In his commentary on “fake festivals” that sell awards to anyone who pays the entry fee, writer and filmmaker El houssine HNINE, based in Germany, does more than describe a questionable trend.
Behind the narrative lies a carefully layered message directed at the cultural ecosystem, the institutions, and the ethics of filmmaking in Morocco and beyond.
1. Beyond the surface: diagnosing a deeper cultural dysfunction
When Hnin talks about festivals that offer four awards to every participant, he is in fact highlighting:
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the commodification of artistic recognition,
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the erosion of aesthetic criteria,
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and the vulnerability of film culture when evaluation becomes transactional.
The “illusion of success” becomes a mirror reflecting deeper structural issues.
2. A diplomatic concern: safeguarding Morocco’s cultural image abroad
By pointing out that publicly funded films sometimes rely on bogus awards to claim “international acclaim,” Hnin assumes the tone of a cultural envoy.
He subtly conveys that:
Morocco’s cinematic reputation on the global stage must be protected from artificial inflation and deceptive narratives.
This is diplomacy expressed through cultural criticism.
3. An ethical appeal to filmmakers
Without naming or targeting individuals, Hnin calls on directors and producers to:
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uphold professional integrity,
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reject shortcuts,
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and seek genuine artistic recognition rather than digital trophies.
The message is clear, but delivered with tact.
4. Law 18.23: supporting institutional efforts
By highlighting the recently implemented legal framework introduced by the Moroccan Cinema Center, Hnin aligns himself with:
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institutional accountability,
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stronger governance,
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and the need to restore trust in the film support system.
It is a diplomatic gesture that reinforces collaboration between artists and public bodies.
5. Conclusion: defending true artistic merit
At the core of Hnin’s message lies a simple yet powerful idea:
Artistic legitimacy cannot be purchased. Real cinema earns its place; it does not pay for it.
Through this lens, El houssine HNINE critique becomes not only a denunciation of fake festivals but also a manifesto for a more transparent, ethical, and ambitious Moroccan cinema—one that aims for real awards on real stages.
