This is not a date movie, nor a casual watch. It is a challenging, ugly, strangely poetic film about freedom without ethics. If you find a complete, well-translated Arabic version, you will own a rare piece of cinema history. And if you screen it in your artistic season, be ready for walkouts — and unforgettable conversations. Join Arabic film forums like El-Cinema.com or Facebook groups “Syndicate of Arab Cinephiles” and ask for a private translation file . Someone has already done the work. Happy hunting — and may your “fasl alany” be bold. Did you find a working Arabic-subtitled version of Going Places ? Share the source in the comments (for educational use only).
This is important because Going Places has been censored in many countries, and Arabic translations are rare. The request for “فصل العاني” suggests a curated screening — perhaps at a film club, cultural center, or university. Going Places introduces us to Jean-Claude (Depardieu) and Pierrot (Dewaere), two young men with no jobs, no ideals, and no sexual boundaries. They steal cars, assault women (ambiguously framed), and drift into the life of a timid hairdresser named Marie-Ange (Miou-Miou), who joins them on their anarchic road trip. fylm Going Places 1974 mtrjm llrbyt kaml - fasl alany
Below is a long-form article tailored to this keyword — optimized for search engines and readers interested in this cult classic, its legacy, and availability for Arabic-speaking audiences. Introduction: Why “Going Places” Still Shocks and Entertains 50 Years Later In 1974, French cinema unleashed a film that defied all conventions of decency, morality, and storytelling. Going Places (original title: Les Valseuses ), directed by Bertrand Blier, became an instant scandal — and an instant classic. Starring Gérard Depardieu, Patrick Dewaere, and Miou-Miou, the film follows two aimless, sexually compulsive drifters across provincial France. This is not a date movie, nor a casual watch
The film is episodic: a bizarre encounter with a female train passenger, a night with a lonely female judge, a tragicomic visit to a pregnant woman, and a shocking finale involving a breast cancer patient (Jeanne Moreau) who turns the tables on the duo’s nihilism. And if you screen it in your artistic
