Wednesday, April 28, 2010

« Amours voilés » by Aziz Salmi.

Aziz Salmi said he has shown a face of the hypocrisy of Moroccan society which shows a side guardian of manners and did not hesitate to exceed disguising himself. The speakers at the conference was divided between those who have done the scenes, say daring, their main interest / concern, others have preferred to deal with the aesthetics in the film.
In short, all the ingredients to make a beautiful film work were there, the talented, beautiful shots ... But the question remains whether the director was the designer who has done a nice suit with the fabric and style he has or he had missed the opportunity and went next to the plate.

Daring ideas in french television " En Apparté"

Tuesday, April 27, 2010

Laraboyz refuses money to sing for Israel

Morocco announced a youth group sings music of "rap" the city of Larache (northern Morocco) for its rejection of an Israeli offer for a concert in Tel Aviv.

A group "of Laraboyz" which is composed of three young men, in a press statement that an Israeli company to organize concerts presented by the revival of special concert in Tel Aviv, but interviewed rejected the offer, the absolute.

The director of the group Othman Benjelloun of the island revealed that the group rejected the offer, describing Bamori "without thinking", he promised that a natural response to display of "kill children and women."

The Ben Jelloun, the position of his group in keeping with the principles which it believes, adding that the group has released more than a song denouncing the practices of the Israeli occupation in Palestine.

He pointed out that refusing to sing in Israel "brought joy to the hearts of the people", earned them the respect of everyone, and expressed surprise at his selection for the Israelis to sing in Tel Aviv.

Ben Jelloun said that the group would not respond to the Israeli offer, because "the Israeli message did not reach" as he put it, and expected to win the group song on this subject.

This has created a comfortable position in the community who follow the group, and the anti-normalization activists in Morocco, especially in light of reports about the participation of some artists to perform concerts in Israel.

Ben Jelloun said that the Group's position is consistent with the principles of the (Al-Jazeera Net)
An isolated group
He described the Moroccan artist cynical Ahmed Snoussi artists who deal with Israel to "type isolated" and "losers" who have no link with the public in the case of Morocco, said of the island revealed that these artists "did not print the" days with the Moroccan people and with the major issues.

He was surprised by some of the Sanusi Moroccan artists normalization with Israel while refusing artists and intellectuals, Nobel laureates deal with Israel.

He Snoussi that "material gain" of the main reasons why the artist is heading for normalization of relations, noting that some "artists Almtabain" well aware of the fact that Israel, they are trying to satisfy what he called "lobbies information imposed to pass through Israel before receiving any awards or Western support.

Sanusi warned of the lobby and what he described as "weak", attempts to "penetrate" the body art of Morocco, said that his plan will fail, as the Arab nations refused to deal with Israel, and graduated in the millions to denounce its crimes.

For his part, noted film critic Ahmed Sijilmassi to "semi-professional consensus" on Morocco's rejection of all forms of normalization, despite visits by some of the names-how to Israel from time to time, considering it visits "do not represent only their respective owners."

Sijilmassi said the island revealed that such visits do not have a major impact, because of the "fade" a sense of nationalism and national levels, and attributed it to the preoccupation of people everyday problems that Onsthm high correlation with all that is national.

Simony Cherkaoui back the art of the most important tools Israeli penetration (IRIN - Archive)
Courageous stand
Khalid described the simony Cherkaoui member of the Secretariat of the Working Group for Iraq and Palestine, the position of artists who reject normalization with Israel as "brave."

He assured the island revealed that it is not possible to accept coexistence with the Israelis, as long as Israel kills .We do not respond to decisions of international organizations and denounced at the same time share some artists in the artistic or cultural activities in Israel, and describes what to do shameful behavior. "

He said that the art of simony the most important tools by which Israel is trying to "penetrate" the Arab peoples, and pointed to the existence of a large proportion of artists who are not interested in money and fame, as much as interested in "noble position."

Morocco, who had closed the Israeli liaison office in Rabat on 23 October 2000, the Moroccan Office in Tel Aviv after the outbreak of the second Palestinian Intifada

Thursday, April 22, 2010

Taoufik Bouchaara’s vision on Moroccan Drama.

Taoufik Bouchaara

Moroccan drama may compete with Syrian and Egyptian films .It can, therefore, go further than one can imagine; because its readiness to produce and its ability to create art, craft and artistry which is sometimes beyond imagination in Morocco (see awards given at international film festivals ).Indeed, Morocco has now many talented artists ,filmmakers and producers .

Taoufik Bouchaara, a timid intellectual, is designated to be the director of Moroccan national Drama at SNRT.Unlike recent Drama responsibles known to have hands ironically broken , Taoufik is not talkative, but rather concise and precise in his statement above all, Taoufik knows what he says .It is true this Drama spearheader gives no hopeful, ambiguous speeches nor any spiritual airy promises, but shows an intense will and can convince his audience by stating one or two sentences , handing out statistics and work evaluations. This gives certainly a nice impression on SNRT technicians who are merely impressed by this shy Drama leader, supported already by professional team, Adel Doughou and Mustapha Sobhi.

During the meeting dated the 20th of April between technicians and Taoufik Bouchaara ,too many lucid ideas have been raised namely writing scripts .In this context, Taoufik has sorted out this issue by creating a new committee that deals with studying and analysing scripts. Taoufik has explained his positions as the Drama spear header by announcing a tactical and scheduled work called ‘Contract Establishment” supported by an atelier of continuous work with auteur and auteur-directors. Bouchaara’s assistants interfere to say that Drama work nationally will be scheduled as follows:

- Introducing written scenarios either by auteur themselves or auteur-directors to be analysed gradually and in collaboration with Mustapha Sobhi.
- Following scenaristic procedures such as synopsis, résumé and writing complete scripts, to be seen and followed by Adel Doghou .
The meeting has also raised interesting questions that Taoufik Bouchaara has already answered by declaring that marginalisation and indifference will be vanished and erased from Drama direction and only good quality and efficiency is favourable.

Only “ Ouled Eddar” literally meaning SNRT boys will have the chance to work in Drama ,although SNRT still practises its policy to maintain accordance with private companies which is a normal thing and intelligent one as long as companies give nice products .This issue arises critical controversy among the team of Taoufik and technicians ,the fact that the majority of companies come to EL Brihi avenue to get money and machinery ,but unfortunately neglecting SNRT boys.Taoufik shows no mercy to those who spend national money without giving efficient work.

No doubt that the lucid ideas,the contract establishment and developing ideas that Drama direction has offered is really something new to producers, technicians,auteurs and filmmakers.Companies have to respect timing and consider scheduling works to finalize their products with great efficiency and qualtity.When any product arrives at Dar El Brihi for PAD ( ready to diffuse ) it must be something handsome and good meant to be seen by Moroccan public who is certainly thirsty to see itself via Drama.

Allal El Alaoui


Sunday, April 18, 2010

Paulo Coelho‘s comments on Zubida soon published in this weblog

Zubida has disappeared .She is my love, my friend and my dearest wife.Zubida always shows me her fidelity even if I am sometimes miserable. Besides, her tenderness is so soft and comforting that it really gives me the sense of eternity .This explains why I sometimes go to the sea just to expel joy and complete happiness that I am feeling with Zubida .However, the thing that she has never wanted to let down is her intimate wish ,which is to become a movie star in her own country. I just could not continue an argument with her about this fact, because her wish is so sacred, besides I love and respect her too much. One of my blissful moments is to see her singing Bollywood romantic movie songs, bought by her as compact pirated cds somewhere in a popular souk in Rabat. She sung the duo Hindi famous singers Lata Mangeshkar and Mohammad Rafi, with which I reckon, while Zubida is singing, my neighbours become silent and careful than spend their time watching some Saudi porn channels.

Aziz, the chief inspector of our police district, is a short man whose face is photogenic holding a large Turkish moustache and wide mouth. I will not forget his face nor his hoarse voice which reveal a typical authority man that my country used to have in the seventies .Does your wife have an affair with anybody? Aziz stars at me with great attention and invites me to sit down on a wooden chair placed just next to his assistant whose rolling eyes never let me escape .His assistant is preparing to write on a classical type writer pointing towards me his finger that he would be using to write with. I also can not erase from my vision that the room which I was interrogated, was unclean and dark and can only contain one person, but we were in fact three people there. I not only feel terrible about the room but I feel disgusted by the stupid question that Aziz asked me about my wife. I looked at Aziz with hate and insolence, but, all of sudden, I feel more careful especially when I noticed that Aziz was serious about the question. I immediately change my mind and begin to accept this reality. Aziz belongs to the police and it is obvious he wants to arrive to a conclusion whether Zubida is evidently having an affair with somebody or may be I am myself involved into something dirty.

Aziz began to listen to my story which he finds intriguing. My family brought to me Zubida in a rightful caravan, a sort of royal chariot accompanied by one thousand and nights musicals and people enchanting my winning a beautiful bribe .The Chariot was decorated with magnificent ribbons and overloaded gifts containing some sacred wedding items meant to chase evil like dates, sweets and sugar . When I first saw Zubida riding that beautiful chariot surrounded by people singing and praising her, I thought I would get married with a princess coming right deep from Saharan dunes. I fell in love just they do when lovers meet at the first time and that something happens just like the French word say ‘ le coup de foudre “

Allal El Alaoui

Tuesday, April 13, 2010

Moroccan cinema's heart attack is script writing.

How can I write a script without traditions?

1 - whatever was said about the picture, the film received by the viewer tale of consumption, hence the importance of writing.

2 - write the screenplay in Morocco without reference novelist, without knowing the rules of Aristotelian narrative. While the European auteur cinema is part of the daughter of the nineteenth century, a novelist and industry. In Egypt, I started writing the script in the tradition of fiction, but a popular novel was published in newspapers and magazines. Asian cinema emerged in the fabric of cultural tradition of storytelling and saturated narrative. These comparisons show Alsinarist Moroccan problem with the story.

3 - script writers unaware of the rules of literary narrative which are necessary for the cohesion of the film. It is strange that some of them reject such rules claiming they heard it limits creativity. Indeed, there was no contradiction between creativity and the laws that were found to worship through creative cinema. As per art techniques. They deny this. Therefore produce a scenario with no narrative structure, screenplay loose and flabby (mal ficelé).

4 - because of his inability to design and organization of talk in accordance with humane respect the hierarchy of time and place Alsinarist claims that the rules of the scenario restrict creativity ... Thus opening the way for his illusions to do what he wants, "to Ikrmz" and this word did not appear in the magazine, but a translation of the comments polite. I think here in the Movies Nabil Lahlou, such as "Island Shaker Bakrben"???

5 - Creativity is good, which is fostered by the rules that experience and a means, not an end, is amazingly deep and beautiful, rich motives, information and feelings about this ... Which is difficult to consume all at once. Real innovation is to stand firm in the face of time.

6 - acting directors who are not readily scenarios as revolutionaries, they can claim to portray, without script, I mean Ertgelon. Some of whom claim that he would be the invention of cinema, his first film. They are so acting amateurs lacking their craft. The reason for this is that the bulk of Moroccan cinema in Europe or you will be affected by the French cinema, new wave, which despises the concrete scenario, ending, and they recall Truffaut and Godard to confirm the power of the new wave scenario, which refuses to ... The revolutionary recklessness Moroccan director explained why he opposed to a linear narrative of imagined rejection of bourgeois Bank. Clear that he had heard a fine narrative stunning and coherent story of Joseph in the Qur'an and Panchatantra and a thousand and one nights. Before the emergence of the bourgeoisie.

7 - make a Hollywood screenwriting career of standards and strict rules, including writing and rewriting, through collective action.

Recommended number of participants in the file the way Alobjlo Saxon in writing the screenplay. But pride Ptotherhm school French.

8 - Scriptwriter Moroccan writes about things he does not know, no lives with, and accelerate to end the scenario without collecting material, without deepening the research and thinking, without documentation and discussion, without listening to the people ... When the camera shows the gap between the reality on the one hand, image and dialogue on the other hand ... Therefore not in conformity of the viewer with the characters, does not find the same.

9 - Moroccan film suffers from long dialogues with the chatter is not a property of the films.

10 - Interviews Moroccan films by participants in the file: Dialogues superficial - stupid - without depth - without echo and realistic - do not touch the spectator - written without effort - without the functioning of language - written in a superficial - simplistic - but focused - trying to explain everything Vthin intelligence watch their own vulnerability.

How are the scenarios of Morocco?

11 - lacks the minimum of professionalism.

12 - dominated by mixing hard cutting technology.

13 - lack of internal consistency and clear, confounding the viewer.

14 - suffering from a bug in the way of
introduction, lack the description of the event.

15 - suffer from poor handwriting because the visual Alsinarist focused on the Moroccan write more words than pictures.

16 - leave blank spaces in writing, hoping to fill them inspiration during the filming, and are often compensate for the lack of inspiration for the improvisation.

Shock outcome

17 - Moroccan scenario without an identity lacks meaning without the spirit of creativity and originality, without resulting in Cinema Ortzenal artisanal.

18 - Movies weak, realistically superficial, lacking the language of the picture lacks originality, films and similar stock value unto Temathia not carry the supreme values and encroached upon ignoring the cultural and historical potential of Morocco.

19 - Moroccan films adopted most of the scenarios in a poor, weak construction, directors tend to parodies and unbridled imagination ...

20 - there is separation between the image and drama because of the lack of linear narrative.

21 - the same person writes and produces and out ... Which impedes the emergence of specialized scriptwriter. Production companies have become more of the book.

22 - reflect the titles of films the poorest in the imagination, often does not reflect the atmosphere of the movie title and end the movie without the viewer to find a link between the title and watch.

23 - Moroccan film ends weak, does not show a link between the beginning and end of the film. Because there is a bug in the construction, it follows by the absence of balance.

24 - Moroccan cinema failed to build an identity, which did not go beyond the traditional methods in the output.

Director in the file

25 - Moroccan director believed that the director and scriptwriter is excellent not only trusts what is written. Directory numbers?

66% of Moroccan films by Mkrjoha, and half the remaining one third, in which the director in writing the screenplay, which means that only 17% was not a director writer. And anger when these directors do not receive the support of the Film Centre.

26 - all the way out is that the scenario written for the film perfectly.

27 - How to evolve if the film director and producer Alsinarist one person? This dictatorship of the creative. Outstanding example of such disasters is happy Nazareth, Nabil Lahlou. Why Genoa? Failure, and expulsion from the scene. Those who can not remain a monopoly on creativity in the profession so long, may loot and run, but it is exposed.

28 - Weak output to fall into the typical representative, as one idiot stick or crook or a miser ... Representative of Morocco so surprising after working with foreigners.

29 - promises that are planted and filmmakers young Moroccans living abroad ended in a mirage, p. 71. This happened also to the national team of football, which relies on the players.

30 - Moroccan director is not Alsinarist assistant, but a competitor. According to a report that a technical team of the reasons for the exclusion of the inability of players to cooperate among themselves, it seems to affect the film as well.

31 - in the distribution of communications support by the Moroccan Cinematographic Centre does not mention the name of the screenwriter.

32 - Do not start talking about the film only when it receives the support, when the script is ready and acceptable, but there is no talk about what's above, the writing, this is more like a lack of concern for the child until birth.

33 - sin of writing the script to assign people who are not qualified, culturally and creatively.

34 - not a way out and screenwriter ignorant of the history of art, drawing, photography and sculpture ... Who did not he read the novel and the epic legends of old, from the Foundation had not seen the film of the language of cinema ... However, claims that self-made???

35 - The depth of the teaching film at the University of crisis scenario in Morocco.

36 - therefore, have received a lot of scenarios filmed vulnerable because the vacuum has forced producers to accept them and have had a flat film without characters, without drama and real images are not connected.

37 - of course a bad scenario all too often in the movie is bad.

38 - benefited a lot from the field Translated to film material of this confusion and pettiness. The payment of the Moroccan film too much.

Reasons and tips

39 - resulted in a crisis scenario neglected area for many years and "the crisis scenario is a crisis not imagined crisis" techniques, a crisis of culture, a crisis of the ability to write.

40 - needs screenwriter sensitivity of creative culture and imagined needs. (For information not for comparison, operates 15 hours a day, Spielberg and Scorsese watched three films a day).

41 - represent a major challenge in writing the script for the production of Moroccan films today, the demand for the existing scenarios to outpace supply.

42 - became a writing for film and television, of necessity, because the market where the symbolic promote ideas requires loading the collective imagination of oral threatened with extinction to a new holder: the image.

43 - We have the right to tell what we want as we want, but not for those who want to Hakim, but Hakim of the recipient of his specific conditions should be taken into account.

44 - must respect the jobs (eg the Global Programme spokesman Grimas and he learned from his book Vladimir Probe morphology of the myth).

45 - a mistake to rush to write a single formulation and adoption of the idea because it will not withstand the scrutiny and time.

46 - you need to write for the screen to re-educate the mind and visual script writers to enable them to ABC image.

47 - must know Alsinarist Arts, which built the six said the seventh art. Kamal Kamal.

48 - "Mtejelna will not share with others that remained hazy scenario-writing stage."

49 - to write about the issue must be documented in, to hear the people and discuss.

50 - script writing techniques can be learned, but the same write another matter, can not be learned, it's culture, imagined and self-training.

This displays the status of the file 33-page, in which: Youssef Fadel, a nice sweet, Kamal Kamal, Djilali Ferhati, Mohammed Bakarim, a nice sweet, Rachid Zaki, Hisham Lasri, Fred bubblegum ... And collection of testimonies Noureddine Kcti ...

File is an inventory account Asir / showdown excellent half-century of Moroccan cinema, and it was easy for participants to recognize all the criticism directed to them, in fact I wrote the bulk of certificates in a special way, the participants spoke in the file criticism abstract because no one dared to mention the examples of of films he wants to. For example, said co "Moroccan cinema suffers from a dearth of good scenarios," and I understand that it is intended "There are a lot of bad scenarios."

Seems to be critical of any profession is threatened from within that expelled them, so talking to each participant seems to be walking on eggs, "says general provisions he does not want to anger anyone, some of the greed of his participation in the last try to please everyone .... Although this remains File CINE MAG strong and effective when it emanates from the professionals, no witness of the people of the seventh art, the usefulness of such self-criticism and bitter, he has set for script writers, young people what they should be avoided on the way to build a cinema and a national tastefully sophisticated and noble values and images broke imagined. .. And enable Morocco to film dialogue 21.

Written by Mohammed Ben Aziz
السينما المغربية وتزوير الحقائق
كيف تحولت 8 افلام الى 19 فيلما على يد نور الدين الصايل:
حسن بنشليخة

عقد نورالدين الصايل، مدير المركز السينمائي المغربي، لقاء خاصا يوم 29 كانون الثاني/يناير بفندق شالة بطنجة، وهو بالمناسبة يوم اختتام مهرجان طنجة للفيلم المغربي، قدم فيه حصيلة 'الانجازات' السينمائية المغربية لسنة 2010.
وركز الصايل، على ما تحقق على مستوى الإنتاج، حيث قدر أن المغرب أنتج 'ما يقارب 20 فيلما طويلا، وهو ما كنا لنتصوره منذ عشر سنوات'. ويتسلى المدير بالأرقام ويعود ليقول إن 'الأمر يتعلق بـ 19 فيلما... وكان العدد سيتجاوز العشرين لو أن بعض المخرجين احترموا الآجال التي حددوها لإنتاج أعمالهم'.
وتفنن المدير في تمثيليته موضحا 'إن المغرب سينتج، مستقبلا، أكثر من 20 فيلما طويلا كل سنة'. وتسلح الصايل بكتيب من الحجم المتوسط يحتوي على 45 صفحة يحمل عنوان 'الحصيلة السينمائية لسنة 2010' بتوقيع المركز السينمائي المغربي بدون تاريخ. واعتقد الصايل مع نفسه أن 'إنجيله الصغير' يحتوي على البراهين والأدلة لإقناع الحاضرين والرأي العام ان المغرب أنتج بالفعل 19 فيلما سينمائيا سنة 2010. وبما أن السيد المدير لم يعد يهتم إلا بالكمية فلن نتكلم هنا إذن عن النوعية، لان الجميع يدرك ما آلت إليه الأفلام المغربية من عرض أجساد بائعات الهوى، ثم راحت 'تتجول' في الطرقات وعلى الأرصفة ولا تعترض على احد لمساومتها من كثرة سوئها، لهذا تعرض في المهرجان الوطني بطنجة لتتنافس على لقب الأقل سوءا.
وضع النقاط على الحروف
بداية، نريد أن نحدد أن الصايل يتكلم عن الحصيلة السينمائية المغربية لسنة 2010 كما يشهد على ذلك 'كتيبه المعجزة'، الذي وضعه رهن إشارة الجمهور الموجود وكأنه يحتوي على معلومات تتعلق بالتحولات النووية. والمعلوم أن السنة، حسب التقويم الميلادي، مؤلفة من اثني عشر شهرا وتبدأ بحلول شهر يناير وتنتهي مع نهاية شهر كانون الاول/ ديسمبر. وحتى إذا حاول احد التلاعب بالتواريخ بنقلها من الميلادي إلى الهجري، مثلا، فان النتيجة لن تتغير إلا بفارق بعض الأيام القليلة. ولن تتأثر الغاية وتصمد في النهاية حتى لو طبقنا عليها التقويم الكونفوسيوشي او البوذي، أليس كذلك؟ وفي ظل هذه المعطيات سنقوم بقراءة ما أنتج من أفلام سينمائية مغربية خلال 12 شهرا من سنة 2010 ونعتبره صحيحا، وكل ما أنتج قبل أو بعد هذه الفترة نعتبره تزويرا وكذبا.
النقطة الثانية التي لا تقل أهمية عن النقطة السابقة، هي أن الصايل يتكلم عن الأفلام 'السينمائية' المطولة. والأفلام السينمائية المطولة تختلف عن الأشرطة الوثائقية والأفلام التلفزيونية. وحتى لا نتيه في الموضوع وجب التوضيح لتعم الفائدة. باستثناء قليل، لا يستغرق الفيلم السينمائي المطول اقل من 80 دقيقة وهذا ما يمثل أعظم اختلاف بينه وبين الأفلام الوثائقية وأفلام التلفزيون. وأكثر من ذلك، تعتمد صناعة الفيلم السينمائي على مخرج ومنتج وسيناريو وممثلين وتقنيين وديكورات ومصممي الأزياء والماكياج ومهندسي الإنارة والموسيقى، وكل ذلك يتطلب تكاليف باهظة ويحتاج إلى أشهر لإنتاجه، وغالبا ما يصور على شريط فيلم سينمائي ليعرض في القاعات السينمائية المتخصصة لاستقطاب أكبر عدد ممكن من المشاهدين محليا وعالميا. أما الفيلم التلفزيوني فيصور على كاسيت الفيديو بغرض واضح وهو عرضه محليا على التلفزيون، لا أكثر، ومع ذلك يخضع هذا المنتوج لنفس الشروط التي يخضع لها الفيلم السينمائي، لكن الفرق الكبير هو في التكاليف والمساحة. فتكاليف الفيلم التلفزيوني اقل بكثير من تكاليف الفيلم السينمائي كما أن مدته الزمنية قد لا تتعدى 80 دقيقة، ولن يشاهد الفيلم التلفزيوني إلا جمهور محدود للغاية، ولن يعرض أبدا في القاعات السينمائية لعوامل تقنية وفنية. ونختم حديثنا بالشريط الوثائقي والفارق الشاسع بينه وبين الأفلام التلفزيونية والأفلام السينمائية. فاهم ميزة من مزايا الفيلم الوثائقي انه لا يعتمد البتة على ممثلين، ومهمته تنحصر في 'البحث والتقصي عن الحقيقة'، كما أن عمره لا يتعدى الـ50 دقيقة إلا في بعض الحالات النادرة. أما تكاليفه فهي اقل بكثير من تكاليف إخراج فيلم تلفزيوني أو فيلم سينمائي.
والآن نعود إلى موضوعنا بعدما حددنا مثلثا تقنيا لنقيس به الأفلام الـ19 التي عرضت في 'المهرجان الوطني للفيلم بطنجة'، والتي يدعي معها مدير المركز السينمائي المغربي أنها كلها أفلام سينمائية وأنها أنتجت سنة 2010.
الأفلام المعروضة بالمهرجان الوطني
أول تناقض نتلمسه في اقوال نورالدين الصايل هو الحديث عن 19 فيلما سينمائيا مطولا أنتجت سنة 2010 وعرضت في مهرجان طنجة الوطني. لكن المتفحص لكتيب 'الحصيلة السينمائية لسنة 2010'، الذي طبعه المركز السينمائي المغربي، ووزعه على الحاضرين يثير بصورة واضحة الضحك والسخرية. فالصفحة 12 من نفس الكتيب تقر بما لا يدع مجالا للشك أن المغرب أنتج سنة 2010، 17 فيلما سينمائيا. وفي نفس اليوم (29 يناير يوم اختتام المهرجان) أدلى الصايل بحوار لجريدة 'الاتحاد الاشتراكي' اعترف فيه بـ'إنتاج 15 فيلما' فقط في سنة 2010. إذن ما هو العدد الحقيقي؟ هل أنتج المغرب في السنة الفارطة 15، أم 17، أم 19 فيلما سينمائيا؟ على السيد المدير أن يحدد الرقم أولا كي نتعاطى معه بجدية. قد يقول قائل إنها زلة لسان أو خطأ في الطباعة، وبما أن المهرجان عرض بالفعل 19 فيلما 'سينمائيا' فأين هي المشكلة؟ حسنا! نقبل هذا التعليل ونقول لهم تعالوا نضع هذا الكلام تحت المجهر لنكتشف هل هو صدق أم كذب. نحن نتفق مسبقا أن المهرجان الوطني عرض بالفعل 19 'شريطا' لكن هل أنتجت بالفعل سنة 2010؟ وهل هذه الأشرطة كلها سينمائية أو أن بعضها أفلام تلفزيونية والبعض الآخر أفلام وثائقية؟ يبدو أن مدير المركز السينمائي المغربي تاه بين حقيقة عمله ومناه، لكننا سنرمي له بالحجة لنبين له أن نص كلامه يحمل تناقضاته ويبقى شكلا واحدا من أعمدة الدعاية بـ'تفريخ' عدد الأفلام المنتجة في السنة الفارطة.
لكي نكون منصفين مع أنفسنا ومع القراء يجب عرض قائمة أسماء 'الأشرطة المطولة' التي تسابقت في المهرجان الوطني حتى لا يبقى هناك لبس. هذه الأفلام السينمائية المطولة حسب ادعاء الصايل هي: 'اكادير بومباي' لمريم بكير (80 د)، 'القدس باب المغاربة' لعبد الله المصباحي (120 د)، 'نساء في المرايا' لسعد الشرايبي (108 د)، 'أشلاء' لحكيم بلعباس (90 د)، 'الوتر الخامس' لسلمى بركاش (98 د)، 'الجامع' لداوود اولاد السيد (86 د)، 'العربي' لادريس المريني (105 د)، 'الخطاف' لسعيد الناصري (100 د)، 'كلاب الدوار' لمصطفى الخياط (90 د)، 'جناح الهوى' لعبد الحق العراقي (126 د)، 'ماجد' لنسيم عباسي (116 د)، 'ميغيس' لجمال بلمجدوب (90 د)، 'ذاكرة الطين' لعبد المجيد ارشيش (100 د)، 'ايام الوهم' لطلال السلهامي (105 د)، 'ارضي' لنبيل عيوش (80 د)، 'واك واك أتايري' لمحمد مرنيش (90 د)، 'خمم' لعبد الله فركوس (105 د)، 'النهاية' لهشام العسري (105 د)، وأخيرا 'فيلم' لمحمد أشاور (75 د). المجموع: 19 'شريطا' لا جدال ولا خلاف في ذلك.
فصل الخيط الأبيض من الخيط الأسود
أول ملاحظة نبديها هنا هي جملة من المغالطات وتزوير الحقائق التي يدلي بها دليل المهرجان الوطني للفيلم، المطبوع من طرف المركز السينمائي المغربي. فالدليل، على غير عادته، حذف السنة الحقيقية من الزاوية التي تعرفنا بالمخرج والفيلم وشركة الإنتاج ووضعها مفصولة عن هذه المعلومات في أفق الصفحة، حتى يدعم الفهم الخاطئ الذي يعتقد معه الإنسان العادي أن الفيلم حقا أنتج في سنة 2010. كما أن الدليل، الذي لا دخل له بتحديد سنة الإخراج، يقر بان كل الأفلام أنتجت سنة 2010 باستثناء 'نساء في المرايا' لسعد الشرايبي، و'واك واك أتايري' لمحمد مرنيش اللذين يقول عنهما الدليل انهما اخرجا سنة 2011. إن الحيلة مكشوفة هنا. فالمركز السينمائي المغربي يقدم هذين الفيلمين الأخيرين على أنهما أنتجا سنة 2010 ويعنونهما بسنة 2011 لغاية في نفس يعقوب، لكن الأهم هل هذه الأفلام كلها سينمائية وهل أنتجت كلها سنة 2010؟ بالطبع لا، فكل من'أشلاء' لحكيم بلعباس و'أرضي'' لنبيل عيوش هما شريطان وثائقيان ولا تصلح تسميتهما بالأفلام السينمائية، ولا يحق لهما حتى المشاركة في المهرجان الوطني للفيلم، ناهيك عن دخولهما في المسابقة الرسمية. واهم من ذلك إن شريط 'أشلاء' الذي حاز الجائزة الكبرى صور عام 2009 وليس عام 2010! والشريط الوثائقي 'ارضي' تم إنتاجه سنة 2007. أما فيلم 'خمم' لعبد الله فركوس فهو فيلم تلفزيوني محض أنجز عام 2009 (نتساءل متى تحول هذا الفكاهي المسرحي إلى مخرج سينمائي في خرق واضح للقانون الداخلي للمركز السينمائي المغربي نفسه). إذن، نسقط من حسابنا هذه الأشرطة الثلاثة، طبقا لمقاييس المركز السينمائي المغربي الذي رفض ولا يزال يرفض أعمال مخرجين آخرين بالضبط على هذا الأساس. أما فيلم 'الخطاف' الذي صور في سنة 2009 والذي شارك في مهرجان القاهرة، فقد اعتبره المصريون 'إهانة' للفن السابع، نظرا لتدنيه على كل المستويات، حتى أن المشرف عن المهرجان تنصل من مسؤولية عرض الفيلم وقدم عذرا شخصيا على ذلك، فهل يقدر الصايل على تقديم عذر من هذا النوع ويتوعد في المستقبل منع الدعم على مثل هذه الأفلام المهينة التي تشعر معها بالغثيان والتي لا تقوم إلا بتقديم أحط التصورات الاجتماعية والحوار البذيء ولا تحتوي على أية قيمة فنية كانت أم جمالية؟ فيلم 'اكادير بومباي' لم يكن أسعد حالاً من فيلم 'الخطاف'، فهو يحمل نفس العيوب ولم يأت ضعيفا فقط على مستوى الإخراج، ولكن على مستوى التمثيل أيضا وصور سنة 2008. أما فيلم 'ميغيس' فمثله مثل فيلم 'الوتر الخامس' تطبعهما حالة الملل الشديدة ويحملان عيوبا بالجملة على صعيد التمثيل والإخراج وصورا سنة 2007. ومع كل تقديرنا واحترامنا لعميد المخرجين المغاربة، عبد الله المصباحي، يصعب تصنيف فيلمه 'القدس باب المغاربة'، فلا هو بالوثائقي ولا هو بالفيلم السينمائي ويرجع تصويره إلى أكثر من عشر سنوات خلت. الدليل على ذلك الممثلون أنفسهم: كالصبح في الفيلم علاهم الشيب يوم الحضور! ويجب مقاطعة فيلم 'فيلم' لمحمد أشاور لان مساحته لا تتعدى الـ(75 د) ولا يمكن أن يعتبر فيلما مطولا! هكذا نثبت بالحجة أن ثمانية أفلام على الأقل لم تنتج سنة 2010. أما إذا أضفنا اليها كلا من فيلم سعد الشرايبي وفيلم محمد مرنيش اللذين أنتجا سنة 2011 بشهادة المركز السينمائي المغربي نفسه، وفيلم 'فيلم' الذي لا تنطبق عليه تسمية الفيلم المطول، فنصل إلى الحصيلة الحقيقية التي تثبت أن المغرب لم ينتج إلا 8 أفلام مطولة سنة 2010!
إن الوقت لا يحتمل ممارسة التزييف، لأن الحقيقة أقوى وأنصع ولن يجدي البعض الاستمرار في الكيد وممارسة الكذب المثير للدهشة، في محاولة لطمس الحقيقة. إن لي عنق الحقيقة على طريقة 'ثقافة البرجوازية' كي تتجاوب مع أهواء الشخص ورغباته أمر منبوذ. فالمطلوب هو معالجة الشأن السينمائي المغربي في واقعه وليس الهروب إلى ممارسة التضليل برؤية ذات بعد واحد، لأن حبل الكذب قصير. ليس بالكذب أو بـ'السلوك الاتصالي' نثري السينما المغربية. ربما حصل ذلك نتيجة انهزام الروح النضالية الذي قاد إلى انهيار المعنويات الفكرية وتأزم الذات التي فضلت الفوائد على الأخلاقيات.
ناقد ومخرج سينمائي مغربي

Ancient Rabat filmed by Rouimi

Monday, April 12, 2010

Bobbos in Morocco

Titre du film: BOBBOS
Réalisation : WAEL EHSAN
Genre : Comédie
Durée du film : 110 minutes.

Synopsis Film: BOBBOS

Une comédie tendre et humoristique qui se déroule dans l’univers des hommes d’affaires où le rire, l’émotion, la fantaisie, l’humour, la joie de vivre se succèdent.
C’est les rivalités financières et amoureuses de Mouataza, une milliardaire belle, élégante et sensuelle femme qui vient de perdre son mari et Bobbos un investisseur qui a perdu sa fortune suite à la crise économique mondiale.
Bobbos se mêle des affaires de Mouataza et s’abandonne dans ses bras, leur liaison forcée les aidera-t-elle à sortir de cet engrenage ?


Le 14 Avril 2010 au CINEMA LYNX – CASABLANCA
Le 14 Avril 2010 au CINEMA RITZ – CASABLANCA

Copie de Feuille Du Service value="opaque">


Friday, April 09, 2010

Updating Moroccan cinema by Mustapha Mesnaoui

There is no doubt that cinema as art and industry ,is an instrument of modernization in contemporary societies, as is the sign of the development on the ladder of development and progress.

There has been a cinema in our country some sort of recovery in recent years, accompanied by Two letters: one overly optimistic marked by many of the complacent, to the point that refuses to disagree with him, even before the consensus that agrees with him about the role of film and about their objectives and the desire to develop them consistent with trends retrofit of Morocco twenty-first century; and the second letter of anti-cinema and art in general, trying to impose the values of non-aesthetic product film and entered forcibly closed within the political orientations for the future.

In general, if this speech was the latest exploits of some "lapses", which is located filmmakers Moroccans in order to gain supporters and to return us to the era of ideology, the discourse optimistic suffer in turn from being confined in the building optimism on the rise quantitative defined by the production of feature films in our country (long, including and short) in recent years, while turning a blind eye to value the quality of this production and the actual circumstances surrounding it, and ignore the rest of the action film that we can actually show the prospects for the current recovery and to know whether the introduction of the prosperity of a future or it's just vital for the instantaneous short-lived.

So it may be necessary to lay a basis for a new discourse about Moroccan cinema, based on the following observations:

1 - The number of feature films produced between 2000-2009 nearly one hundred film, a figure equivalent to what has been produced during the thirty-one years (from 1968 to 1999); but it means at the same time, the annual rate for the production of Feature Films During the past decade - though risen compared with previous decades - no more than a dozen films per year; a figure less than that which is promoted in the current time (15 films per year), which is fraud annually in order to pass from public opinion (in the past year , for example, added to the films of the tenth session of the National Festival of the movie films two Frenchmen and a documentary film and film video Omazegeyan and film production of 2007 in order to raise the number to 14 while that is produced is actually 8 films; also added to the last session of the Movies 2009 four films produced by year 2010, amateur video to increase the number to 15).

2 - Despite the rise in the number length feature films that are produced annually, the number of good movies with good to show in international festivals remain constant, if not moving downwards (of 3 movies in 2003 and 5 films in 2004 to film only one at most from 2005 to now).

3 - This rise in the number of feature films is not linked to the entry of private investment to the area of film production, but linked to the increase in the amounts allocated by the state to support the cinema five times (from 12 million dirhams in 2000 to AED 60 million at present); thing which means that Fund support has not led to the creation of a dynamic attractive for private capital to this area as far as what led to the adoption entirely on public money. The inevitable result for the development of this type are found film industry expected preference for the directors (who have become at the same time producers and scriptwriters ...) the ease and speed of work without the attention of popular audiences or not turning towards their films do not achieve them for profits, as long as the Fund provides them what they need all that while.

4 - revealed the high number of films produced annually (albeit to only 10 films per year) for major disadvantage suffered by Moroccan cinema is the lack of local capacity is specialized in various professions cinema, especially technical (photography, lighting, sound, editing ...), where most of our directors in fulfilling their films in the foreign technicians often go to them expect to receive some awards Moroccan films at festivals, national or international; which presents a real obstruction to the advancement of any film industry is pending.

5 - Perhaps the obstruction of the major barriers in the way the industry is closing the growing rooms, cinema and the decrease of the number of viewers and ticket sales jumped the number of cinema halls in our country of 240 Hall in 1970 to less than 50 room at the moment (39 Hall, is not available on the terms of the offer good of which only one of 19 Hall of forty-screen). In such case, the rise in the number of films made does not become a mark well-being as it refers to a crisis defined by the film industry in Morocco, and raises a fundamental question: Who is the completion of these movies if the public is against him are watched and their level can not attend festivals in the Arab and international?

6 - and would apply also on the short fiction film, identified in turn, a sort of "recovery" in recent years; where we note that the formula adopted by the Department the guardian of the sector to give business cards for each of the completed 3 short films or feature-length film and one had led to full arena, people have nothing to do film at all, especially in light of the spread of video technologies with ease of transfer of the films made of these techniques to the film, he saw tangle, as they say quality and disappeared amid a huge amount of bad.

7 - in parallel with the recovery and quantitative decrease in movie theaters appeared several film festivals covering all cities and the Moroccan almost an annual rate of not less than 52 festival, any festival every week. However, observed at the festivals, except the major ones such as Marrakech, Tetouan, in particular, they operate an unprecedented chaos, including losing effectiveness needed to play its role in the dissemination of film culture and artistic taste in general. Most of these "festivals" employed depending on the CD "DVD," including the "Festivals" organized competitions and show films without the knowledge of their owners, and there is overlap between some of them (such as organizing film festival Mediterranean short Tangier Although the festival Tetouan allocated in this section before Tangier and the imposition of the same number of years, or payment to the festival is very weak film Bmrtil despite the presence of Festival strong to Tetouan or concentration Film Festival Francophone Safi on the primacy of the Egyptian cinema); this without talking about the organizers of most of these "festivals" (which are supported locally and central) are people who have nothing to do with cinema and art or culture at all.

They show that it is time to review the way in raising the field of cinema in Morocco in order to make this beautiful art tool for opening and modernization and development, including the different categories of society and not limited to elite expatriate limited in number and prospects;, from a new business strategy in this area should be established clear and specific may be suggested, including the following:

- Support configuration Film Festival in the middle and upper levels; and through establishment of the Institute for high film careers, as well as specialized branches within the University of Morocco and in the public school in general, with the introduction of cinema as an essential activity within the activities of the training school;

- Work (centrally and locally and regionally) to re-open the closed cinema halls, renovation and repair to make them able to receive the audience back into the real conditions of Gap and respected;

- Develop mechanisms for coordination between the central film festivals, with the imposition of minimum requirements for licensing organized, in order to avoid chaos and a dismissal of the intruders and respect for the rights of filmmakers Moroccans and foreigners;

- Encouraging private investment to enter the sector through the provision of tax exemptions, as well as important by giving priority in the support fund for films completed primarily .-

- Establishing a real Moroccan film work, which would put an end to lawlessness and chaos prevailing in the field and poor that has become fiercely and spread control on the creative energies of the real marginalization, isolation, and immortality to a silent killer.

In all cases, no escape from dealing with the realities as they are and move away from ideological speech excessive optimism can not, under current circumstances, and only leads to more destruction.

Tuesday, April 06, 2010

Cinema with high resolution on iPad .

iPad is a micro-computer developed by Aplle.The Arab world youth targets it with great enthusiasm and will, but will they benefit from its offerings namely reading data like books and utile information that IPad has in its system ?.Global voices questions its readers quoting

“Which category of iPad users do you fall in? And does the iPad serve all users such as for business, entertainment, music, children, intellectuals and media? “
Will use the iPad for reading books, and watching videos, and playing games. No, I don't think that it serves businessmen who will need complicated applications which need a complete computer.”

Soon everybody tweets iPad now in Morocco, although this is a poor country and iPad is yet expensive; 881 dollars. Still, what fascinates cinema-goers is its offer to watch movies in high definition without using keyboards or mouse clicking.
Allal EL Alaoui

Friday, April 02, 2010

Amreeka by Cherien Dabis.

Now, Islamic cinema tackles subjects of xenophobia and racism practiced in the west towards the Muslim world. Of course, this is happening nowadays, because apparently, there is a vicious fight against Islam , unfortunately coming from America.

Recently,Bollywood has produced a fantastic movie called “My name is Khan” starring Sharukh Khan treating the same curse of the twenty century ; insulting and mal -treating Muslims around the world. Now it comes another movie; treating the same thing which is “Amreeka” directed by Cherien Dabis, an intelligent and moving film shot in Illinois.

This is a smart movie talking about a Palestinian woman who goes with her teenager son to America to see her sister; but unfortunately she is trapped there penniless .So she has to work in order to face the burden life that the states is introducing to her knowing that she comes from a colonized and painful country, Palestine .Her son joins school where he faces himself bitter classmates who disguise him continuously.

Amreeka recalls Dabis’s family’s memories of their lives in rural America during the first Iraq War. The film stars Haifa-trained actress Nisreen Faour as Muna, and Melkar Muallen plays her 16-year-old son, Fadi. Also in the cast are Hiam Abbass, Alia Shawkat, Yussef Abu-Warda and Joseph Ziegler. Written and directed by Cherien Dabis, Amreeka was produced by Christina Piovesan and Paul Barkin. Alicia Sams, Dabis and Gregory Keever were executive producers; Liz Jarvis and Al-Zain Al-Sabah were co-producers.”