sajad Mohamad Qasem), and Lamia’s sociable rooster named Hindi. If there was ever an award for the first Palm Bird – or Palme Coq – at Cannes, Hindi would definitely be a strong candidate.

The story is primarily about the day-long city journeys experienced by Lamia, her friend and neighbor Bibi, Saeed (Sajad Mohamad Qasem), and Lamia’s talkative rooster Hindi, who would undoubtedly be a front-runner for the inaugural Palm Bird – or Palme Coq – award at Cannes.

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The plot revolves mainly around the daylong city escapades of Lamia, her companion Bibi (also her neighbor Saeed, Sajad Mohamad Qasem), and Lamia’s chatty rooster Hindi, who would be a prime contender for the first Palm Bird – or Palme Coq – prize at Cannes.

On the eve of the president’s birthday, a girl and her grandmother set off for town carrying a list of cake ingredients and a backpack full of items to either sell or trade. After crossing the water, they catch a ride from a cheerful mailman named Jasim (Rahim AlHaj), who they’ll meet again later in a significant moment during the day. In the car with Jasim is a groom (Thaer Salem) en route to his wedding, despite still recovering from an injury sustained by an American bomb. This information about his condition is shared in a humorous and philosophical manner.

In this scenario, Lamia is intensely committed to her cake-making responsibilities. However, Bibi has a different objective for their journey, an aim that creates a rift between them. This leads Lamia on a city adventure, navigating through main roads, narrow alleys, and bustling markets filled with vendors and their goods. The film’s director, Hadi, skillfully orchestrates these events with smooth dynamism, aided by the nimble cinematography of Tudor Vladimir Panduru, who has previously worked on films like “My Happy Family” and “Graduation.

With a backpack on her back and a bag containing Hindi items across her body, Lamia embarks on a journey to locate Saeed at the amusement park where he pickpockets and his father (Maytham Mreidi), who is physically disabled, solicits alms. Interestingly, Saeed belongs to the group of children who are given an unusual responsibility; he has been assigned to bring fresh produce for their school’s presidential birthday celebration. Unfortunately for him, the odds were not in his favor. He was compelled to enter a lottery five times as a punishment for tardiness, a rule enforced by their strict teacher (Ahmad Qasem Saywan), who is known for saying, “I am merely a soldier and I must report anyone disobeying orders,” and isn’t shy about taking a student’s lunch.

The apprehension their instructor has attempted to implant within them has indeed affected Lamia. She cautiously recalls Saeed with a reminder that “people can overhear you,” hinting at her wariness and adherence to rules. In her escalating quest for essentials like eggs, flour, sugar, and baking powder, she finds herself confronted with the notion that occasionally, bending some rules might be necessary in order to abide by others. Saeed, on the other hand, exhibits a more defiant demeanor. In response to the common saying “God is generous,” he delivers one of the film’s most incisive and amusing remarks.

As Bibi creates a stir at the police station due to her intense concern over her lost grandchild, encountering disdainful remarks like “Now commoners believe they can command us,” from an officer, the children persist in their tireless efforts to negotiate with merchants. In this journey, they encounter people who are deceitful, cunning, amusing, and even dangerous. The warmth of adult kindness and empathy becomes tangible when it surfaces – particularly evident in Jasim and later, Saeed’s mother (Nadia Rashak).

Characters like Lamia and Saeed are powerfully portrayed, and the youthful performers embody resilience and rebellion beyond their age. Ahmad Nayef stands out, masterfully handling a broad spectrum of feelings without any pretense. He convincingly depicts Lamia’s joy when a café singer (Elaf Mohammed) invites her to join a performance, as well as her realization that her life has taken an unalterable turn.

The comedy in how Lamia and Saeed frequently argue like a long-time married couple is delightful, while their emotional turmoil when their arguments escalate, particularly during the dramatic rooftop scene, is palpable. Yet, they still behave like children at times, engaging in staring contests as they navigate through a world filled with absurdity. Hadi’s film, from its serene opening to its powerful closing, is an outstanding debut. It’s not only insightful and energetic but also vividly alive, keeping a watchful eye on the potential danger overhead.

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2025-05-16 20:25