الشرقي El Chergui (The East Wind, 1975)

North African Cinema (or indeed, cinema in any of Africa) never really gets the attention it deserves in the West, and films from the 1970s and earlier seem to be especially rare, but from the 1950s onwards in particular a lot of filmmaking started to spark off across the continent. This Moroccan film is set in this period, the 1950s, when independence was something that started to become a tangible hope for the country (it gained independence in 1956). I saw it at a rare screening at the Barbican, but one can only hope that this and other films of the period don’t disappear entirely.


There are of course various ways and various traditions of making films, even fictional narrative films, and not all of them involve tight pacing and clear character arcs. Moroccan director Moumen Smihi clearly prefers to have his characters almost intrude upon what otherwise seems like ethnographic documentary, languidly paced scenes of a city, albeit focused on its customs, particularly at the more mystical end of things. When we do get plot, it transpires that a young woman’s husband is looking for a second wife, and so she turns to various magical rites to try and dissuade him — but all of that wouldn’t fill up five minutes of time. Instead there’s a real eye, in sparkling black-and-white, for the life of the city (Tangier), apparently on the cusp of some tumultuous events (made in 1975, it was set some twenty years earlier), all of which comes in little snippets. It also features one of the great subtitles: when Aïcha (Chaïri), our lead character, is observing some frightfully English diplomats nattering away at a garden party, the French subtitlers resort to “(Colonial gossip)” to cover it, which is now, in my heart, the subtitle to everything any posh upper-class twit ever says.

The East Wind film posterCREDITS
Director/Writer Moumen Smihi مومن السميحي; Cinematographer Mohamed Sekkat محمد سقات; Starring Aïcha Chaïri عيشه شعيري, Ahmed Boda أحمد بودا, Abdelkader Moutaa عبدالقادر مطاع, Leila Shenna ليلى شنّا; Length 80 minutes.
Seen at Barbican, London, Wednesday 23 May 2018.

LFF 2019 Day Three: Maggie and The Unknown Saint (both 2019)

Day three of the #LFF brings two films from the ‘Laugh’ strand of the programme, one each from South Korea and Morocco, which go about their comedy beats in different ways, but both raise wry smiles and a few laugh-out-loud moments.

Continue reading “LFF 2019 Day Three: Maggie and The Unknown Saint (both 2019)”

صوفيا Sofia (2018)

This feature film by a Moroccan woman director, which screened at the recent Shubbak Festival of art from the Arab-speaking world, was introduced there by the excellent British-Iranian producer Elhum Shakerifar (who for me most notably programmes the Middle Eastern and Arabic language films for London Film Festival, which have been a favourite of mine for several years). I didn’t always love it, but it shows a great deal of promise.


The title character’s affectless way of just looking like a deer trapped in headlights somewhat guides this film, as she gives frustratingly vague answers (if she gives any answer at all) to those who question her. She’s given birth to a baby out of wedlock — in what must be about the quickest pregnancy to birth sequence in any film — and this is, as the opening titles make clear, a big problem in conservative Morocco, where having sex out of marriage carries with it a year in jail. But in a sense that unjust law is merely what motivates a drama that goes further than just asking who’s the father, as she starts (in a rather strange way) to realise some power in her situation. Part of that is also a matter of class, as her cousin and aunt are very wealthy and chic, more European than Moroccan, and live in a nice neighbourhood. This accident of birth means she already has access to more resources than most, which becomes clear in the differential between her and the ostensible father, Omar, and between him and his own family. I can’t say I always responded to the central performance, but the film is examining some interesting dynamics in modern Morocco.

The film posterCREDITS
Director/Writer Meryem Benm’Barek-Aloïsi مريم بنمبارك; Cinematographer Son Doan; Starring Maha Alemi مهى العلمي, Sarah Perles سارة بيرلس; Length 80 minutes.
Seen at Barbican Cinema, London, Wednesday 3 July 2019.