Mohamed Abderrahman Tazi , a filmmaker and the director of the Association of Moroccan Film Producers, reacted by saying that we need to stop expecting help from the state and politicians: Malika and Abdelkader are married. Some people have built film screening rooms in their own homes. That is no longer the case, she said. Introduction to competition films Established in , the Festival National du Film FNF is devoted to screening the best of contemporary Moroccan feature films and short films from the previous twelve months. Other remarkable films of this second category on show at the national film festival this year were House in the Fields by Tala Hadid.
It has gone beyond pirated CDs. Towards the end of the film, there is even a party in the Egyptian tradition , but it is no wedding with dancing and singing: Its theme is not new: Moroccan cinema is a house divided against itself. That is why we need to refrain from judging films. Attended by the 4-member TMC team, the festival showcased the diversity of Moroccan cinema today by screening over 30 long and short films produced over the last 12 months. The former is getting ready to be married to a village youth who works and lives away in Casablanca. It is also well edited, well directed, with a carefully selected cast of actors who are completely believable; it is well shot by Ali Benjelloun and it is a Moroccan story that speaks to a Moroccan audience via all these references off screen while enjoyable and understandable by a larger audience outside Morocco to which I belong.
It has gone beyond pirated CDs.
The crisis of Moroccan cinema has been going for 25 years. That is why we need to refrain from judging films.
Category Archives: Tangiers
He revealed his plan to build cinemas in Morocco. That is no longer the case, she said.
The second comedy is set in Rabat, which has recently become a familiar site in Morocco cinema. And so, this year, between March, the attention of the Moroccan film industry as well as the TMC research team was focused on the 19 th edition of the Festival National du Film in an unexpectedly rainy Tangier.
Poster Volubilis The plot is straightforward: Encoding this particular element of cultural patrimony on several levels in the filmic narrative works well and roots a universal message of liberation deeply in the local terrain.
Anazigh film finds all sorts of ruses to talk to everyone at the same time with impeccable maestria. This gargantuan project rests on the premise that amazzigh need to focus on the local to solve ferkpus problems of national cinema. Outraged, the privileged xbdellah vows to take revenge.
Cinema needs to place itself at or near the centre of this industry. Moroccan women used to go to cinemas on their own even when they hailed from traditional families. Cinema owners are burdened with taxes while nothing is being done to fight piracy and encourage people to go to the cinema.
Someone needs to commission a similar survey about Moroccan film audiences.
In addition, piracy is a big problem in Morocco, which will also not be solved by the digitisation of cinemas. He bd on to reveal that popular Moroccan films like El Ferrouj by Abdellah Ferkous saved the year for cinemas.
He is a guard in a mall in Meknes, and she finds work as a maid in a bourgeois house owned by a woman whose husband is leaving her. Mohamed Abderrahman Tazi amaziigh, a filmmaker and the director of the Association of Moroccan Film Producers, reacted by saying that we need to stop expecting help from abdellwh state and politicians: Finally, Khammar pointed out that film advertising is very weak in Morocco, and something needs to be done about it.
As the narrative unfolds, the two protagonists, Malika Nadia Kounda and Abdelkader Mouhcine Malzi who are in amzigh and poor, will be separated and reunited. Popular films bring in money. Whilst it is, undoubtedly, a thankless task for any programmer to condense 60 years of Moroccan film history into a selection of fourteen films, the lack of a place in the selection for key films by Farida Benlyazid, Jilali Ferhati and Ahmed el Maanouni, was a surprise to me, at least.
The tax rate on cinemas is unfair and to blame for part of the complex problem of cinema closures. Derkous Sarim Fassi-Fihrithe current CCM director, one of the problems that his institution faces, lies in the fact that most cinema owners do not submit their financial reports xmazigh the CCM in order to have a good idea bd their problems. Where do you come from? For him, public-private investments are needed and can be achieved by getting the CCM, local councils and fim public bodies to put in some money to encourage private producers to invest in cinema.
Abde,lah Moroccan state is also responsible for the current crisis of Moroccan cinema because it has not educated youth to love and appreciate cinema. The film critic and Rabat-based academic Omar Khammar was the first panellist speaking. The creative industries are major employers for the future. What needs to be done is reading and translating some of their recommendations into reality. The table was chaired by Jamal Souissi, the vice-president of the Chamber.
The rich audience interventions continued with Mellouka film critic, revealing that Moroccans spend MAD per month on audiovisual consumption: In the last part of his talk, Mr Ayouch offered a number of recommendations to lessen and gradually wipe out the crisis of Moroccan cinema in the globalisation era:.
The owners need urgent decisions abdeklah than discourses and more roundtables. The roundtable helped illuminate some of the challenges facing Moroccan cinema today. No wonder, then, that the legend of Kharboucha, the female figure who gives voice to the oppressed, becomes reenacted as a parable to talk about the Years of Lead. The Howl of the Soul by Abdelilah Eljaouhari, a fiction film based on an original story turned into script by Othman Achekra. All of these sessions took place in aamazigh Hotel Atlas Rif on the seafront — a key hub of industry activity during the festival — offering a much-needed forum and visibility for Moroccan filmmakers to engage with, learn from and network with industry experts from within and beyond Morocco.
Film Tachlhit Fr waddo V1 – Fil Amazigh – video dailymotion
Class is amaziigh becoming a dominant lens through which Moroccans perceive themselves on screen. Next to speak was Aminaa civil society activist.
Local councils should spend some of their money on cinema and culture.