Mirage

In this Sufi tale, Nadia, a young Moroccan emigre returns from Paris to Fez to visit her dying father. At his funeral, she is overcome by the voice of mystic Kirana chanting the Koran. A powerful friendship develops between the two women as they decide to turn the father's palace into a shelter for Muslim women.

Six and Twelve is one of a series of short films and documentaries produced under the auspices of the Centre Cinématographique Marocain in the years after Moroccan independence. While most of these were utilitarian in nature, Bouanani, Tazi, and Rechiche took a different route with this film, creating a modernist “city symphony” film that documented six hours in the life of the city of Casablanca. Combining a hard bebop soundtrack with stunning black and white cinematography and a radical editing style, the film stands as a document to the energetic experimentation of this period of Moroccan art and cinema.

A musical about a young girl, Naitou, whose mother is assassinated by a jealous stepmother. The stepmother abuses Naitou and prevents her from taking part in the traditional initiation for all young girls. The stepmother is finally punished by an old lady who symbolizes justice. The film's originality lies in the fact that it is narrated through dance and music by the Ballet National de Guinée.

The story of Massaoud, a rebellious young man, oppressed by both his family and the sclerotic society.

Heper's 7-minute short "Dawn" follows, in a single space between two windows, a triangular love relationship of three people.

The nomadic life of Moroccan carnival performers forms the basis of this debut from director Daoud Aoulad-Syad. Rabi, a female impersonator who dances with traveling fairs, teams up with Kacem, who hires him to ballyhoo his gambling concession. While Rabi's lack of romantic interest in women befuddles Kacem's son, he does strike up a friendship with a schoolteacher (Nezha Rahile), who in her way is as much of a misfit as Rabi.

A man from Tarfaya, penetrated by the magnificence of his country, the power of its beauty and the nomadic life of his ancestors goes in search of a great popular poet. He would be able to teach him wisdom, music, and the wonderful art of singing and poetry.

A father searches for his son after he disappeared from view, especially after doubts were raised about his possibility of joining extremist groups

Hamid Kanfoudi, an orchestra conductor, wins the lottery. Contrary to his beliefs and expectations, he sees no improvement in his life.

A plowman finds a treasure in his field but when looters rob him of his find, his son Farès starts chasing after them.

Ahmed Bouanani’s Al-Manabe' al-Arba'a (1974), a very low-budget fantastical adaption of a poetic fable, features his wife Naïma Saoudi, who also worked as an art director and set designer. It is his only film in colour, which convinced him that his vocation was to work in black and white.

Crafted exclusively from film archives, Thakirah Arba’at 'Ashar (1971) was Ahmed Bouanani’s first feature, but the censors forced him to cut it down from 2 hours and 18 minutes to 24 minutes.

Said, an eight-year-old boy, is tasked with returning his mother's caftan to the tailor. On his way back, he steals the caftan. Fearing his mother's punishment, Said travels from Salé, where he lives, to the neighboring city of Rabat with his aunt to ask for help. During this journey, Saeed discovers another side of the city and society...