When the junior ice hockey team from the small town of Náchod, in the Czech Republic, sets off in a bus to Morocco to play the away game in an exchange programme, the players and their coach expect an easy victory and a cultural shock: “bring ear plugs”, the coach suggests them with a touch of undisguised condescendence, so as not to hear the call to prayer early in the morning. Both on and off the ice, Rozálie Kohoutová and Tomáš Bojar’s camera focuses on a few teenagers and their exchanges, simultaneously funny and cruel, in a clumsy English.
Documentary that shows the changing attitude towards immigrant labor in The Netherlands. The documentary follows three immigrants that arrived in Holland 30 years ago to work in a bakery.
Fadma, 75, tells her life story including being recruited as a sex worker for the French army aged 20, and her views on love, parenthood, and destiny.
After his daughter is contaminated with an unknown poison gas and put into an induced coma, her father, a sports reporter, starts his own research to obtain a sample of the gas so that an antidote can be developed. The trail leads to Morocco, but a powerful organization tries to stop the father's efforts.
In the vast expanse of desert East of Atlas Mountains in Morocco, seasonal rain and snow once supported livestock, but now the drought seems to never end. Hardly a blade of grass can be seen, and families travel miles on foot to get water from a muddy hole in the ground. Yet the children willingly ride donkeys and bicycles or walk for miles across rocks to a "school of hope" built of clay. Following both the students and the teachers in the Oulad Boukais Tribe's community school for over three years, SCHOOL OF HOPE shows students Mohamed, Miloud, Fatima, and their classmates, responding with childish glee to the school's altruistic young teacher, Mohamed. Each child faces individual obstacles - supporting their aging parents; avoiding restrictions from relatives based on traditional gender roles - while their young teacher makes do in a house with no electricity or water.
Twenty-third sovereign of the Alawite dynasty established in Morocco since the seventeenth century, Mohammed VI took over from his father Hassan II in 1999, and from the moment of his coronation, he positioned himself as a "king of the poor", close to the people. Naturally shy, he prefers to act rather than speak, defining a modern style of governance that has earned him great popularity from the start. Married to a young computer engineer, he asserted a policy of liberalization of morals and even made a critical review of the period of repression led by his father during the years of lead. However, he faces opposition from conservatives, which leads to the election of the Islamist PJD (Party of Justice and Development) as head of government, following the Arab Spring of 2011.
At 14 Rabha El Haimer was an illiterate child bride, beaten, raped and then rejected. Ten years later, she is a single mother, fighting to legalise her sham marriage and secure a future for her illegitimate daughter. With unprecedented access to the Moroccan justice system, “Bastards” follows Rabha’s fight from the Casablanca slums to the high courts.
A worn-out floor, the hole underneath, a political activist, and the Ouled Sbita tribe are the protagonists in this political satire. For 23 years, the director’s chair at an international art institute scratched the wooden floor. This 102cm x 120cm floor section is cut out and sent to an expropriated piece of land in Morocco. In The Hole’s Journey, Ghita Skali uses sharp wit, personal stories and playful editing to touch on specific power dynamics and freedom of choice.
We approach to invisible details for our eyes, figures disappearing as we move away from them, diluted in space. Parts that are integrated into the whole landscape. The remoteness as disappearance. The human figure betrays us here negligible small in the vastness of the territory, the voracity of the active vacuum that surrounds him. Images captured in the Atlas region in Morocco.
Occupation Inc. exposes European businessmen and politicians involved in the economic exploitation of Western Sahara, the last colony in Africa and one of the most militarized, violent, and censored territories in the world.
On the border, the line as principle of property and belonging reaches an extreme dimension where it physically defines the sphere of its relations. Those who transgress it reconstruct these imaginary lines on a daily basis, redefining the traditional geography and occupying the non-spaces where others live in a temporary form of existence. These others, the non-citizens, are phantasmtic, exchangeable parts of a flexible market. Made invisible, they are permanently controlled persons. Under the pretext of a greater civilian security, they are kept clear from the public spaces reserved for the citizens with rights and pushed into non-public spaces, which are run by state and military surveillance, multinational operations servicing a European market and non-governmental organisations.
This FitzPatrick Traveltalk short visits the cities of Casablanca, Rabat, and Marrakesh in Morocco, as well as the city of Algiers in Algeria.
In search of a subject for their film, a group of directors ask passers-by about their expectations of Moroccan cinema in the streets and bars of Casablanca.
An intimate portrait of Matthew Shepard, the gay young man murdered in one of the most notorious hate crimes in U.S. history. Framed through a personal lens, it's the story of loss, love, and courage in the face of unspeakable tragedy.
Yann Arthus-Bertrand flew over Morocco with his cameras and asked the journalist Ali Baddou to write and record the comment.
This short-length documentary takes us to Agadir, a city in Morocco that was struck by an earthquake in 1960. The film, made by an expatriate Moroccan who lost family and friends in the disaster, is a memorial to that tragedy and to the past he left behind when he came to North America. Partly allegorical, it employs varying techniques to offset reality from fantasy sequences.
As Lupin's mentor Don Dolune lies on his deathbed, he hands the master thief a gift, the diamond named Twilight. Though it's only half the treasure — the other half of the Twilight can be found in Morocco. Lupin must contend with his on-again-off-again-partner Fujiko, his feelings for the mysterious Lara, and the relentless whip-wielding maniac Sadachiyo in order to bring Twilight back to its full glory.
The young farmer Aalami leaves his family to find work elsewhere. He gets to know the country and its people, customs and traditions at Küste in North Africa: Market life in Tetuan, the art of craftsmanship, the life of the Moors, dances and festivities in honour of the caliph, white mosques, the call of the muezzin of the minaret and the music of the shepherd flutes. Aalami also follows Franco's call and flies from Morocco to Spain to fight at Bürgerkrieg. In the end Aalami comes back to his wife and children.
A small village high up in the mountains of Ketama, Northern Morocco. The life of the people here has been shaped by the drug hashish for centuries. Hashish as daily work, hash as exchange currency, hashish as business, hashish as basis and philosophy of a social system, hashish as medium for dreams and hashish as reason for stagnation.
Orientalism is a literary and artistic movement born in Western Europe in the 18th century. Through its scale and popularity, throughout the 19th century, it marked the interest and curiosity of artists and writers for the countries of the West (the Maghreb) or the Levant (the Middle East). Orientalism was born from the fascination of the Ottoman Empire and followed its slow disintegration and the progression of European colonizations. This exotic trend is associated with all the artistic movements of the 19th century, academic, romantic, realistic or even impressionist. It is present in architecture, music, painting, literature, poetry... Picturesque aesthetics, confusing styles, civilizations and eras, orientalism has created numerous clichés and clichés that we still find today in literature or cinema.