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Where Do We Go Now?(Et maintenant on va où?)

On a remote, isolated, unnamed Lebanese village inhabited by both Muslims and Christians. The village is surrounded by land mines and only reachable by a small bridge. As civil strife engulfed the country, the women in the village learn of this fact and try, by various means and to varying success, to keep their men in the dark, sabotaging the village radio, then destroying the village TV.
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40

Village Voice by

Like the hashish-laced pastries the ladies make to sedate the male population, the film feels like it has been dosed with sugar to mask its distressingly bitter taste.
50

Wall Street Journal by Joe Morgenstern

An absurdist fantasy on a solemn theme, Where Do We Go Now? suffers from a serious clash of styles, but it's also brave and startlingly funny - at one point verging on "Mamma Mia!" - when it isn't bleak or shocking.
40

Time Out by Keith Uhlich

By the time the film takes a glib turn into role-switching farce - as Muslims become Christians and Christians become Muslims - the overall toothlessness of the satire becomes damningly apparent.
70

Time by Mary Pols

Could women stop war through the sedation of sex and drugs and a plot to bury every weapon in their community? Labaki has said she knows Where Do We Go Now? is a fantasy. But it's a good one, and this lovely film seems pertinent far beyond the landscape of the Middle East.
50

Slant Magazine by Nick Schager

Nadine Labaki's film awkwardly hybridizes somber politizized drama with regional humor in the style of "Waking Ned Devine" and "Calendar Girls."
91

The A.V. Club by Tasha Robinson

What the film lacks in specificity and interest in taking sides, it makes up for in style, authentic emotion, and terrific performances.

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