The Marock Debate

The gloves are coming off in the increasingly unpleasant debate over Leila Marrakchi’s film Marock. When The View From Fès first reported on this issue Filmgoers outcry over Marock many thought it was a storm in a teacup and that it would soon go away. It has not turned out that way

After the screening at the National Film Festival in Tangiers back in December some fellow film directors attacked the film, and (in a fortaste of just how nasty it was to become) even questioned Marrakchi's nationality as a Moroccan. Mohammed Asli, director of In Casablanca, Angels don't fly, started a ferocious campaign against the young director, saying that her film ‘should not have been screened in the festival.’

Marock, which is an autobiographical meditation on the director's own late teen years, spotlights the age when insouciance of adolescence gives way to first anxieties of adulthood.

The film tells the story of 17-year-old Rita and her handsome boyfriend Youri. They are from the same social milieu. The only difference is that he is Jewish. Sadly this fact has lead some to go so far as to accuse the film of serving a “Zionist cause” - not only is this outrageous, but given Morocco’s proud record of tolerance towards and protection of its Jewish citizens, shows just how far international conflicts have infiltrated the Moroccan psyche.

In defence of her film Laïla Marrakchi says, "Marock is a wordplay on "Maroc", the French name for Morocco. For me, the title illustrates my portrait of this group of young people, privileged but also kind of messed up and schizophrenic. They live according to Western ways but they're still very attached to their country and traditions. The opening scene in which a kneeling man prays outside a parked car where inside two teenagers are making out: that's Marock." Most modern Moroccans would agree.

Nourredine Sayel, the director of the Moroccan cinematographic centre, reacting to the accusations against the young director, affirmed that the film is “a Moroccan film, directed by a Moroccan filmmaker, shot in Morocco starring many Moroccan actors, regardless of their religion.” He added that “the film's director is one of the most intelligent female directors. The film, despite ideological differences, is a ‘Moroccan reality'.”

And that may be the cause of the problem. Morocco has been changing, growing up, maturing. The older generation may not like it, but it is a reality that will not go away.


The attacks on the film have now become political with Deputy Soumia Benkhaldoun raising the issue during a parliamentary session.

The Morocco Times: Marock' still sparking controversy reports:

In an all-out attack on Marock, Benkhaldoun asked the Minister of Communication and spokesperson of the government, Nabil Benabdallah, for the reasons why films bearing provocative and offending scenes receive approbation from the Moroccan Cinematographic Centre (CCM).

The Minister has made it clear that the commission, in charge of viewing films before their release to cinemas, is the only institution to accept or refuse the contents of the film, and this in conformity with the dispositions of the law related to the Cinematographic Industry Organisation in the kingdom.

He also added that the commission has to balance between many requirements, including freedom of artistic expression, the encouragement of national cinematographic production, the respect of Moroccan cultural identity and the differences of viewers' tastes.

Recently, the Arabic daily Attajdid published a communiqué from members of the committee of the Moroccan Theatre Syndicate, which denounced the screening of these kinds of artistic products in Morocco.

The Secretary General of the Syndicate, Mohammed Hassan El Joundi stressed “this kind of production must not be screened in a country which respects its traditions.”

About the communiqué, El Joundi said “this communiqué is not addressed to Marock only, but to all artistic creations having the intention of blemishing the reputation of our country. Everything has a limit, including freedom.”

El Joundi justified his rejection of Leila Marrakchi's creation by saying that “when I cannot watch a film with my wife and children, this means that the film is not worthy and affects my freedom.”

Responding to the arguments which say that Islamists are waging a war on a film which should be artistically judged, El Joundi confirmed “it is not because we are Muslims that we are more affected. Even Christianity and Judaism condemn this kind of offence.”

On Leila Marrakchi, El Joundi implicitly said “I think many things are thoughtlessly done. People no longer think about the consequences of their deeds. They have no experience and no notion of the social problems of their country. Otherwise, they have no conscience and no principles.”

The most revolting scene, according to attackers of the film, is that Leila Marrakchi preferred to make her heroes discuss religious issues in bed, which is considered an unforgivable offence to Moroccans' feelings.

Denouncing the supporters of the film, an Attajdid article referred to them as a “new party” which incites decadence, exhibitionism and defamation of Islam.

The article condemns people's naturalization of these social ills saying that “this secret party is ferociously defending the works inciting licentiousness and accusing opponents of being enemies of art.”

Nabil Lahlou, Moroccan director, condemned Leila Marrakchi's Marock and said “the film has nothing to do with Morocco because it serves all kinds of cultural colonialism.”



Despite the avalanche of criticism which fell upon Leila Marrakchi, the defenders of artistic works raised their voices and said ‘No to the censorship of Moroccan productions' and ‘No to the restriction of freedom of artistic expressions'.

As Marock's opponents said that defenders of the film are inciting decadence in the name of modernity, the supporters of the young director accused them of being schizophrenic, intolerant and accustomed to illogically prohibit everything.

Recently, a list of signatories has been opened to support Marock.

The discussion has spread across the blogosphere and a wrap up of how bloggers have reacted to the debate can be found in Foulla’s article on Global Voices.

In the beginning this debate might have been put aside as simple a clash between generations; the young versus the old. But the intervention of politicians and other groups has made it more than this. At the end of the day this issue goes to the heart of the directions that modern Morocco is heading. Under some strong leadership from HM Mohammed VI, Morocco has made very firm steps towards liberalising the society and freeing it from the shackles of poverty and prejudice. These moves have been applauded around the world and held up as an example that other countries in the region could follow. It would be a great shame if those who oppose this direction unite around issues like that of Marock and use it to close down the shutters.

A free democratic society needs a free press and freedom of expression. The Morocco shown in Marock, may not be the Morocco that some like, but to deny its reality is dangerous. At times like this it is wise to turn to Voltaire’s Freedom, where he famously said: I may not agree with what you say, but to your death I will defend your right to say it.

Link: The film site on the web

Tags: Morocco, Film Cinema, Film