Thursday, November 20, 2014

Moroccan cinema against Moroccan cinema



           



From the blog of Mohamed Eddahane

                       The "world" of Moroccan cinema is particularly disappointing. I'm not talking about works produced and directed since independence but the film industry in the sense that Bourdieu gave the field term that is to say, those working in a field of activity at a given time and reports they maintain among themselves or with other fields.

                       In this sense the field of cinema includes filmmakers, producers, actors, technicians, writers, administrators, operators and distributors as well as critics and film journalists. This field does exist, even if no sociological study has looked so far on the study of scientific and documented manner. The rest of the sociology of culture and cultural agents is lacking in our country and cultural studies are in their infancy apart from some work on the music world.

                        I do not mean to remedy these shortcomings in this short article but draw attention to conflicting relationships that oppose each other agents of the Moroccan cinematographic field and the negative effects that these personal conflicts (rivalries, will power effects megalomania and paranoia) end up on the production and filmmaking itself. These conflicts often due to technical reasons and to say bluntly financial reasons. Players complain of being exploited and poorly paid by producers and filmmakers (who are often the same person) unscrupulous compliance with international standards. 

                      The filmmakers want CCM to favoritism and accuse members of the production aid commission, to be orders and encourage each and marginalize others. Filmmakers are jealous and are clans: the pioneers and young wolves, those here and those elsewhere, and for some time "Islamists" and the laity. And then there are the filmmakers of the old regime, who were pampered at the time Basri and their traditional enemies who intend to avenge the humiliation. As former director of the CCM is persona grata as distributor and producer and former star is banned from CCM activities. And then there are the new ruling authorities designated by the PJD who wish to impose their vision in a business area they are unfamiliar and where they have few customers .

Tuesday, November 11, 2014

«Face à Bilal Marmid» by Damir Yaqouti




Images Selfie type flood Facebook pages and other social networking sites seem to reflect an intention to produce, on "Public lace", information about yourself and to appear in the foreground, facing the audience by stating "look who, how, where, and with whom I am ..." ... the selfies here are a showcase office suggesting that personal values, themselves, reflect the values of a segment of society ... And if all people have the freedom and legitimacy to expose their selfies and values on spaces that are both personal and public, there is, however, untenable to see the "phenomenon" contaminate returning to radio in the field public institutional diffusion ... the new issue of Radio Medi1 on behalf of his journalist-author "Face Bilal Marmid" door symptoms of emission Selfie guy ... Let, with analytical mind, to advance the debate as love always tell the journalist in question ...
No longer content with his short program "Cinema Bilal Marmid" on Radio Medi1 where the "I (u)" the journalist appeared in every sentence he holds forth, this time he has seen more by installing a second issue concerning it also has its own name "Facing Bilal Marmid" ... Of course, we have long seen enough in the Western media, rare Radio or TV programs bearing the names of the journalists and presenters, but we must know that the success of these emissions is by no means inhabited by egocentric thoughts ... first, it is an original concept, documented preparation of each issue of the issue and a copy of the guest listening to the reporter to bounce on the basis of 'arguments and exposed to further develop the question and the answer ... starting from the title of the show "Face to Bilal Marmid" self-proclamation of the facilitator as "journalist dreaded by the film industry there is already "... He confirmed that he had" self "by retorting awkwardly on his show expressions like" here is giving me time "this image; "In this issue, it will happen something!"; "This confrontation will weigh heavily" ... By reproducing this monologue and by publicizing this second issue, especially through its post-broadcast video version on the net, He managed one thing: to capture the interest of some professional and a search of public information film ... and at a time when the controversy is in full swing in the area ... a "success" by rushing some professionals to sit in front of the "brave" Bilal, of which Meanwhile in fact parts of his list of conquests.

The content analysis of the questions and the manner in which the pose shows well that the host is an insufferable narcissism and superficiality "skin" ... His awkward questions "! "Would affect, it seems, the unspoken relating to the itinerary and the formation of the guest with respect to its position, the legal side of the practice of his profession, to his contribution in the field of activity and other questions including antiphrasis: formula free freestyle.

Narcissism "assumed" puts him in a warrior armor to attack everything that exists ... It never ceases to suggest that in Morocco, criticism is hypocritical that the Federation of Film Societies is dead, that Moroccan films nil, technicians CCM lack training ... Do not recognize is another way of saying "I am the revolutionary journalist" ... It is precisely because it is not actually spent by film clubs that could not break free of his shell and develop the spirit of sharing the art of debate and synthesis skills that could prevent him from stamping his accuser and tasteless monologue.

Professionals and moviegoers really versed in the culture of film know that the image of the development of our society, the film field, such as Information Radio, grows with its successes, disappointments and hopes ... Criticism Moroccan film, such as the Federation of Film Societies, artistic creation ... exist and move in relations within and between conflicting, reflecting a rare vitality to Africa ... the problems inherent to the field are known in their smallest details, ... talk for 18 minutes remaining to guest on the show is to go straight to the trivial.

The Selfie journalist BM stresses the only Moroccan journalist to cover the Cannes Film Festival since 2006, and twice the Oscars; he interviewed great directors and they are the professionals who will make a request to be invited to his home ... These insidious information not play here that the function of the Stooges ... The film that brings information through these opportunities, is useful but not relevant ... When quoted in the formulation of questions, the names of Tarkovsky, Bergman, Godard, Lynch, Loach, Dolan ... he uses so pedantic as Flytrap ... in fact, it seeks to intimidate and belittle Moroccan directors, in a logic of unfounded comparison ... In the history of cinema, it is always critical that showed the festival organizers and film lovers across the talent mentioned but not the other way ... the proven by the host as part of a mid-journalistic mission mid-tourism in Cannes or elsewhere can not, by itself, establish a cinematic fascination repository ... should extract and subject impressions "good child "in a lucid questioning and rigorous methodology.

It is also important to note obscures the struggles and contributions of activists of the Moroccan culture in its diversity, and turn their backs on the struggle Sembene Cheriaa, Sail, Reggab ... or ignore the talent of Cisse, Bouanani, Gerima Bouzid, Chadi Abdessalam ... it's also a cultural validate assignment ... an assignment against which the Moroccan and African intellectuals, and continue to fight for half a century ... What helped sit in our country for example, and between other inputs, spaces for information and training, not only information haloed by provocation. This was the case of TV and radio broadcasts of Sail, Ali Hassan, Bakrim, Salaki, Dahan, Sijilmassi Guiroum, Labouiri ... National Federation of Film Societies; Critics Association; trade journals, the African Film Festivals, Mediterranean ...

Art is not just a matter for artistic face a single evaluator. The laws of the art market, especially in the film industry, pressure groups, political and linguistic interests have an important part in consecrations some require, necessarily, to recognize talent from the Third World, even the the West itself ... For example, the Great Krzystoff Kieslowski is a country in the heart of Europe, was discovered by critics and festivals very late ... and this is his trilogy white, Blue, Red produced and promoted by France, which has allowed the world to rediscover his long and varied filmography ... in addition to the role of the critic, the work of producer promoter is central to the conquest of festivals.

When the host insinuates Lakhmari he plagiarized a scene from Bergman, he has neither named the scene in question or its contents ... worse, it made her question poorly, "people saw you in a scene they have already seen in Bergman ... ". And even if Lakhmari played the game in general meeting, the reporter could not continue the debate on this point ... Flirting with the criticism does not advance further ... Between adaptation, Inspiration, adopting a style homage and plagiarism there are important nuances to lightly ... in describing "A film" Achaouar of success, the reporter falls into complacency. The same one that is repugnant in others ... that stigmatizes its diatribes. "A film" of Achaouar commands respect by his scriptwriting and intellectual issues and the exercise of style he has, but this feature was never a success, either in distribution or in its relationship with the public a few days he stayed in room or at festivals and journals Arab or Western ... This does not diminish its artistic merits. About the Film Achaouar may be deeper and more synthetic on cinema in Morocco emissions BM, stuffed certainties and dogmas.

Trying to apostrophize Abdessalam Laglaîi on the age of the artist, journalist confuses biological age with professional age ... And when he asks the director spiritual father of his films is that it seeks to remove him another denial vis-à-vis the Moroccan films or intimidate his favorite field, it claims that directors know ... This theme emphasizes the cliché platitude of his questions ... He knows that the process of artistic creation is very complex where the unconscious has something to say ... A director is impacted by everything he encounters in his life, not just the movies ... the Japanese director Takeshi Kitano was interested no film and therefore did not know the great directors and their works ... the Iranian cinema after the Islamic revolution had long disconnected from the international cinema. Soviet revolution broke with everything that existed before to create something else ... The idea of the spiritual father or role model is for informational fast food.

A final example to show the non-mastery of the subject by the moderator ... it is effrontery exhibited face Ahed Bensouda attacking, end to end and without any tact, his profile, his film and main actress who plays ... He knows that even if "behind closed doors" does not seem to artistic issues, it remains as other films of the 'Moroccan box office, "an important film in the economic equation these movies ... movies that sustain life cinema loyalty and a large section of the formatted television and films "Action" public ... It ignores also a part of the ticket price of these films supplies the background support domestic production, "auteur cinema" including.

Reputation Médi1 Radio and TV is no longer defend in the Moroccan media field. Freedom given to its journalists to create and innovate programs that are equal in overflowing with populist programs and alienating media scene is an example to follow ... In this context, freedom of the journalist in question is a capital to invest in program development that develops and presents. The problem is not in the degree of openness that fills his pride, but in the inward-certainties about the dogmatism of hostility and it shows. The media is infested field emission based on indicators audiometry pride ... If viewing figures of the show is going to populism and platitud

Friday, October 24, 2014

Code of Ethics by Film Festival organisers




Fair Submissions: The Online Film Submission Platforms’ Code of Ethics
By signing the “Fair Submissions” common Code of Ethics, the online film submission platforms FesthomeFilmFestivalLifeReelportShortfilmdepot andUptofest express their common desire to share fair business practices. They commit to offer filmmakers, festivals and any other agent in the film industry guarantees of a service of quality.
Each of the signatory platforms agrees to comply with the following:
1. The signatories only accept submissions on behalf of film festivals with a signed agreement and/or their explicit prior consent. The agreement must be signed by an authorized and verified official festival representative.
2. The signatories have a validation policy in place to ensure that any active festival is a legitimate event due to take place on the dates and in the location announced, also taking into account online festivals and their specific nature.
3. The signatories require festival clients to provide a reasonably full set of rules and regulations including their festival fee if any which must be publicly available on the online platform with which the festival works and on the festival’s website. Upon film submission, filmmakers or authorized filmmakers’ representatives must agree to the rules and regulations provided by the festival. Each participating festival must also provide valid contact details (mailing address and email address). These contact details will also be publicly accessible on the platform.
4. The signatories commit to providing a service where each submission of a film to a festival is made freely and individually (as opposed to “en masse”) by filmmakers or by their authorized representatives after they have read and accepted the festival’s regulations.
5. The signatories commit to transparently breaking down and clearly communicating all fees involved with each submission (festival fees and service costs). All payments / banking operations must be handled by the platforms with the highest security standards.
6. The signatories guarantee that they regularly verify that each of their festival clients is indeed using their services for the purpose of selecting films for their programs. Festivals that do not comply with the platforms’ Terms of Use will be immediately denied the possibility of accepting submissions through the platform and all access to their account. Submission costs incurred until the deactivation of the festival by the platform, will be fully refunded (festival fee and service costs) to the filmmakers or their authorized representatives.
7. The signatories provide film festivals with all necessary tools to communicate to both selected and non-selected filmmakers or their authorized representatives the result of their selection process.
8. In the event of a festival being irrevocably cancelled:
8.1. The signatories commit to refunding or re-crediting filmmakers or their authorized representatives with the equivalent amount of credit charged by the platform for each submission to the festival.
8.2. The signatories commit to requiring festivals to refund entry fees to filmmakers or their authorized representatives in the event that the collected fees were already transferred to the festival’s bank or PayPal account.
9. Video files uploaded to the signing platforms will not be made publicly available by either the signatories or by festival clients, unless there is a specific arrangement between those festivals and the copyright holders of each film. The signatories ensure that all video files are protected by active security measures and all users’ personal files and data uploaded to the platforms’ servers are properly protected, cannot be accessed publicly and will not be shared with any third party without prior consent of the rights owner.
10. The signatories commit to delivering quick and complete assistance and support to filmmakers and festivals using their online services.
11. The signatories do not require film festivals to use their services exclusively.
12. The signatories commit to not undermine or damage publicly the reputation or the integrity of the system of other platforms that have adhered to this Code of Ethics.
13. The signatories have an ongoing commitment towards this Code of Ethics. Any signatory that ceases to comply with this Code of Ethics will be immediately removed from this agreement.
14. Declaring compliance to the present Code of Ethics is not sufficient to be added to the signing parties of this document, or to publicly declare compliance to this Code and its intent. Similarly, the “Fair Submissions” logo is strictly reserved for the use of platforms who are official signatories of the Code of Ethics to which it is attached. Any online submissionplatform willing to adhere to this Common Code of Ethics must first accept verification of its actual implementation and shall have its name added to the list of official signatories upon unanimous decision only.

Monday, October 13, 2014

Waiting for Sarem Fassi Fihri......


  

By Allal El Alaoui

                            Only 31 cinema theatres still resist in Morocco. It is an embarrassing fact for the new comer, the director of CCM. Filmmakers and critics are wondering about this disastrous decrease in number of cinema theatres and the big question remains as this: why do we still produce Moroccan films? It might be the second critical criteria that also faces the new director/producer of CCM called Sarem Fassi Fihri.
                         The New director, known of his cool western hat and his expensive Cuban cigarettes, is welcomed by media ,directors and producers to promote and give a new breath to national cinema not ignoring the magnificent job of his previous colleague, Nouredine Sail who has himself made great efforts to reopen Moroccan cinema theatres, unfortunately his dreams do not come true  .Unlike Nouredine, Sarem  is very actif in the field of production and has produced  movies of  handful of Moroccan filmmakers such as Hakim Noury,Ahmed Boulane and Nabil Ayouch . Administratively speaking,CCM needs to be reorganized by inserting new technical staff,new technoclogy and above all new vision of the future of Moroccan cinema.This is a job that Sarem is planning to realize .But,when ?
                         In his Cinematic column inserted mysteriously into the International Film Festival of Mediterranean countries 2014 edition, Sarem Fassi Fihri has written in English which is something new for Moroccan cinema-goers .May be it is a sign to suggest  that Moroccan cinema should be known to THE WORLD  unlike  x – CCM director Nouredine Sail who only sticks to Pascal country ,France .Of course, Arabic is much more used  from Moroccan cinema-goers ; critics and screenwriters because it is the first spoken language.


                          Only 56 short films in competition coming from Mediterranean countries. However, Panorama films do not exist anymore in the festival due to the non virement of financial support to the Festival which eventually needs more than 150.000.000 dirham to cover the cost and charges of invited people .The sum of money that we have mentioned before; cannot be released from Moroccan official  sponsors, or Tangiers local supporters .I let you guess the dramatic suspense that is happening between Rabat and Tangiers.

Monday, September 15, 2014

Lilly by Brett Chapman



I know rejection is a fatal enemy for creators ,filmmakers and cinema-goers.I know from rejection some filmmakers become famous and rich such as Oliver Stone when he first presented his first screenplay, he was rejected by Hollywood agents  .Yet, some solid people prefer to stick and get along until the final call .

Today, i have read this article about a shortfilm called Lilly by Brett Chapman.
I find it interesting to republish in my weblog for my Moroccan and world cinema-goers just to know one thing is that we must not let it down ,but instead go ahead with your ideas and who knows what you would become later on.....

Being Rejected From Film Festivals
When you make a film it can be a deeply personal and important event for you. When I made my short film ‘Lilly’ I put a whole stack of myself into it and I found the process of making it to be one of the most rewarding things I’ve ever done.

I am very happy with ‘Lilly’ – I feel like we basically made the film that I wanted to and it’s one of the few things I’ve produced that I feel almost comfortable showing to other people. It’s still an anxiety inducing event to watch it in a room full of people though.
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I’ve still got a long way to go to get to the level that I’d like to be at.

Anyone who has ever screened a film for an audience will know the feeling well. You sit there, wriggling around in your chair like a mid-interview Tom Waits, anticipating a reaction from the audience. Where do the laughs come? Does anyone gasp? Does anyone cry? Do they sound bored? I’m not even sure what the sound of boredom is…

So, if you can get over the initial fear of actually allowing people to watch your movie soon comes the time to send it out into the world. For a filmmaker at my level I really had two options open to me: I could put the film online, promote it and hope to find an audience or I could send it to film festivals and hope it gets accepted and develops a buzz from there.
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There are, obviously, pros and cons to each approach that I’m not going to explore in an in-depth way because, frankly, there are people far more qualified than I to do that. What I will do, however, is briefly touch on some of the elements that were most pertinent in my decision and what’s happened since.

Despite Lilly being a short film the final cut came in at 28 minutes. That’s not an ideal starting point for either online or festival promotion. Many film festivals prefer their short films to be at the very least under 25 minutes if not shorter, and everyone knows that you’ll struggle to hold or even draw in an online viewer for something over three minutes.

I could have made cuts to the film to get it down to a more manageable length, and in retrospect perhaps I should have, but this was my first film and I didn’t want to lose any of the moments or space in the film because I’d landed squarely on my original vision for the piece.
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Utlimtately I decided that I wanted to send Lilly to film festivals and see whether or nt we got a positive reaction. I suspect there was something in me that liked the idea of my film being shown on the same screen as some other more credible films.

Because I also work a full time job I didn’t have the free time to research the multitude of festivals that are out there and then go through the long process of submitting. To overcome that problem I decided to hire in an external company to handle the process.

I ultimately went with Festival Formula, a company run by the lovely and knowledgeable Katie McCullough. She produced for me a list of festivals that might appreciate what Lilly was trying to say and handled the whole submission process for me. I can’t recommend this company or Katie enough.

Any shortcomings that Lilly had in gaining entry into festivals are totally down to the film and my own decisions. The Advice Katie offered throughout was impeccable and perhaps something I should have taken on board in a bigger way - especially regarding the length of the film! 
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This was always going to be a costly experience and after submitting to about 25 festivals I’d totally exhausted my finances, so, I sat back and waited for the responses to come rolling in. Then I waited some more – and some more. Then it happened! The first response.

“Thank you for sending us the above film for consideration for the [Insert Festival Name] Film Festival. While we very much appreciated the opportunity to consider the film, unfortunately it has not made the final line up for this year’s festival.”

I very quickly became accustomed to this sort of response. Whilst I thought I had prepared myself for the inevitable rejections I don’t think I realised just how disheartening it would be to see your film rejected from all the festivals you were so desperate to get into.

Like I said, this film was a bit part of me and it can be hard to separate the rejection of your work from being a rejection of yourself personally. But then, in rode the East End Film Festivalto save the day!

The first festival acceptance for Lilly took me to London to watch Lilly being screened as part of The East End Film Festival’s ‘Britain on Film’ programme. It was wonderful to see my film screened alongside some really wonderful shorts and the short Q&A post screening was a fun, if nerve wracking, experience. I will forever adore The East End Film Festival for accepting my film. 
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I had hoped that the EEFF screening might have been the start of a few screenings for Lilly but unfortunately that’s not the way it went. A combo of rejections came a few weeks later and its been much the same ever since.

I’ve seen other films that I worked on finding their way into some pretty prestigious festivals and that is heartening and I’m pleased for the filmmakers involved but it does kind of  cement in place the disappointment that my own work hasn’t found an audience.

I think it’s important to remind yourself that this is something most people who pursue creative endeavours have to go through. Not everyone is going to ‘get’ what you’re trying to say and, furthermore, there’s no guarantee that what you create will every time be ‘good’. It’s a long process.
So, rather than get down on the fact that Lilly hasn’t found its place on the festival scene I’ve been trying to come up with the next move for the film and that took me back to my original two choices: online or festivals.


I’m not too proud to see that, for whatever reason, Lilly isn’t doing it on the festival circuit so to plow more money that I don’t have into more submissions that likely won’t be accepted doesn’t make sense to me. More and more I’ve been thinking about making the film available to view online.

More than getting good reviews or seeing my film on a big screen I think the thing that is most important to me is that its viewed by people who understand what it’s trying to say and appreciate the themes that I’ve tried to flavour it with.

The most encouraging thing that’s happened during Lilly’s short time out in the world is the response I’ve had from the audiences who have watched it. Quite a few people who watched the film took the time to tell me that the titular character really reminded them of strong women in their lives and thanked me for making the film. That felt amazing.
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One person saying something like that to me was enough justification for making the film in the first place. Some people even cried. I had joked when making the film that all I wanted was to make someone cry with it. I guess that sounds sort of crass but all of the films I most admire make me cry.

Here I am, then, weighing up when and how exactly I put my film online. I could upload it to Vimeo or YouTube and try to promote it via social media and short film websites or I could look into VOD options. To be honest, I don’t think Lilly has the audience interest to do well on VOD. So, at the moment, I’m planning to put the film online, for free.

It’s OK to be rejected. It is not the end of the world and I don’t think it’s the end of the journey for your film, if you believe in it.

All I really want is for people to have the option to see the film if they choose to. I say it all the time but I don’t think a film exists until it has an audience. With that in mind, watch this space for updates about where Lilly will be available to view and if you’d like to help promote the flick, that’d be lovely.