“It is necessary to integrate film criticism into university programs”

Monday 25th November 2024 05:27 PM

As a member of the jury for the feature film competition at the Festival du Cinéma d’Auteur, how do you define a good film?

Evaluating a film, as a member of the jury, is an immersive experience that goes far beyond technical analysis. For me, there is no universal rule to distinguish a good film from a bad one, because this assessment is deeply subjective and depends on the emotional resonance that the work arouses in each person.

On the other hand, we are looking for works that captivate with their storytelling, move you with the depth of their characters, delight with careful production and address relevant and stimulating subjects. A successful film is one that, through its photography, music and editing, creates a visual and sonic symphony, leaving a lasting imprint on the viewer’s heart and mind.

Tell us about the films that won the Prize this year. Are there any directors who particularly struck you during this festival?

This year, the Grand Prize was awarded to “Sujo”, a poignant Mexican film, directed by Astrid Rondero and Fernanda Valadez. This work follows the story of Sujo, a four-year-old boy whose father, Sicario, works for a cartel, is murdered.

The story explores deeply human and universal themes through a poignant and visually captivating narrative. The film addresses complex issues related to social justice, resilience in the face of adversity and power dynamics, with a unique look at contemporary Mexican culture, and an intense reflection on human resilience in the face of a prescribed destiny.

Among the notable works of this edition is also “Under the Gray Sky”, directed by Mara Tamkovich. Inspired by true events, this drama explores political repression in Belarus through the story of a journalist arrested after live-streaming the brutality against peaceful protesters during rigged elections.

This powerful and moving production highlights the sacrifices of political activism and highlights the critical importance of press freedom in the face of oppression. At the same time, Moroccan director Hicham Hajji distinguished himself with “The Lost Princess”, a Moroccan-American co-production filmed in the majestic landscapes of Ouarzazate.

This film mixes mystery and cultural heritage, offering a story where the past and the present intertwine to reveal buried secrets. Hicham Hajji has successfully married Moroccan narrative traditions with an international cinematic aesthetic, testifying to Morocco’s potential as a filming destination and key player on the world cinema scene.

The festival has evolved over the years. In your opinion, what more should be done to offer more visibility to young talents and allow their works to be better represented?

To offer more visibility to young talents, it would be relevant to organize training workshops, artistic residencies, as well as distribution platforms specifically dedicated to first works. Collaboration with international festivals could also open new perspectives for emerging filmmakers.

During the 29th edition of the Rabat International Festival of Auteur Cinema, which was held from November 8 to 16, 2024, several initiatives were implemented to encourage and promote young cinema talents. The festival dedicated a section to short films, allowing young directors to present their works to an international audience. This initiative highlighted innovative and quality creations, produced by emerging cinema talents.

Moreover, many masterclasses have been organized by renowned figures from the film industry, thus providing a valuable opportunity for learning and sharing experiences. Speakers included producers, directors and actors such as: Julia von Bohem, Salem Kali, Thomas David and Elaheh Nobakht

The festival also encouraged exchanges between young talents and professionals in the sector through meetings and thematic panels. These discussions focused, among other things, on the Jordanian film industry and Quebec cinema.

What types of themes or subjects have you observed in the feature films submitted this year? Are there any trends that particularly caught your attention?

The feature films submitted this year explored varied themes, including questions of identity, social struggles and environmental challenges. One notable trend is the emergence of narratives centered on strong female characters, reflecting a desire to highlight perspectives that are often underrepresented.

What were the main challenges you faced as a juror during this event?

As a juror, the main challenge lies in objectivity in the face of the diversity of the works presented. It is essential to judge each film on its own merits, while taking into account the cultural contexts and artistic intentions of the filmmakers.

Are there any current projects to support young directors in Morocco?

In Morocco, several initiatives support young directors, such as grants from the Moroccan Cinematographic Center (CCM) and training programs offered by institutions such as the Higher Institute of Audiovisual and Cinema Professions (ISMAC). In this regard, local festivals also offer platforms for the dissemination of their works.

For people interested in film criticism, how can they get started? In this sense, what advice would you give them?

Obviously, film criticism plays an essential role in the film industry, because it offers an analytical look at works while supporting their dissemination to the public. To exercise relevant criticism, it is crucial to understand the issues of the industry, particularly taking into account production challenges, artistic constraints and the objectives of creators, in order to evaluate a film with a complete and respectful perspective of the process creative.

It is also important to rely on a technical and narrative analysis, by focusing on the construction of a film (directing, artistic direction, editing, sound, etc.) and by questioning the stylistic and narrative choices to understand the director’s intentions. Finally, criticism must engage with a constructive vision, serving as a bridge between the film and its audience, enlightening the viewer without imposing a definitive judgment, while cultivating a true love of cinema.

In your opinion, how can we develop and enrich training in film criticism in Morocco?

The development of training in film criticism in Morocco could be part of a more global approach aimed at structuring and professionalizing this rapidly evolving field. The integration of specialized modules into university courses would be an essential first step.

These modules should not only cover the basics of film criticism, but also address more contemporary issues such as the analysis of current trends in world cinema, the impact of new technologies on the production and consumption of films, as well as the ethics and the responsibility of the critic in the digital age.

At the same time, the creation of journals specializing in film criticism would provide a platform to publish in-depth analyses, artist interviews and reflections on the evolution of cinema, while serving as a springboard for young talents.