Analysis of the movie Seasons thirst or village without men.

 In Tangier,Habib Nasry speaheads the debate of the feature long film of Abdel hamid Al Zoughim.Habib, as a sociologist,was fascinated by this simple and intelligent movie, because according to him, the film gave very good picture of the simple people living in rural Morocco, besides,the movie reveals sexual obsessions of women living in a space where men are absent . The Moroccan dialog is really well peformed by actors namely Raouya.

Written by Sanaa Trari

Despite the current river that penetrates the deserted village and tells the thirst of its simple inhabitants, the humble mint ponds are irrigated, the water is insufficient to ensure the stability of its poor inhabitants, the village will thirst, thirst of another kind that can not be recognized in a conservative society ruled by traditional customs.
The men of the village will collectively leave for a four-year-long displacement. The reason is to work in French quarries and mines. This takes place after the independence of Morocco in the sixties of the last century, where the colonizer had left militarily but his ears were still draining the country and grinding the labor in its soil.

It is a dark period in the history of modern Morocco, where injustice was multifaceted, and one of these aspects remained silent about it; at least cinematic, the femininity of women falls into the taboos of which they are concerned. Scene in the film summarizes one of these tragedies when the former colonizer of their representative in the selection of the finest men of the village in terms of physical structure and bullying, while the exclusion of adolescents and the disabled, this is done without simply taking into account the serious social damage resulting from this deportation.
How can you imagine the village without its men, or in the sense of the right of two men, one of them is a shack helpless seat, and a teenager is insignificant life that beats? !!!
The director, Abdul Hamid Al-Zoughi, took his time to build his story; at the turning point with the departure of the hard men, he will leave us as observers to take the time to discover the hidden in conscience and thirsty souls, and leave us to observe female bodies, And sometimes wrestling with others that are burned by the bites of sexual desire as the dimension and deprivation of the erosion of resistance to the development of the events of the film.
The film was bold in appearance and bold in content. The sexual deprivation of women, especially those belonging to rural soil, was rarely addressed in the cinema, but the director was not daring to deal with it, as if he wanted to bake an ideal meal without sticking the dough to his hands. He drained all his tools to make the idea clear, and tried as much as possible to avoid exploiting the female body and the eloquent and aesthetically pleasing implications it could offer.
The film was based on the female element in a cohesive group tournament. It was the audience that gave the film the second women's role worthy of Latifa Azlef at the 20th National Film Festival in Tangier. Each actress played in the space allocated to her craft that proved the ability of young female actors to recite the character in depth and in a convincing manner, regardless of the nature of the role, and this applies to Fadwa student and Nehila Benomomo and Nadia Paradise ... Fatima Harandi ( Raouya)  was in the court where he donated, Sulaimani flowers in their usual area of ​​diagnosis.
Beautiful in the film despite the fact that the women's championship, he presented equivalent , the two individual men in the village will be a millstone or a hammer that touched the anvil, the film can not do without them. The rising actor Badreddine Ghattas was born in a role that combines simplicity and depth, his body language and facial expressions were consistent with his age. Mohamed Naiman raises his hat as he was creative in a role rarely mastered in Moroccan cinema. The movement - the swing between the rejection and acceptance of rape, which is exposed by a young babe exhaled lust.
It is one of the most beautiful scenes of the film with a dramatic condensation, which reduces all the pain of loss and longing, as the exhausted shoe of the absent husband master of the moment; pregnant and nostalgic for lust; and on the impact of his wife will practice the veil of secrecy secret to calm a bit of her desire frantic.
The camera of the photographer Jose Gérel took us to the atmosphere of a simple Moroccan village in a simple time, in its mud architecture, in the decoration and furniture fully harmonized with the public space, focusing on the wooden doors and closing on locks and the closure control reinforced the content of the story that wants to hide and cover the fire under the ashes. The tour of nature carried a captivating summer atmosphere where the hay was piled in the bayader, the mint filled the small basins, the picture did not depend on the loud colors, as if in turn contributing to the secrecy of the lusts that boil, predicting a long autumn will be lived by women.
One of the most confusing things in the film is the focus on three points. The first is easily recognizable in some scenes. If we close our eyes and listen to the dialogue, the suspicion is that the film revolves around a villager. The dialect does not always preserve its village accent. To the logic of the Bedouin thinking and expression rich in the legacy of the narrative and lyrical inexhaustible not exploited enough, as if the screenwriter forget that he writes about a purely rural environment on the one hand, on the other feel that he was lost between the sixties of the last century and the present time.
The second point is the first. Looking at the faces of the young villagers who spend their day farming, cleaning the clothes by the river or the like, working outside the houses under the hot sun, are faces that do not resemble the faces of the villagers as we know them - except for those who do not leave houses - The cost of makeup did not work on the faces to fit the nature of the rural population, whose features were sunburnt and sunk the wrinkles of labor exhaustion and misery prematurely.
The point is that the film lacks a soundtrack that is consistent with the tense nature of the subject. The carefully chosen music is able to raise the rhythm when the film intensifies or calms it down when you live, especially as rural Morocco is rich and local music will be added to the film.
The last-minute filmmaker was faithful to a desired balance, or a dreamer, of a death met by birth, but the pessimistic side was dominant, the birth here came

Does Moroccan cinema evolve or falter?

Written by Mohammed El Khaiter ( Film critic )


       Is Moroccan film production actually developing? Does it respond to the expectations of the Moroccan public and its cultural and artistic needs? The official competition is limited to 15 Moroccan films and the great director Suhail Benberka is outside the official competition , writes  Mohammed ElKhaiter,journalist and film critic.

Can we judge that the Moroccan film is only an assemblage of  pictures over pictures? Is the Moroccan film a combination of connotations and content regardless of the structure of the image? Where do we see the creative component of the Moroccan film in form or content? Is the component of creativity separate from semantics and meanings in the Moroccan  context? Is there any argument for creativity in Moroccan cinema? Should the issues of Moroccan cinema be carried by a beautiful structure and style and in a beautiful spirit or not necessarily? Is there a development of Moroccan film over decades? Does the Moroccan cinema match the concerns and transformations of society? Is the Moroccan director convinced of what he is doing? Is the Moroccan product with a creative cinematic background or with a background of stores capturing opportunities?
These are some of the burning questions that critics, journalists and filmmakers have brought to the Tangier film festival ,already held on 1 of March to 9 , 2019.
The national film festival in Tangier is like a snowball, when a Moroccan film takes the form of a film that shakes the entity from the inside and draws critics, journalists and filmmakers around the film.
With the National Film Festival in Tangier ,edition 21, this prestigious film festival in the Arab world and in Africa is moving from the total screening of films produced annually to an organized selection within a national cinematic committee, keen to save on the effort and festive programming. Moroccan film, within the total of nearly thirty Moroccan films, which marks the transition of this major demonstration to the festival  tests, .
At least in the short film contest, it was not new. Moroccan filmmakers took up a selection process before the official competition at the National Film Festival for years. But the new day in the festival is the different cinematic exercise that leads to the improvement of the festival station. Of followers.
One of the most powerful moments of the national film festival in Tangier 21 is the premiere of the film "Sand and Fire" by Moroccan director Suhail Benberka, whose wide audience was not surprised by the quality of the work, Photography, actors' performance, cinematic language , "script" and other elements of the artwork.
The film was accompanied by the presence of the Minister of Culture and Communication and Mr. Wali of Tangier - Tetouan.
There are many questions about the reasons why Suhail did not enter the official competition.
On the other hand, the short and long films feature film moments filled with controversy over the quality of the Moroccan film over the past year. The question is: Does Moroccan film production actually develop? Does it respond to the expectations of the Moroccan public and its cultural and artistic needs? What is the possible relationship between the Moroccan filmmakers who are present at the festival and the young Moroccan filmmakers?
Through these public and private moments of criticism, the great cultural question remains with all Moroccans: Does Moroccan film production evolve during the year and during the decade? Does it respond to the expectations of the Moroccan public and its cultural and artistic needs?  Has the Moroccan director become capable of his cinematic instruments?
Critics, journalists and those interested went on to be programmed in a regular setting for the National Film Festival in Tangier 21, where a few Moroccan film directors were glamorous, while others emerged with a dull presence after the show of their movies, making some of them lounging in the discussion room.
Perhaps one of the most dramatic surprises of the national film festival in Tangier 21 is that of Moroccan filmmakers emerging from a young generation of filmmakers, who have raised the slogan of innovation in style and vision and to some degree agree to the initiative. His first feature film was in a different cinematic experience at the writing level, as well as content, music, editing, photography and characters. In contrast, a number of leading Moroccan filmmakers presented a film within the official competition category such as "The Three Mimes - A Missing Story" by Saad Chraibi  and the film "The Last Rebellion" by  Jilali Farhati without cinematic elements that guarantee artistic quality, although these are examples of the cinema of the pioneers of Morocco, but unfortunately they left the date and missed the expectations of their fans. Does Moroccan cinema evolve or falter?

The birth of the project "Moroccan Association of Screenwriters" at the Tangiers Film Festival

In line with the new orientation known in Morocco in supporting and moving the film act in its various artistic, logistical and human components, and because the screenwriter in Morocco is the most vulnerable element and knew physical and moral injustice and lack of official recognition ... A number of Moroccan screenwriters saw the establishment of a legal framework "The Moroccan Association of Screenwriters", as a contribution to raising the level of writing the Moroccan film screenplay and protecting its creators while securing their material and moral rights, in order to encourage them to bid and create better, as the main engine to raise the level of the Moroccan cinema and the consolidation of the element of competence as the main source of the tributaries of creativity in the cinema.
Thus, on the sidelines of the 20th session of the National Film Festival, organized in the city of Tangier from the 1st to the 9th of March 2019, a preparatory committee was formed for this purpose. It held a meeting in which it set a number of points, foremost of which are the objectives of this Assembly, its powers, structure, It will be sent to the other screenwriters for its review and elaboration on the day on which the general assembly will be held and whose date and place will be determined later.
Therefore, the other sisters and brothers are required to write the script "Film and Television" Contact or write the Coordinator of the Committee and its Rapporteur: Khalid Al-Khudary via email or Messenger, to get a copy of the draft Basic Law.
The committee included the writers of the script: Osman Ashqra, Abdul Ilah Hamdushi, Habib Al-Nasseri and Khalid Al-Khudari .. The following is the e-mail address of the Rapporteur of the Preparatory Committee and its coordinator:

khalid.elkhodari@gmail.com

Munsters,Akcil and CCM .

 Akcil : The Moroccan Film Center feels that you are in an interrogation with the police and exposes the Moroccan diaspora, especially the Amazigh

Many filmmakers are eager to know more about your latest film Monster, can you tell them some?

First, I would like to thank you for your interest in the film.The story of the "Munsters" revolves around the consequences of abuse of power and its consequences, telling the story in a form of psychological suspense. It took a few years to write the script, delaying the release of the film to another years of lack of funding, until the company "Jan Prodiction" represented by the person Abdul Rahim Harbal challenge the production of the film with its own resources.
"Munsters" was chosen with 10 of the 650 films from 32 countries to take part in the Winter Film Festival in New York City. I am very excited to share the film with the Moroccan audience.

The film was recently selected to participate in an international festival in America. What does this mean for you and the team?


  Akcil :To present the film at an international festival, especially since the film Amazigh, is a matter of pride. It is also the best reward for the team for the efforts and sacrifices it made to complete the film. To me, this involvement is an incentive to work harder.

The film was self-financed and did not get post-production support. Do you think that the other works were more powerful or just a matter of luck?

 Akcil :This question is difficult to answer. First, I do not believe in luck in such cases. Second, I can not judge other films because I have not seen them. What I really believe is that time can put things in its natural place, the time will come when we'll see other films alongside "Munsters" then the viewer will be the referee.


The film was not selected to participate in the national film festival in Tangier, what is your reading of the committee's choices.


 Akcil : It has been selected from 650 films from 32 countries to participate in an international festival in New York The number of films produced in Morocco during the past year has reached 40 films for which Monsters has not chosen.
I think that the Moroccan Film Center has many people working with the pre-judgmental mentality to govern yourself. I will tell you my experience with the Cinematographic Center. For years, I had a screenplay for one of my films before the support committee at the Cinematographic Center, during which I was asked questions such as: "Why did not you name the film in Arabic?" Why did you choose to take the film with Amazigh?
I did not hear a single question about the output of the film, the colors, the lenses chosen for photography, narration, distribution, production .... I do not think I would have heard such strange questions if the film had been Arabic.

I went to CCM to discuss my film, but I felt like I was accused of something, as if I were being taken to a police station.I was not the only one to suffer from the exclusion of the film center, the film "A Mile Away by My Shoes" by Said Khallaf of Tangier. But when the film won prizes at a festival outside Morocco, the film was immedialely selected in Tangiers, awards. Let us not forget that CCM film tried to discourage Mr. Abdel Salam Kalai from becoming a director. Imagine what we would have lost if he had taken their advice. Moroccan cinema and television would have lost great works such as "Malak" and "Ain Al Haq"

For lack of support, CCM argues that the "Munsters"has not cost much money. Let me tell you that the amount spent on the film exceeded what was spent on films that received 400,000 dirhams of support. First: Our team was composed of professionals from Morocco, United States, Spain, Venezuela, Mexico City, Canada.Second: Most films in Morocco employ one person to perform montage, sound, music, color casting ...

For Münsters we brought together professionals in his specialty, music composer, sound collector, montage ... Mixage audio was done in a studio in Chicago with 5.1 technology. I think that the removal of the "Munsters" from the support was for reasons other than the argument of CCM.
The films selected for the Tangier Festival are often the same as those supported. In my opinion this is wrong. Not all subsidized films deserve to open the door to participate in the festival before others and leave the judgment to the public.

I thinkCCM does not help Moroccan cinema. His message is: We do not want the participation of Diaspora Moroccans in building Moroccan cinema, especially the Amazighs and those who do not come from the Francophone countries.

Based on these facts I am not qualified to support or participate in festivals, perhaps I should go to France or Rabat first and then bring out a film Baldraga to get their approval.

In addition, CCM has to reconsider its support, especially for Amazigh films, as it is now an official language and must be supported. It also supports Arabic-language films, or special support, such as Hassania, to enrich the film library.

Do not support the film and not choose to participate in the festival will prompt you to market the film outside Morocco

  Akcil :Yes of course, that was the first goal, even if we had the support and participated in the festival. Marketing the film abroad has been and remains our priority. I always try to make films that anyone in the world can see, not just rural and Moroccan scenes. The language of the film is not important, the real language is not in the dialogue; it is in the narrative through the picture. As Hitchcock says: "If the film is good, we can remove the sound and keep the viewer a clear idea of ​​what is going on in the screen

Latif lahlou president of The National Chamber of Film producers ( CNPF)

                                                                              Latif lahlou



On Saturday March 2nd, 2019, at 10.30, at the Maison de la Presse in Tangier, the Ordinary General Assembly of the National Chamber of Film Producers (CNPF) was held.
This general assembly was held as it was planned, in accordance with the law of the CNPF and the regulations in force, and discussed all the items on its agenda.
After having heard the moral report, presented by the president Mohamed Abderrahman Tazi, who detailed the actions of the Executive Bureau during the last two years, and the financial report presented by the Treasurer Mohamed-Abdelkrim Derkaoui, the present or represented members debated them then approved unanimously.
After giving discharge to the current Executive Board, Mohamed Abderrahman Tazi resigned and the members present opened a debate to establish a program of action for the next two years. This debate culminated in the adoption of a program consisting mainly of the following points, which the new elected office must ensure:
1 - The necessity of the recasting of the text of the Advance on Revenue, with the progressive increase of its budget and the reorganization of its commission in two colleges, one for the first and second film and another reserved for the confirmed directors .
2 - The need to adopt a participative management of the CCM, based on consultation with professional bodies through joint committees, in accordance with the regulations in force and the requirements of the Kingdom Constitution.

3 - Regulation of the granting of professional identity cards, as well as the reactivation of the Employment Programs Commission which sets the agenda of the CCM in consultation with professional bodies .
The new team of the 5 members  are as follows :

- Mr Latif Lahlou: President

- Mr Driss Chouika : Secrétaire Général

- Mr Salah Jabali : Secrétaire Générai-adjoint

- Mr Mohamed Abdelkrim Derkaoui : Trésorier

- Mme Siham El Alaoui : Assessor, in charge of communication.

   PV AGO Du 02 Mars 2019 - Fr (1) by allal on Scribd

Cinema of Poetry from Formalism to Pasolini

written by Abouchada

The "poetry of cinema" or "poetic cinema" are often discussed. The concept definitions vary according to different perspectives and the development of approaches according to cinematographers and political and cultural changes. The concept has been associated with a group of filmmakers [Petrov, Biedovkin, Eisenstein, Pasolini, Antonioni, Petrolucci, Godard, Baradjanov, Elenko, Shamshev, Gervit, Tarkowski, Dovzenko (Nicole Dziub 2017) , Or who have created their cinema by exercising the freedom to violate classical narrative rules, or have introduced significant changes in the montage technique. For further examination of the concept, the Russian formulators and Pasolini will be stopped.

Cinema of poetry in form.

In her analysis of some Soviet films for the years 1960-1970, Anna Louton (1992) notes that some of these films are similar to the structure of poetry, so that they are based on similarity between images rather than narrative logic. Indeed, this trend was known as "poetic cinema", as it was called "antique cinema" because its films are often derived from folk tales and legends. In addition, the studies use non-narrative cinema to describe Soviet cinema. In this cinema, the picture is more privileged than the narration sequence. Jean Fronskaya (1972) calls it "the cinema of images," noting that the poetic film gives the viewer the impression of "beautiful painting". However, the aspirations of poetic cinema are not limited to the production of "landscape" or "plastic" images, but extend to the exploitation of the possibilities of the new editing machine to produce meaning. Moreover, in the Soviet formalist tradition, the poetic cinema is not only non-narrative, but rather a cinema against narrative. From this point it is more specific to stand up to the concept of "poetry cinema" proposed by Shklovsky (Nicole Dziup 2017).

It proceeds from the distinction of formalism between a number of opposite diodes [content / form, narrative / show, prose / poetry]. To distinguish cinemas from the poetry cinema based on the correspondence between the story / composition. In the book "The Cinema of Poetry" (Collective Work 1929), the Russian figures tried to lay the theoretical foundations of cinema as a shroud or mediator to communicate, describe its method and its exclusive procedures, and monitor its relations with the arts of composition, theater and literature. They used the term poetic in the Aristotelian sense, Between Poetic and Hunter. In the "Cinema of Poetry" gives the predominance of formal elements at the expense of meaning, and the cinema is poetic cinema without a subject. According to Jacobson, there is "a poetic function of cinema," and there is also a poetic function of language. In the case of language, the poetry of the speech is manifested in the absence of acts. In the case of cinema, poetry is achieved by rejecting the story and its imaginary flow.

To illustrate his idea, Shklovsky presents examples of films whose directors use some of the foundations of the cinema of poetry: [geometric forms - especially acoustics: repetition, anaphylaxis - the power of presentation, 'dialectic' images]. These "geometrical" tools, parallel to the images, are a poetic principle for Sheklowski, as long as they create visual rhythms, giving the film a non-narrative meaning. So that the invisible act that enables the spectator to recognize the existence of cinematic work as a production ». This is reflected in Vertov's The Man of the Camera (1929), where Generek suggests that poetry cinema is independent of words and language. Thus, cinema will be independent of literature, and the images will be convincing without the help of the scenario. Finally, the cinema will be independent of the theater and will give up decoration. At the end of the genre, Vertov writes: "This experimental work seeks to create a real and absolute universal language for cinema, quite different from the language of theater and literature. This art will become "poetic" when its work depends only on its "characteristic" characteristics, so that cinema will not be poetic unless it is liberated from literature. "The Man of the Camera" shows that cinema allows to show what is hidden from the person / spectator. (Movie theaters). The camera man can communicate with the masses, who can (thanks to the camera) access the intimate space of the individuals. Here, the encounter between "cinema - reality" and "cinema of poetry" is possible, but necessary, in both cases, by rejecting the illusion of the front space of the theater and going to see what is going on in the back. More than this, the cinema can actually be poetic. Cinema gives the chance for "ordinary" passers-by to diagnose without being represented, because they "play their role in life." As a result of this, the cinema is not separated from some of the "daily triviality" that allows viewing the "poetry" of the film from another angle (Nicole Dziup 2017).

Pasolini(Pasolini 1965), "poetic cinema" is a controversial interpretation of history, because "the past becomes a metaphor for the present in a synthetic relationship, and because the present, too, is a figment of the past." The metaphor is based on poetic creativity, according to Pasolini, and is formed within history as a total sum governed by its dialectic movement. But history itself is taken into dialectics as a sum, not just as content. In "The Flower of Paper" from the collective film "Love and Fury (1969)", Pasolini plays, at the same time, dialectics and parallelism between the expected and irregular nature of the personality and the confusing historical events and the function of previous years.
Human life forms the basis of cinematic art. But what exactly is life? "What distinguishes his cinema is the oscillation between happiness and pain: a fundamental aspect of the cinema of poetry," says Pasolini himself. These films, which are taken from the lives of people - not as a given daily life, but as a dynamic and creative force - which, in their dialectics, face something that can be death, without death. Death does not have the right to " The process is artistic. So it is the slippage towards death, towards a cunning death, that forms the antiparticle. This is where Bazzoli Cinema is described

cinema : a science, an industrie and a spectacle.

                                                                   Abdellah Zeroulai





Written by Abdellah Zeroulai

The cinema: a science, an industry and a show.
My purpose is to answer a very simple question: what is the nature of this phenomenon called cinema and nicknamed the 7th Art? Several definitions are possible but they remain fragmentary. To say that it is an art is not enough. Because it is also a scientific discovery, a contemporary industry, a business that involves the distribution and exploitation of films and, above all, a show of collective entertainment. Cinema is a science insofar as scientists have discovered the laws of visual and auditory perception and applied them to the manufacture of recording and reproducing apparatus for image and sound. The camera and the microphone are nothing but the imitation of two human organs: the eye and the ear. But if the power of human organs is limited in space and time, the power of sound recording and recording devices is constantly changing thanks to advances in technology. The same applies to reproduction equipment and projection screens. It is precisely thanks to technical and technological progress that cinema has moved beyond scientific curiosity to become an artistic industry. That is to say a phenomenon which implements means of production, both material and human, to make cinematographic films.
 Before arriving in cinemas, these films pass through distributors who are service providers. They are the ones who promote the films, that is their advertising, before and during their exploitation in the movie theaters. It is also at this stage that writers called "the critics" come in because they analyze the films to make sense of them. From all the foregoing, it can be concluded that cinema is a human activity that makes use of intellectual, economic and social resources. From this perspective, cinema is a means of communication. The ministry of guardianship bears precisely this name in addition to that of culture. In our country, it's not the vests but the laughs that are yellow. In other words, a cinema financed by the public treasury is like the most beautiful woman in the world who can give only what she can have. I am speaking to those who do not know and not to those who know or who think they know. A POING that's all!
It is an art not enough. Because it is also a scientific discovery, a contemporary industry, a business that involves the distribution and exploitation of films and, above all, a show of collective entertainment. Cinema is a science insofar as scientists have discovered the laws of visual and auditory perception and applied them to the manufacture of recording and reproducing apparatus for image and sound. The camera and the microphone are nothing but the imitation of two human organs: the eye and the ear. But if the power of human organs is limited in space and time, the power of sound recording and recording devices is constantly changing thanks to advances in technology. The same applies to reproduction equipment and projection screens.
It is precisely thanks to technical and technological progress that cinema has moved beyond scientific curiosity to become an artistic industry. That is to say a phenomenon which implements means of production, both material and human, to make cinematographic films. Before arriving in cinemas, these films pass through distributors who are service providers. They are the ones who promote the films, that is their advertising, before and during their exploitation in the movie theaters. It is also at this stage that writers called "the critics" come in because they analyze the films to make sense of them. From all the foregoing, it can be concluded that cinema is a human activity that makes use of intellectual, economic and social resources.
 From this perspective, cinema is a means of communication. The ministry of guardianship bears precisely this name in addition to that of culture. In our country, it's not the vests but the laughs that are yellow. In other words, a cinema financed by the public treasury is like the most beautiful woman in the world who can give only what she can have. I am speaking to those who do not know and not to those who know or who think they know. A POING that's all

The forbidden by Allal El Alaoui

Network Film Agency is a producton company based in laayoune in Sahara speahead by

Ali Bousouffa Essalek ; filmmaker and producer of the company mentioned above .

Ali has signed with Allal El Alaoui a contract to realize a film documentary called El Mhali or

the forbidden . it talks about the forbidden deeds qnd things  that Sahraoui must not do or practice  in their nowadays life .

The Cinema of the Absurd-converted by sanaa El Alaoui

                                                                  Sanaa El Alaoui

The Cinema of the Absurd-co... by on Scribd

Nadine Labaki is the best Arab prominent female director in the world

Nadine Labaki to Academy Award :

"I am absolutely moved and honored. #Capharnaumhas been shortlisted for an Academy Award for Best Foreign Language Film! Thank you to the Academy for recognizing our film and thank you to each and everyone who was with me on this special journey"

Nadine Labaki to Pedro Almodovar :

"I am absolutely thrilled and honored to see #Capharnaum on the master Pedro Almodovar’s Top Ten Films of the Year list. Thank you Pedro for endorsing the film - it means so much to me. Your films are such an inspiration and I couldn’t be prouder of your support".

Nadine Labaki was compelled to make “Capernaum” after witnessing “children on the streets, either children begging, or children working, or children who are deprived of their most basic rights. It’s something that lots of children around the world are struggling with right now, and I think I’m not the only one being moved by it. I just felt a need to express it.” Watch our exclusive video interview above

The Color of Pomegranates by Sergei Parajanov

Sergei Parajanov

Written by commentators .

The Color of Pomegranates by Sergei Parajanov is a super-stylized, surreal biography of Armenian troubadour Sayat Nova, whose life is depicted through non-narrative amalgamations of poetic images.There is so much rich imagery, allegory and metaphor relevant to a very specific ethnic group that outsiders can only superficially grasp the intensity of this work. This is the diametric opposite of Hollywood and is, therefore, hugely significant. If only there were more examples of such art in our world.This is a representation of what is happening inside my brain when I need to focus for more than one minute on something.

Most hipnotic and mystical film ever created, Tarkovsky got influenced by this for his cinema form change in The Mirror., a full poetic approach. Tarkovsky is the greatest, but this film is the key too

‘Metamorphosis’, ‘the Trial’ and ‘the Castle’ in Soderbergh’s Kafka by Sanaa El Alaoui

   End of Term Essay - PDF Version - El Alaoui Sanaa by allal on Scribd

Metamorfosis (Franz Kafka - short film)

L' Opera, Noureddine Sail and me.

Written By
                   Allal El Alaoui.


       
           Salé, my sweet home town, a millinium city known fot its citadels , Mansouric walls ,pirates blue boats floating on Bou Regreg river and now the marvellous presence of International Film Festival for women .i am very proud of my beloved city ,although it has lost one of the major cinema theatre called L' Opera, already founded by Charkawi Family and one of its member named Mekki was the manager and at the same time projection supervisor . The Slawis (1) have a saying  that states that Salé gives grace to foreigners but not to its natives.Indeed,Salé has given grace to a new comer, a Tangiers man  called Noureddine Sail who comes to the city to teach intelligent cinema by founding a cineclub in the 70s.

            The story how i love cinema has to do with the friendship of my father,and Mekki Cherkawi ,the manager of L' Opera. Surely,i love cinema,but does cinema love me ? it is a question which i can not answer and yet sometimes i feel that cinema does not want me anymore.Now, i am in advance of age , but happily i have realized some documentaries and  written and directed 6 short films and still  keep on writing especialy scripts. My father was a clerk at the council of  Salé where he met up with Mekki Cherkawi and helped him out to fix some administratif papers .Mekki was happy about the deed that my father did to him  .He opened his heart to my father and from that day on , i knew that L' Opera doors would always be opened for me .It was a grace for me because i was entertained by international cinema either Egyptian one,Asiatic,Hindu and American one .How happy i was when i went to L' Opera at 15.00 each afternoon foot about 1 mile from home .at the hall of L' Opera ,the doorman smiled at me and sometimes  whispered  in my ear that i ,one day,  would become somebody very important ,maybe a filmmaker.




                   I really enjoyed watching movies like One Flew Iver The Cuckoo s Nest played by Jack  Nicklson ,directed by Milos Forman ,Mangala Al Badawiya directed by Mahboob Khan and translated into Moroccan dialect by Ibrahim Sayah whose dubbing actors were like Hamidou, Taib Essadiki , Mohammed Afifi,Larbi Doghmi ,Khadija Jamal  and more .Many Moroccan filmmakers were inspired by this wonderful epic movie namely Mohammed Osfour, and Ibrahim Sayah .Later on ,i had heard of Moroccan cinema presenting itself in local cinema halls with of course Souhail Ben barka, Mustapha Derkawi, Moumen Shimi,Tazi ,Lagtaa and others.I still stick myself to watching  international cinema,although i have a great esteem of those filmmakers that i have just mentioned now.

                   Yes, in L' Opera , i saw all genres of movies, the bad and good ones .Had i become a cinephile ? Maybe, but i am sure that i had become one when i  was young 12 years of age .I frequented every sunday the cineclub that was spearheaded by that  cool intellectual  Tangawi  (2) who taught philosophy at Moulay Youssel school in Rabat . Noureddine Sail's way to present films was so simple and yet very methodic .While he explained the theme of any films ,he presented اhis characters with wit and joy,blinked his eyes so often and stressed on verbs so that the meaning came out smoothly. The decoupage Technique of some scenes in Battleship Potemkin by Sergei Eisenstein were marveoulsly revealed by his marxist laguage that we were not able to understand that time.In this movie, we saw officers , the images of lions ,very close-up of tragic Soviet faces .We would never know metaphor nor parallel editing had we not met Noureddine Sail .we were ,somewhat like the Japense cinema Master, Akira Kuruzawa who states that he had been working over more that 50 years in cinema and his he had left  to the world great artistic works  ,but he would never know what cinema really means . 





                   Noureddine Sail leads CCM for a couple of years .I think It is up to  the public ,journalists and critics to judge his work while he was leading Moroccan cinema .what intersets me to mention in this article  is that he was the only one who signed me  two cinematic cards, one is the cinephile one of L' Opera in 1970  and the other one is the filmmaker card in 2012 .




The Slawis (1) people who live in    Salé .
Tangawi  (2) people from Tangiers

         

The Naked island by Kaneto Shindo

The Naked Island

Directed by Kaneto Shindō

i

Deals with the intolerably hard life of a family of four, the only inhabitants of a very small Japanese island in the Setonaikai archipelago. Several times a day they row over to the neighboring island to fetch water for their miserable fields.

The state of Moroccan cinema today by Fouad Zouirik

Written by 

Fouad Zouirik 

I am writing to you right now from a cafe in the center of Amsterdam Airport. I can not wait to get home to write comfortably. I was on the plane while I was coming back from Istanbul. I read a lot of articles and saw a lot of figures gathered specifically to find out the fate of Moroccan cinema in recent years.

Moroccan cinema does not progress as some claim but delay, or at least let's say that its career has stopped precisely since the strict assumption of Fassi Fihri management of the Moroccan Film Center, not talking about films but talking about the sector, about the system as a whole, now  it has passed four years since the appointment of Fassi Fassi Successor to Noueddine Sail . Al The failure of the Justice and Development Party (Islamic party) to manage many sectors has also had a disastrous impact on the cinema sector, which was proceeding smoothly and steadily in the direction of its former director. The new director is well aware that his reign will be devastating and certainly this was the intention and purpose of his appointment originally. Everyone knows the hostility of the Moroccan "Islamic brothers" to film and art in general.

In 2013, an attempt was made to create 350 to 400  cinema theatres over the next ten years. Half the time has now passed. How many halls have been established from 400 public halls? Nothing, of course, but even some of the Moroccan festivals that we were proud of before others have declined and become a non-existent, many important initiatives and agreements were taken and concluded in the previous era did not apply despite the passage of years, Hope to develop the sector? Are they actually downloaded and exploited? I doubt ... Instead of exerting effort and investing the gains of the previous era and developing it between the actions and policies of adolescent and improvisational director of the new, every time creates a fuss of nothing, but the structure of the Cinematic Center itself was not delivered from this improvisation Unfortunately, even the films that succeed in our country remains successful, are confined to its makers and has nothing to do with the center.

The professionals and filmmakers working in the sector are often complaining and criticizing the policy of the center, which is dedicated by its president, but all this resentment takes place behind the scenes without taking a proactive step forward to stand in front of these barriers. They do not dare to unify their entities and create a counter-power to confront them. All they do is waste their energies and efforts. In side battles against each other, even those who criticize him behind the curtain and rush to shake him publicly, bowing the head in submission and humiliation, how does one dare not even to impress on a post that criticizes the situation to take a stand or revolution against the current film policy and whenever I met him encouraged you What you write and said to you by the letter that you speak in his tongue and justified you not to interact with the justification of films, although you did not ask him originally and does not concern his mark or admiration because telling the truth is a duty and does not need thanks from anybody, of course there are those who direct their arrows to the Director of the Center and policies but unfortunately most of them seek to achieve personal goals have nothing to do with the public interest.

Four years have passed on the reign of FAssi fahri still in the throne of cinema in Morocco and the outcome is that we are still to this day scribbled on the legacy of |Noureddibe  Sayel era, thankfully, but we have cleared a lot of his steps and gains in the eraser of the current president, I do not want to make a comparison between the person of the current director and the former until we stand on our hands today. The comparison will inevitably be unfair and humiliating, if we were in a country that respects art and cinema and knows the value of the latter, which in our time became one of the most powerful and powerful weapons, we saw Fassi Fihri as the director general of the Moroccan Cinema Center in front of our parliament to present its outcome and to hold accountable for every action done , but unfortunately this did not happen and will never happen. I do not know Noureddine Sayel and I never met him - although i will be  honored to meet him - as I do not know FassiFahri whom i  did not meet him too, but the numbers and acquisitions speak on their behalf, even their appearance in the programs and media meetings shows you the huge difference between the level of this and that, Clearly the cause of the current crisis in this sector.

 I want anyone to see that I am wrong in what I claim to present to the gains achieved by this sector in the era of its strict director .

who is to blame in Moroccan cinema industry ?

  

Written by Abdellah Zerouali

Who are we ?

Yes dear colleague and friend Driss Chouika. You are right to ask the question. I have not yet had the pleasure of seeing your play and it is a gap to fill. And if you will allow me, I ask myself the same question. To know who we are. You, me, and many other victims of a system that crushes us. You accused, rightly or wrongly, two individuals in charge of cinema and television. Do you really think they have their hands free and that they are the real decision makers? In addition, do you really believe that they are the only ones responsible for our failure? Criticism is good, but self-criticism is better.

According to the CCM's catalog, 100 filmmakers hold the professional identity card (CIP). However, those who have benefited or who still enjoy the favors of the help fund commissions can be counted on the fingertips. Once on the left hand and twice on the right one. Nothing to do with politics? Of course yes ! We do not want a social cinema that disturbs. We prefer to finance with public money a prestigious cinema that masks social realities and is better suited to the taste of our distinguished guests. Believe me, Driss Chouika, I am older than you in age and older in the profession. I have seen directors on the CCM and TVM. Some were good only to travel to Cairo to bring in singers to animate our national and annual festivities. An approach that Noureddine Sail did not share at the time (the 70s and 80s) because he said exactly this: "Ancient Greece had two epics, the Iliad and the Odyssey, but in Morocco there are every year ".

 No, my dear friend, we must not reject the responsibility for our misfortunes solely on the "guardians". We have our share of responsibility in the weight that falls on the skull (mine is slippery as you know it). Everyone goes it alone and, despite the existence of our unions and our professional chambers, we are unable to form a common front and speak with one voice.  !

Nadira ,a smart cinema by kamal Kamal

writte by  Fouad Souiba

At the world premiere of Kamal Kamal's latest opus "

Nadira", one had to be provided with his political, cinematographic and musical knowledge to honor this noble and highly aesthetic work. And for good reason! The author of "The Moroccan Symphony" gave us a very beautiful film, where he noted a number of artistic challenges widely assumed. On the photo album, at the end of the screening, Mahmoud Hamida, the Egyptian star, struggles hard to congratulate the only film actress: Jihane Kamal. Exceptional in the title role of "Nadira", Jihane, like his dad, has greatly raised the challenge of playing an atypical character, condemned to life, he is drowning under the weight of the prison world.

And this is where the business of the inmate, who must survive the vagaries of incarceration and the impossible fulfillment of her dream to flee, gets tough.

Kamal Kamal succeeds in bringing a narrative made of dissolving registers and antinomic blocks, that of combining the dream world, filmed in computer-generated images, with Nadira's dark incarceral life. A technical feat that is accomplished naturally in a good state of mind, since the author uses intelligent narrative subterfuges to ensure the adequate likelihood and legitimacy necessary for this atypical marriage. And this brings back to the use of all the apparatus and other narrative tools of which the dream, the animated image, the metaphor and the ellipse, to the point where the dream returns to the reality in reality and vice versa the real in the dream, with a density that has rarely been seen to work so well in a register that carries so many antagonistic and heteroclite styles.
Thus, the challenge of the closed vase, melodrama to an actor and only one, the prison world, social injustice, human rights, off-screen, sound off, (the challenge) is it a nice pirouette in the paying strategy which is the salutary recourse to dream magic to compensate for the absence of large spaces.
And as the director of "Sotto Voce" cinema has all the keys to push the borders to the end, the dream is then the fatal weapon to break the walls and open on these beautiful Casablanca nights since the dungeon of Nadira .

The sauce takes and we are flanked by characters as extravagant as imaginary: white horses in a celestial race or a musician in interpretation of a classic masterpiece in front of a dense crowd, without forgetting this bird symbol of freedom and this confidant cat and companion of the prisoner's fight. All that passes through the unconscious of Nadira while she conjures her fate becomes accessible through this window of the dungeon opened on a magic sky where all the miracles are fulfilled. Especially that of the prisoner Nadira who speaks to the sky and the characters she loves to meet in the firmament of Casablanca from her cell. A cell that crosses beautiful references to Daddy's cinema: George Méliès and Al Jolsen in particular, without omitting the appearance of the slice of one of the giants at the very beginning of the film: Orson Welles.

Kamal Kamal signs a clever film, for the story of which he found the subtle ingredients to invent a suitable language that befits such an adventure to insane risks. With bravery he braves all the dangers incurred, since he chooses the most difficult, and gets out unscathed.

Corruption in the Moroccan cinema

Written by Driss Chouika

Moroccan cinema is retreating  and it does not go to the way it must do .This is a confirmation by the chamber of producers in Morocco .It is true that the center  of Moroccan cinema, known of CCM organizes cinema, develops its laws and wishes with great efforts to produce more qualified films that can be exploited and distributed everywhere in the world  ,but apparently it has failed so far because the head of the center has no clear strategy to promote cinema nationally ,writes Driss chouika  ,filmmaker and a member of the chamber of producers in Morocco .He foresees a dark future of Moroccan cinema because of corruption ,fraud and clientelism .

JERONIMO  strikes his latest coup with the "stinging and stumbling" solidarity of his cronies of the most corrupt commission in the history of the National Film Production Fund since 1980! For the last session of their mandate, they have chosen to ensure their dealers by a few hundred thousand dirhams, as the 700,000 dirhams "generously" given by a producer "comic" to benefit from the support of two mediocre films during two consecutive sessions, the 400,000 dirhams guaranteed by another producer more "generous", and the multiple cases that insistent rumor reports constantly during the last four years .

Still in the total denial of the regulations in force! Normal. When a mere teacher  searching for "fresh lambs" secretively with his assistant called TOROS, a  fraudelent "script-doctor", a false moviegoer, is raised to the rank of "great critic" and even "film teacher" in a higher institute, we can only expect a similar result! This is successful because it fits perfectly with Sarim Fassi Fihri's four-year-old policy of demolishing national cinema in revenge for the filmmakers, most of whom did not support him in his "businessman" fight against the former director of CCM!

Corrupt juries, corrupt commissions, the exclusion of professionals from any consultation in the management of the sector ... Normal that this leads to a clear regression of the national cinema. And the future is even more compromised! And to say that some professionals are the devil's advocate defending the director and having the minister assume all the responsibility, as if it was he who, through his corrupt management for four years, was at the origin of the disaster!

  JERONIMO  is the corrupted dealer who deals between the juries of reading scripts and filmmakers.
"fresh lambs" are beginners in filmmaking looking for National Film Production Fund.