In the heart of Morocco’s scientific capital, where culture and cinema intersect, the thirteenth edition of the Fès Festival for Cinematic Communication concluded from December 18 to 20, marking a celebration of short films as spaces for experimentation and deep artistic reflection.
The first prize went to the short film “Aïcha” by director Sanae Alaoui, while the second prize was awarded to “Mirror for Sale” by Hicham Amal, and the third prize to “The Candle” by Ismail Ait Lahcen. A special mention was given to “Void” by Rachid El Amari, highlighting the festival’s commitment to recognizing works with distinctive artistic vision beyond the official rankings.
The jury, chaired by filmmaker Abdelkrim Derkaoui and composed of Abdelkhalek Belarbi, president of the National Union of Cinematic Clubs in Morocco, filmmaker Myriam Chadli, and actor-director Hicham Ibrahimi, expressed deep appreciation for the organizational and programming efforts of the festival, praising the refined cultural atmosphere that characterized this edition.
On a deeper level, the jury’s recommendation to separate films from cinematic schools from professional filmmakers’ works reflects a desire to create a fair educational competitive space, allowing students’ first experiences to be evaluated without unfair comparison to amateur or professional films. The proposed expansion of awards and the evaluation of films based on all elements—screenplay, direction, cinematography, etc.—aims to encourage the production of fully integrated cinematic works.
The festival’s highlight was undoubtedly the tribute to filmmaker and screenwriter Idriss Chouika, recognizing his exceptional artistic journey and contribution to enriching Morocco’s cinematic landscape. As Abdelkhalek Belarbi noted, Chouika exemplifies a filmmaker who has never severed ties with the early sources of his cinematic consciousness, and whose films continue the cultural and intellectual dialogue initiated within cinematic clubs.
The program also included artistic workshops and specialized sessions, such as “The Art of Preparing the Actor” by Hicham Ibrahimi, and a roundtable on “The Aesthetics of Simplicity in Short Films: Creating Without High Budgets”, reflecting the organizers’ ambition to broaden cinematic discourse and transform the festival into a true platform for knowledge and experience exchange.
Thus, the thirteenth edition of the Fès Festival for Cinematic Communication was more than an awards celebration; it provided a profound reflection on the trajectory of Moroccan cinema, its links to artistic and social consciousness, inviting audiences, critics, and creators alike to ponder every frame, every shot, and every idea projected on screen.
