This year’s selection highlights powerful and original stories, reflecting the cultural diversity of the region, underlines a press release from the organizers.
After the international success of her documentary Bye Bye Tibériade, Lina Soualem returns to the Ateliers de l’Atlas with her first fiction (Alicante-Algeria), the moving story of Moly Kane (Ici repos-Sénégal) or the lyricism of adaptation of “The Orange Grove” made by Murad Abu Eisheh (Jordan).
Added to this is the moving documentary by Djanis Bouzyani, who after being discovered as an actor, moved here to direct (And Still I Rise), as well as the vibrant story of Yassine Iguenfer with The Nours (Morocco).
This edition highlights new talents with bold visions such as Mouloud Ouyahia (The Source-Algeria) whose short film was presented at Cannes (Quinzaine des Cinéastes) and the multidisciplinary director Nuno Miranda (Cape Verde), who explores the beautiful meeting of two kindred spirits around mourning and exile in Flowers of the Dead, reports the same source.
The Workshops also welcome the promising voices of Moroccan Walid Messsnaoui, with a captivating manhunt in The Last Beast of Atlas as well as the modern western by Burkinabé director Fabien Dao, Princesse Téné.
The new project of Moroccan filmmaker, Talal Selhami (The Shelter – Morocco), already acclaimed for his first two feature films, as well as the first images of the new film by Babatunde Apalowo (In The Shadows of Good Fortune – Nigeria), after the selection of its precedent at the Berlinale enrich the selection of this 7th edition, indicates the press release.
The Ateliers de l’Atlas will unveil the first images of selected films in development during previous editions: Behind the Palm Trees by Meryem Benm’Barek in 2022 (Morocco) and Laundry by Zamo Mkhwanazi in 2018 (South Africa).
Exclusively presented will be images from the third film by Palestinian director Cherien Dabis (All That’s Left Of You – Palestine), who is making her return to feature film after a notable stint in the world of series. Also, the highly anticipated biopic of the icon of Arab song, Oum Kalthoum, El Sett (Egypt) by the talented Marwan Hamed, and the discovery of the very first images of the Nasser brothers’ film, Once Upon a Time in Gaza ( Palestine).
Development of support programs
The industry platform of the Marrakech International Film Festival, renowned for the consistent quality of its initiatives, is expanding its support programs this year, thus placing particular emphasis on the artistic vitality of the new generation of Moroccan, Arab and African filmmakers.
This year, the platform includes modules ahead of the Festival and the Atlas Workshops will now be held over five days (instead of four in previous editions). This development allows for the exploration of more artistic and professional fields.
Initiated last year, the distribution support system, Atlas Distribution Awards, intended for Morocco as well as Arab and African countries, will also offer this year a day of exchanges and discussions aimed at optimizing the work of those involved in distribution in the region.
With the aim of supporting the development of the Moroccan film industry ecosystem, the Festival is developing this year the Atlas Station program, intended to improve the skills of young Moroccan directors and producers wishing to open up internationally, in order to boost the development of their projects.
This year, Atlas Station welcomes the first class of ten Moroccan talents who will benefit from a program specially designed for them during the Workshops. This initiative includes group work sessions, individual sessions, as well as cross-meetings with other Workshop programs.
What are some key themes emerging from the films showcased at Ateliers de l’Atlas this year?
Interview between the Time.news Editor and Filmmaking Expert
Editor: Welcome, and thank you for joining us today. With this year’s Ateliers de l’Atlas selection promising such a rich tapestry of stories and cultural diversity, what excites you most about the films emerging from this year’s lineup?
Expert: Thank you for having me! What truly excites me is the remarkable variety of voices and experiences represented. From Lina Soualem’s shift to fiction with “Alicante-Algeria,” which promises to continue her trend of powerful storytelling, to Murad Abu Eisheh’s adaptation of “The Orange Grove,” we are seeing a blend of personal narratives and rich cultural histories that are crucial to understanding the region’s identity.
Editor: That’s a great point. Each film seems to carry its own unique perspective. For instance, can you share more about the significance of Djanis Bouzyani’s documentary, “And Still I Rise,” especially in the context of his transition from acting to directing?
Expert: Absolutely. Bouzyani’s journey is fascinating. After being recognized as an actor, his transition to directing adds depth to his storytelling. “And Still I Rise” is not just a reflection of personal stories but also a powerful commentary on resilience and the human spirit—elements that resonate deeply within the socio-political landscape of the region. His ability to tell these stories as both an actor and now a director gives him a unique perspective that is reflective of the lived experience.
Editor: It’s clear that new talent is gaining recognition at this festival. How do you view the rising star Mouloud Ouyahia’s work with ”The Source” and what it signifies for Algerian cinema?
Expert: Mouloud Ouyahia represents a new wave of Algerian filmmakers who are unafraid to push boundaries. His film “The Source,” showcased at Cannes, highlights the urgency of storytelling in a post-colonial context. This alignment with international formats while retaining local narratives signifies a promising evolution in Algerian cinema, encouraging younger filmmakers to explore their identity and societal issues more boldly.
Editor: Speaking of bold narratives, can you tell us about Nuno Miranda’s approach in “Flowers of the Dead”? How does he blend personal themes of mourning and exile in his storytelling?
Expert: Nuno Miranda’s work is particularly poignant as it explores the intersections of personal and collective grief—something universally relatable. In “Flowers of the Dead,” he crafts a narrative that guides viewers through a soulful encounter between two kindred spirits, emphasizing the harmonies found within disparate experiences of loss. His ability to represent such deeply human themes makes his films not only artistic expressions but also reflections of broader societal issues.
Editor: There’s quite a buzz around the unveiling of the first images from the biopic of Oum Kalthoum, “El Sett,” directed by Marwan Hamed. What impact do you think such a film will have on the cultural landscape?
Expert: Oum Kalthoum is an iconic figure in Arab music and culture, so a biopic such as “El Sett” has enormous potential. It’s an opportunity to celebrate her legacy while introducing her story to a newer generation. Hamed’s craftsmanship can bring to life the historical context and societal influences surrounding her music, which could help to bridge cultural gaps and foster appreciation for Arab artistic contributions on a global stage.
Editor: It sounds like the Ateliers de l’Atlas is not only a platform for showcasing films but also a significant cultural event that can influence discussions about identity, resilience, and creativity. What do you think the future holds for filmmakers from this region?
Expert: The future is incredibly bright for filmmakers from this region. With platforms like Ateliers de l’Atlas promoting diverse voices, there’s a real opportunity for these filmmakers to gain international visibility. Moreover, as stories from Africa and the Middle East continue to gain traction globally, we can anticipate a surge in collaborations and co-productions, which will further enrich the cinematic landscape. These filmmakers are not just telling their stories; they are shaping a new narrative for their cultures that resonates worldwide.
Editor: Thank you for sharing your insights. It’s fascinating to see how these films are not only art but also vehicles for change and understanding across cultures.
Expert: Thank you for having me! It’s always a pleasure to discuss such important developments in filmmaking and cultural representation.