“A single scene can express the capacity of the seventh art to overthrow norms and change the world, just like love,” indicated Mr. Bensaïdi who was the guest of the Festival’s “In Conversation With” series, after the screening of an extract from his film “What a Wonderful World”.
The Moroccan director, who was awarded the prestigious Golden Star of the Festival during this 20th edition, added that “What a Wonderful World” is certainly a comedy, but includes poignant scenes which show that cinema and love are capable of changing the world.
Asked about the selection of filming locations for his films, Mr. Bensaïdi noted that he does not prefer to use the term “spotting”, explaining that the choice is made according to a “casting” process, just like the actors are chosen.
“I visit the spaces alone before filming and at different times of the day to determine the best time when they are in their best condition. Then I can capture the scene I wrote for them or rewrite it to suit context,” he said.
In response to a question about innovation in his films, Mr. Bensaidi assured that he prefers to miss the minds of spectators with a good film that carries a new idea rather than succeed in a work that is just another number on his list of films.
“The important thing is to stay true to our passion for cinema, and not to let boredom set in, even if innovation involves a kind of challenge and risk,” he maintained.
He further indicated that he does not distinguish between his works and does not have a particular preference for any of them. “My relationship with my films is like a father’s relationship with his children, I am unable to distinguish between them. They are all close to my heart, and each film is made with a lot of love, passion and of sincerity,” he stressed.
A native of Meknes, Mr. Bensaïdi directed his first short film “La Falaise” in 1998. Then, he co-wrote ”Loin” with André Téchiné. In 2000, he directed two short films: “Le Mur”, awarded at the Directors’ Fortnight at Cannes and ”Trajets”, awarded at the Venice Film Festival.
The filmmaker’s first feature film, “A Thousand Months”, received several international awards. Mr. Bensaïdi subsequently directed “What a Wonderful World” which was selected for the Venice Film Festival, as well as the film “Mort à Vente” (2011) which won the “Art et Essai” Prize at the Berlinale.
In 2022, he directed “Summer Days”, an adaptation in today’s Morocco of Anton Chekhov’s “The Cherry Orchard”. His latest film “Déserts” was part of the 2023 selection of the Quinzaine des filmmakers.
In addition to Moroccan director Faouzi Bensaïdi, the “Conversation with…” section of the 20th edition of the Marrakech International Film Festival welcomes big names from the world cinema scene: Australian actor and director Simon Baker, Indian filmmaker Anurag Kashyap, the French director Bertrand Bonello, the American actor Willem Dafoe, the Japanese screenwriter and director Naomi Kawase, the Danish actor Mads Mikkelsen, the American-Danish actor and director Viggo Mortensen, the Scottish actress Tilda Swinton, the Russian director and screenwriter Andrey Zvyagintsev, as well as American actor, director and screenwriter Matt Dillon.
Interview between Time.news Editor and Mr. Bensaïdi, Moroccan Director
Editor: Welcome, Mr. Bensaïdi! Congratulations on winning the prestigious Golden Star at the festival. That’s a remarkable achievement, especially during this milestone 20th edition. Your film “What a Wonderful World” has certainly made a significant impact. Can you tell us more about the themes of love and change that you’ve woven into your film?
Bensaïdi: Thank you! I’m truly honored. In “What a Wonderful World,” I aimed to illustrate how love, like cinema, possesses the unique power to challenge norms and incite change. A single scene can evoke deep emotions and reflect the world around us. It’s that connection between storytelling and the human experience that I sought to explore.
Editor: That’s a beautiful perspective. You mentioned during your presentation that you approach filming locations through a “casting” process rather than merely “spotting.” Could you elaborate on that approach?
Bensaïdi: Absolutely. For me, selecting a location is akin to casting an actor. The space must resonate with the narrative I wish to express. I visit potential filming sites multiple times and at different times of the day to see them at their best. This allows me to either capture the scene as I envisioned it or adapt the script to align with the location’s unique ambiance. It’s a dynamic relationship.
Editor: It sounds like you really immerse yourself in the environment before even starting the filming process. Speaking of immersion, how do you keep innovating in your storytelling without succumbing to repetitive filmmaking?
Bensaïdi: Innovation is crucial to me. I strive to create films that spark thought and inspire audiences—films that present fresh ideas rather than contribute another title to a list. A filmmaker must remain passionate and motivated; allowing boredom to seep in can stifle creativity. Yes, innovation comes with challenges, but it’s a risk worth taking for the sake of meaningful storytelling.
Editor: There’s a certain sincerity in your approach. You also mentioned that you do not differentiate between your works, likening them to your children. That sounds incredibly personal. How does that affect your creative process?
Bensaïdi: That’s exactly it. Each film carries a piece of my heart, and my connection to them is deeply personal. Just as a parent loves all their children equally, I hold each film close. This emotional bond fuels my creativity; it influences how I approach each project, knowing they all deserve the same dedication and passion as the last.
Editor: It’s inspiring to hear how deeply you engage with your films. Lastly, what do you hope audiences take away from watching “What a Wonderful World”?
Bensaïdi: I hope they walk away feeling something profound, perhaps a renewed belief in the transformative power of love and cinema. I want them to reflect on their own lives and recognize that, like a film, we all have the potential to impact the world in meaningful ways. If my work can spark that reflection, I feel I have succeeded.
Editor: Thank you, Mr. Bensaïdi. It’s been a pleasure speaking with you. Your insights on film and its impact on society are both profound and inspiring. We look forward to seeing more of your work in the future!
Bensaïdi: Thank you for having me! I appreciate the support and interest in my work.