A favourite at Cannes in 2004, the director splits the action between three simple stories: one surrounding Said's wife's labour, one focusing on Ottman's prized horse (for whom he sends back bread scraps from the cafe the three men work in, to prevent the horse being killed for meat) and another dealing with Ismail's fixation with an expensive pair of shoes. Each reveals the protagonists' follies with verve and invention, moving smoothly from light comedy to heartbreaking tragedy.
The subject matter could so easily have been dreary, but is imbued with a strong sense of freshness and emotional truth, as well as a dash of humour. That said, don't expect to walk out laughing.