The closely conceived drama "The Sky of Commitment" by French Tunisian director Erige Sehiri was selected as part of some aspects of the Open Cannes Film Festival, following four generations of Averian immigrant women as they discovered unity, conflict, and sometimes even displacement in each other's companies. Women’s relationships are also complex enough, even on a level playing field. But in the "promised sky" they are tricky because none of these women are equal from a socio-economic perspective in adopted homes in Tunisia.

The Promised Sky begins with the notes of the parent system one, rather than separation. Sehiri uses the same perceptual documentary aesthetic, which is at the heart of her previous work, "Fig Tree", to trap the audience in the lives of Mary (Aïssa Maïga), Naney (Debora Lobe Naney) and Jolie (Laetitia Ky), as all three roommates are taking care of a small bathroom, as they are taking a shower in a motionless manner, she will take a shower in a motionless manner.

The girl is Estelle Kenza Dogbo, a displaced child who seemed miraculously survived before the three women found her. Marie, who has been a former journalist and now serving as a pastor for her community after 10 years in Punisia, decided to open her home to Kenza like she did for Naney – a vibrant and undocumented mother who stayed at home three years ago, hoped to find a better future for Punisisia – and Jolie, a passionate student, is the only recorded member and the only recorded member of the group.

The Promised Sky loosely reflects real events and feels visually and texturedly real views of Sehiri and poetic lenses by photographer Frida Marzouk. The film often feels like a tapestry of multiple emotions and situations, rather than a traditional narrative.

After Kenza suddenly joined their ranks, Sehiri didn’t necessarily try to tell a neat story surrounding the behavior of three women. Instead, she makes their lives messy by casual observation of sexual tendencies, sometimes feeling untidy and random casual personalities. Sehiri's films add up to a larger sum than the various parts of it, a film about marginalized African immigrant women struggling for their own dignity rather than in Europe rather than in Europe (the usual environment of many films with similar themes), but on their own continent.

For Mary, the struggle involved providing spiritual leadership to the community, praying for strength and perseverance, preaching compassion and forgiveness, and distributing food and supplies to those in need. For Naney, the struggle is making a living in any way necessary - even if it could cause trouble - while hoping to bring her children to Tunisia one day. Elsewhere, Jolie is driven by different motivations, trusting her privileges as a Tunisian resident. Soon, she learned that racism and prejudice in the country did not avoid her, regardless of what papers she had.

There are also some male players, including Mary's sympathetic landlord Mohamed Grayaâ, who take advantage of Mary's lack of options by refusing to simply improve her modest housing. Then there is Naney’s Tunisian friend Foued Zaazaa, who provides her with some much-needed (if not enough) friendship in random moments in life and special times like her birthday. Marie's blind friend Touré Blamassi judges each situation with clear clarity and makes suggestions to Marie, bringing some gentle tranquility to the story. (Sehiri is overly inclined toward Noa’s symbolic meaning, dangerously representing disability, as if it were a mysterious feature. After a sudden introduction to the character, writers Sehiri, Anna Ciennik and Malika Cécile Louati sadly treat her as an afterthought. It almost feels as if they are trying to find a real purpose in the story for Kenza, missing out on the opportunity of a gifted child actor who will quietly sad your heart in her final scene.

As Sehiri approaches the Neo-Realistic style, the Promised Sky is in the strongest attitude when she is filming the accidentality of street life and calling her documentary instinct. It also punches when Sehiri emphasizes the deep-rooted (and similar) anti-immigrant sentiment around the world. For example, in one scenario, we learn that some Tunisians spread false rumors about immigrants eating domestic cats – accusation that might think of the shockingly comparable lies spread in the United States less than a year ago.

The film also shines through Naney's painful performance, who sends a shocking stealing monologue at the end, even if her hard work, faith, and perseverance find a better life. Even at its most shaky moment, The Promise Sky promises to commemorate this perseverance and perseverance against dignity and humanism.