Session 4. Poets and Sociologists

De chair et d’acier
Mohamed Afifi
Morocco, 1959, 20 min, DCP, B&W, French-Arabic

Retour à Agadir
Mohamed Afifi
Morocco, 1967, 11 min, DCP, B&N, no dialogue

6 & 12
Ahmed Bouanani, Majid Rechiche, Mohamed Abbderrahmane Tazi :
Morocco, 1968, 18 min, DCP, B&N, no dialogue

Le rocher
Larbi Benchekroun
Morocco, 1958, 11 min, DCP, B&W, French

Sin Agafaye
Latif Lahlou
Morocco, 1967, 22 min, DCP, colour, French

Les tanneurs de Marrakech

Mohammed Ait Youssef
France, 1967, 21 min, DCP, colour, French

La nostalgie du naïf

Mohammed Ait Youssef
Morocco, 1977, 10 min, DCP, B&W, French

This screening stages a confrontation between two parallel schools of documentary filmmaking: 1/ the “brief documentary school” pioneered by Mohamed Afifi, composed of poetic experiments among which Ahmed Bouanani included his own films, as well as Majid Rechiche’s Forêt and Al-Boraq; and 2/ the “sociological” school, whose filmmakers worked with (or were influenced by) Paul Pascon, who is often referred to as the father of Moroccan sociology. The sociological films were aiming for a form of ethnography that distances itself from its colonial roots, in order to re-appropriate and re-describe customs and rituals on local terms. The Afifi school displays formal rigor and suspicion toward commentary. For instance, for Afifi, Retour à Agadir is “not a documentary, much less a tourist film. If I had to recount it, I would say that it is the brief course of a memory presented under the guise of a statue in several movements. If this seemed insufficiently clear, I would add that the stanzas that make up Return to Agadir constitute a closed work. If the viewer finds a key, s/he owns the film.”

Session 4. Poets and Sociologists
Promoted by
Gobierno de Navarra
Organized by
With the aid of
Con la financiación del Gobierno de España. Instituto de la Cinematografía y las Artes Audiovisuales Acción Cultural Española Plan de Recuperación, Transformación y Resiliencia Financiado por la Unión Europea. NexGenerationEU

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