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Aidouni showed clips from some Bouanani works. It was filmed not long after the Agadir earthquake in That is no longer the case, she said. Tarrous finally recommended that the current funding system should be revoked because it is not sustainable. Cinema needs to place itself at or near the centre of this industry. Curious about everything cosmopolitan, she develops a mixed dream world where the female figure is queen.

He recommended that the state makes going to the cinema affordable for the average Moroccan. Dadas plays the central role as a fake traffic warden. The mascot, a young girl, has transformed over the years into an animated advertising tool with characteristics of Snow White, as she looks and acts completely innocent, has seven companions who work hard and have distinct, individual personality traits. The film is based on a local folk tale and is the very first animated film from Cameroon. The annual festival also revealed some cracks and structural problems in the edifice of Moroccan cinema. Beyoud invites animators and filmmakers from both commercial and independent backgrounds to showcase their work and provide, as speakers, valuable knowledge on a range of animation practices. Someone needs to commission a similar survey about Moroccan film audiences. VAT tax on cinemas should be reduced to 5 percent if not cancelled altogether The film community should directly address the King to resolve the problem of Moroccan cinema such as censorship and piracy Help pirate film vendors sell legal copies of films instead of pirated ones:

Film Tachlhit Timlilay Ofkir V1 – Film Amazigh

Un Homme est mort Finally, I want to mention another of our favourite abddellah films, which eventually also won the competition: Audible Download Audio Books. His dedication to the development of confident film students reveals a deep-seated belief in the future of Moroccan filmmaking, and even animation, a form of filmmaking often forgotten about in the country.

He started by revealing his own personal cerkous scholarly journey as an anthropologist of rural Morocco and human rights activism. Tarrous finally recommended that the current funding system should be revoked because it is not sustainable. The panel members spoke with eloquence and passion about the need to support young talent especially young producersfor more resources to be devoted to the crucial stage development of films, for a greater need for a genuine reciprocity between Moroccan film and TV, the role of the CCM, as well as a need for the industry to unite and lobby with a collective voice in the face of the forthcoming changes to the legal codes for cinema and audiovisual industries in Morocco.

His arrival on screen is often heralded by free-style beat-boxing.

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The fact that we saw challenging political films as well as folklore-based fairy tales and humorous detective capers, speaks volumes of the international quality of this festival.


Touria, Patricia and Karine The last panel of the day returned to the theme of women in film, discussing in particular the circulation of films, and their distribution circuits abdellsh Morocco, France and the EU at large. The Howl of the Soul by Abdelilah Eljaouhari, a fiction film based on an original story turned into script abeellah Othman Achekra. The film explicitly and sometimes unwittingly reveals the long suffering and marginalization of Amazigh people in their homeland.

ferkoue He saw his completion of it, and the success it has had inside Cameroon, as his major achievement. Jimia, lastly, changed the mood in the room as the sun came out, with a discussion of comedy Number One by Zakia Tahiri. Thanks also to the Amani hotel for their warm welcome to all delegates and helpful assistance throughout the symposium. The amxzigh of the film nevertheless showed that a Moroccan masculinity is experienced as being under threat, and that ultimately this masculinity is a performance.

In this context, we were honoured to welcome an array of some of the most respected filmmakers in Moroccan cinema as audience members to the round-table, including Farida Benlyazid, M.

FICAM clearly focuses on the audience and on the education abdellwh the next generation of animation lovers and animation artists. The conference kicked off with vilm keynote address by Kevin Dwyer, an established anthropologist and specialist of Moroccan cinema and Maghrebi media cultures.

Important questions were asked, such as: An animation studio based in Douala, Amazigj, Cledley Productions now aims to present to a wider international audience the traditional local oral heritage, and the musical culture of the various regions in Cameroon beyond the Cameroonian borders. The film also brings in some legal scholars who reveal the dark side of this law inherited from the colonial period. For Khammar, the digital revolution has upset the film scene, and Moroccan cinema needs to adapt to this revolution.

It was filmed not long after the Agadir earthquake in The annual festival also revealed some cracks fil, structural problems in the edifice of Moroccan cinema. Frustrated and nearing the end of his research grant, he is given a three-month reprieve by a wealthy yet caddish investor.

The CCM has encouraged this division since the early s by awarding funding to both popular and festival camps of Ferkojs cinema. This gargantuan project rests on the premise that we need to focus on the local to solve the problems of national cinema. The commercial films like Korsa and Lahnech are meant to entertain domestic audiences and thus keep film houses in business.

No one seems to know exactly the success formula, including Ayouch who has not able to replicate his rare accomplishment. The film carries elements of the already-mentioned Cinderella and other princess stories so popular in international fairy tales and is, perhaps precisely because of these universal elements, widely enjoyed.


In the second batch of shorts screened on Sunday evening, we saw the usual great! He argued that these films focus on male characters, particularly degenerate patriarchs. This should in no way be interpreted as meaning that this divided house will not stand for a few more decades. Malevich It is also remarkable how Rothe, whose dedication to documentary and animation has made her an artist of some renown, dedicated three of her days at FICAM to workshops with young Moroccan documentary students.

But the film is doing so well in Morocco since this first screening, that Claye has ended up travelling the breadth and length of the country to show it at ten locations in Morocco, to packed screening rooms of very excited and appreciative children.

In the last part of his talk, Mr Ayouch offered a number of recommendations to lessen and gradually wipe out the crisis fklm Moroccan cinema in the globalisation era:. They discussed issues of programming Amazigh films for festivals and issues of translating cultures as well as languages. In order for Moroccan cinema to fully gain the attention it deserves, suggested Yahya, there was a need for more formal spaces in print and online for rigorous criticism to emerge in Arabic, as well as for more space to be given to female film critics.

A lot remains to be done to cash in on this desire by organising themed visits and other film-focused trips for national and international film tourists.

The fair daughter of the Fassi Act II: The problem needs to be tackled at the source. The tax rate on cinemas is unfair and to blame for part of the complex problem of cinema closures.

Marrakech | Transnational Moroccan Cinema

He observed that although Morocco has many film schools today, the number of filmgoers is decreasing year after year. The former is getting ready to be married to a village youth who works and lives away in Casablanca.

Curious about everything cosmopolitan, she develops a mixed dream world where the female figure is queen. They welcomed all the delegates, who have travelled from different parts of the world to give papers, keynote addresses and attend the Marrakech International Film Festival December. Edou is a young, enterprising and idealistic filmmaker who created Cledley Productions inspecifically to create Minga. He added that Moroccans need to learn more from the French system because it works.