
Les 11 commandements inédits
2004

2005
Director
Patrick Braoudé
Runtime
95 minutes
Average Rating
No ratings yetSynopsis
In Baghdad the Magnificent reigns Haroun al Plassid, who is the Caliph. There also dwells Iznogoud, who wants to be the Caliph. The irascible Grand Vizier hatches plot after plot to remove his ruler and take his place—melting Djinn, invisibility spell, cursed diamond, voodoo doll… But no amount of cunning or obstinacy can make up for sheer, hilariously bad luck.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks documented LGBTQ+ characters or narratives. It follows conventional comedic tropes without addressing non-cisnormative identities or critiquing heteronormativity.
Gender Representation
The story centers on a power struggle between male archetypes of leadership and ambition. It relies on traditional hierarchies rather than subverting gender roles.
Racial & Ethnic Diversity
Set in a stylized Baghdad, the film utilizes Orientalist comedic tropes. It treats the Middle Eastern setting as a folkloric backdrop for slapstick rather than exploring ethnic complexity.
Religious & Cultural Diversity
The narrative operates within traditional fable structures. It does not engage with identity-based power dynamics or critique specific institutions, focusing instead on situational morality.
Disability Representation
There is no evidence of characters with visible or invisible disabilities. No such identities are utilized as central plot drivers or portrayed with specific agency.
Strengths
Areas for Improvement
AI Analysis
Iznogoud is a traditional comedy that prioritizes slapstick and situational irony over intersectional depth. The narrative architecture relies on established genre tropes and historical caricatures rather than deconstructing systemic power structures. The film's setting in Baghdad serves as a folkloric backdrop for humor rather than a nuanced exploration of Middle Eastern identity. This reliance on Orientalist tropes limits the cultural complexity of the work. Ultimately, the film lacks the intentionality required to disrupt social hierarchies. It remains a character-driven farce centered on masculine archetypes and individual status.

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