{"id":3284,"date":"2025-10-23T18:03:18","date_gmt":"2025-10-23T18:03:18","guid":{"rendered":"https:\/\/diplomatique.ma\/en\/?p=3284"},"modified":"2025-11-10T08:27:13","modified_gmt":"2025-11-10T08:27:13","slug":"3284-2","status":"publish","type":"post","link":"https:\/\/diplomatique.ma\/en\/3284-2\/","title":{"rendered":"\u201cThe Moroccan Cinema Center Establishes a New Vision for Cultural and Media Communication through the Tangier Film Festival.\u201d"},"content":{"rendered":"<article class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [&amp;:has([data-writing-block])&gt;*]:pointer-events-auto [content-visibility:auto] supports-[content-visibility:auto]:[contain-intrinsic-size:auto_100lvh] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" tabindex=\"-1\" data-turn-id=\"965c55fd-b402-4008-adb9-9616441110d4\" data-testid=\"conversation-turn-2\" data-scroll-anchor=\"false\" data-turn=\"assistant\">\n<div class=\"text-base my-auto mx-auto [--thread-content-margin:--spacing(4)] thread-sm:[--thread-content-margin:--spacing(6)] thread-lg:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\">\n<div class=\"[--thread-content-max-width:40rem] thread-lg:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\">\n<div class=\"flex max-w-full flex-col grow\">\n<div class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+&amp;]:mt-1\" dir=\"auto\" data-message-author-role=\"assistant\" data-message-id=\"d5a33f35-98a7-4b83-a1ce-f9f1b9e82998\" data-message-model-slug=\"gpt-5\">\n<div class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\">\n<div class=\"markdown prose dark:prose-invert w-full break-words light markdown-new-styling\">\n<p style=\"text-align: justify;\" data-start=\"664\" data-end=\"1009\">In a groundbreaking moment for Moroccan media, <strong data-start=\"711\" data-end=\"742\">Moroccan Diplomacy Magazine<\/strong> proudly marked its presence at the <strong data-start=\"778\" data-end=\"809\">25th National Film Festival<\/strong> in Tangier \u2014 held from <strong data-start=\"833\" data-end=\"863\">October 17th to 25th, 2025<\/strong> \u2014 delivering for the first time in Morocco <strong data-start=\"907\" data-end=\"964\">exclusive interviews and in-depth coverage in English<\/strong>, aimed at the <strong data-start=\"979\" data-end=\"1006\">Anglo-Francophone world<\/strong>.<\/p>\n<p style=\"text-align: justify;\" data-start=\"1011\" data-end=\"1700\">This initiative, made possible through the <strong data-start=\"1054\" data-end=\"1121\">vision and support of the Moroccan Cinematographic Center (CCM)<\/strong>, reflects a bold new direction in cultural journalism \u2014 one that connects Morocco\u2019s cinematic creativity with an international audience. A heartfelt thanks goes to <strong data-start=\"1286\" data-end=\"1309\">Mr. Rida Benjelloun<\/strong>, the distinguished journalist and current Director of the CCM \u2014 truly <em data-start=\"1380\" data-end=\"1414\">the right man in the right place<\/em> \u2014 whose leadership and openness created this opportunity. As he often insists, the CCM seeks not only to promote Moroccan cinema, but also to give space to media that embody <strong data-start=\"1589\" data-end=\"1628\">linguistic and cultural versatility<\/strong> \u2014 and Moroccan Diplomacy Magazine was chosen precisely for that reason.<\/p>\n<h3 style=\"text-align: justify;\" data-start=\"1702\" data-end=\"1753\"><strong data-start=\"1706\" data-end=\"1753\">A Day of Reflection and Artistic Revelation<\/strong><\/h3>\n<p style=\"text-align: justify;\" data-start=\"1755\" data-end=\"2134\">The fifth day of the festival was far more than a sequence of screenings; it was an <strong data-start=\"1839\" data-end=\"1861\">artistic encounter<\/strong>, a moment of introspection where directors, critics, and visual storytellers explored the deep connections between cinema, humanity, and place. It was a day of questions rather than answers \u2014 a cinematic dialogue that illuminated Moroccan creativity in all its complexity.<\/p>\n<div class=\"youtube-embed\" data-video_id=\"aBDMAsjWDKA\"><iframe loading=\"lazy\" title=\"At the 25th Tangier National Film Festival, Fouad Swiba Speaks to Moroccan Diplomacy about Moroccan\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/aBDMAsjWDKA?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<h3 style=\"text-align: justify;\" data-start=\"2136\" data-end=\"2189\"><strong data-start=\"2140\" data-end=\"2189\">Hakim Belabbes and the Aesthetics of Intimacy<\/strong><\/h3>\n<p style=\"text-align: justify;\" data-start=\"2191\" data-end=\"2416\">Filmmaker <strong data-start=\"2201\" data-end=\"2219\">Hakim Belabbes<\/strong> offered a profound <em data-start=\"2239\" data-end=\"2252\">masterclass<\/em> under the theme <em data-start=\"2269\" data-end=\"2327\">\u201cThe Market of Affection and the Aesthetics of Ugliness\u201d<\/em>, drawing an engaged audience of critics and cinephiles into a three-hour conversation.<\/p>\n<p style=\"text-align: justify;\" data-start=\"2418\" data-end=\"2821\">Belabbes\u2019 cinema, often described as <strong data-start=\"2455\" data-end=\"2474\">\u201ccin\u00e9ma intime\u201d<\/strong>, captures the fragile beauty of human emotion \u2014 a cinema where <strong data-start=\"2538\" data-end=\"2588\">the camera becomes both intruder and confidant<\/strong>, revealing tenderness, anxiety, and silence rather than spectacle or action. Through his unique visual grammar \u2014 close shots, natural light, whispered soundscapes \u2014 he transforms film into a language of <strong data-start=\"2792\" data-end=\"2818\">empathy and confession<\/strong>.<\/p>\n<div class=\"youtube-embed\" data-video_id=\"Nfd0cyske7M\"><iframe loading=\"lazy\" title=\"In an Exceptional Masterclass, Hakim Belabbes Explores the Poetic Power of Ugliness\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/Nfd0cyske7M?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: justify;\" data-start=\"2823\" data-end=\"3262\">For Belabbes, the true challenge lies in portraying the human body without voyeurism, and in revealing pain without exploiting it. His \u201cCinema of Affection\u201d dismantles traditional power dynamics \u2014 gendered, social, or psychological \u2014 through the courage to look closely, to remain silent, and to feel deeply. \u201cI write with emotion, not intellect,\u201d he said. \u201cI have many beginnings, but no endings \u2014 the film tells you when it is complete.\u201d<\/p>\n<h3 style=\"text-align: justify;\" data-start=\"3264\" data-end=\"3324\"><strong data-start=\"3268\" data-end=\"3324\">\u201cLove in Dakhla\u201d \u2014 Where the Desert Breathes Romance<\/strong><\/h3>\n<p style=\"text-align: justify;\" data-start=\"3326\" data-end=\"3548\">Directed by <strong data-start=\"3338\" data-end=\"3356\">Khalid Brahimi<\/strong>, <em data-start=\"3358\" data-end=\"3376\">\u201cLove in Dakhla\u201d<\/em> (2025, 100 min) immerses viewers in the poetic geography of Morocco\u2019s southern gem, transforming the city of <strong data-start=\"3486\" data-end=\"3496\">Dakhla<\/strong> into a living metaphor for freedom and belonging.<\/p>\n<p style=\"text-align: justify;\" data-start=\"3550\" data-end=\"3811\">Far from a conventional love story, the film follows two women escaping Casablanca\u2019s suffocating pace to rediscover themselves in the openness of the desert. The <strong data-start=\"3712\" data-end=\"3736\">sand, sea, and light<\/strong> become characters in themselves \u2014 silent witnesses to emotional rebirth.<\/p>\n<p style=\"text-align: justify;\" data-start=\"3813\" data-end=\"4233\">Brahimi captures the <strong data-start=\"3834\" data-end=\"3862\">duality of the landscape<\/strong> \u2014 the anxiety of the ocean and the serenity of the dunes \u2014 in a visual symphony that balances realism with symbolism. \u201cI was afraid the love story would overshadow the love of place,\u201d he admitted. Yet, in truth, the film\u2019s heart beats within the city itself: Dakhla is not merely a backdrop, but the ultimate lover \u2014 <strong data-start=\"4180\" data-end=\"4232\">a cinematic embodiment of Morocco\u2019s poetic South<\/strong>.<\/p>\n<h3 style=\"text-align: justify;\" data-start=\"4235\" data-end=\"4297\"><strong data-start=\"4239\" data-end=\"4297\">\u201cRadhia\u201d \u2014 A Feminine Rebirth through Shadow and Light<\/strong><\/h3>\n<p style=\"text-align: justify;\" data-start=\"4299\" data-end=\"4673\">With <em data-start=\"4304\" data-end=\"4314\">\u201cRadhia\u201d<\/em> (2025, 82 min), director <strong data-start=\"4340\" data-end=\"4365\">Khawla Asbab Ben Omar<\/strong> delivers a daring psychological film about womanhood, loss, and renewal. The film portrays <strong data-start=\"4457\" data-end=\"4476\">a wealthy widow<\/strong> who defies societal expectations, finding herself entangled in a forbidden romance with her late husband\u2019s friend \u2014 not as an act of rebellion, but as an existential exercise in reclaiming life.<\/p>\n<p style=\"text-align: justify;\" data-start=\"4675\" data-end=\"4912\">Here, <strong data-start=\"4681\" data-end=\"4700\">the color black<\/strong> transcends mourning \u2014 it becomes a visual metaphor for inner conflict and desire. The camera lingers on silence and architecture, suggesting that grief is not always loud; sometimes it is elegantly restrained.<\/p>\n<p style=\"text-align: justify;\" data-start=\"4914\" data-end=\"5247\">Through her meticulous use of light, space, and emotional restraint, Ben Omar joins the emerging wave of Moroccan women filmmakers who tell stories of liberation with <strong data-start=\"5081\" data-end=\"5123\">grace, depth, and intellectual courage<\/strong>. Her <em data-start=\"5129\" data-end=\"5139\">\u201cRadhia\u201d<\/em> reminds us that even after loss, life insists on being lived \u2014 sometimes on a motorcycle, into the unknown.<\/p>\n<h3 style=\"text-align: justify;\" data-start=\"5249\" data-end=\"5299\"><strong data-start=\"5253\" data-end=\"5299\">\u201cA New Birth\u201d \u2014 Between Memory and Freedom<\/strong><\/h3>\n<p style=\"text-align: justify;\" data-start=\"5301\" data-end=\"5466\">The short film <em data-start=\"5316\" data-end=\"5331\">\u201cA New Birth\u201d<\/em> by <strong data-start=\"5335\" data-end=\"5353\">Ayoub A\u00eft Bihi<\/strong> explores themes of identity, trauma, and personal liberation against the backdrop of Morocco\u2019s political past.<\/p>\n<p style=\"text-align: justify;\" data-start=\"5468\" data-end=\"5827\">The narrative intertwines two destinies \u2014 a former political prisoner confronting his estranged son, and a young single mother seeking redemption from societal judgment. Through poetic imagery and deliberate stillness, A\u00eft Bihi crafts a <strong data-start=\"5705\" data-end=\"5737\">visual meditation on rebirth<\/strong> \u2014 the courage to shed inherited pain and to claim freedom as an act of self-definition.<\/p>\n<p style=\"text-align: justify;\" data-start=\"5829\" data-end=\"6020\">Producer <strong data-start=\"5838\" data-end=\"5854\">Houcine Hnin<\/strong> described it best: \u201cThis is not a film that provides answers. It opens wounds, invites reflection, and asks: Who are we, once we are free from others\u2019 expectations?\u201d<\/p>\n<h3 style=\"text-align: justify;\" data-start=\"6022\" data-end=\"6055\"><strong data-start=\"6026\" data-end=\"6055\">A Cinematic Turning Point<\/strong><\/h3>\n<p style=\"text-align: justify;\" data-start=\"6057\" data-end=\"6443\">As the fifth day drew to a close, one could feel the shift \u2014 Moroccan cinema is evolving beyond mere storytelling. From Belabbes\u2019 \u201cAesthetics of Ugliness\u201d to Brahimi\u2019s romantic desert, from Ben Omar\u2019s introspective femininity to A\u00eft Bihi\u2019s existential freedom, <strong data-start=\"6318\" data-end=\"6352\">a new generation of filmmakers<\/strong> is redefining cinematic language in Morocco \u2014 daring, introspective, and profoundly human.<\/p>\n<p style=\"text-align: justify;\" data-start=\"6445\" data-end=\"6701\">For <strong data-start=\"6449\" data-end=\"6480\">Moroccan Diplomacy Magazine<\/strong>, this coverage represents not only a cultural mission but also a diplomatic one: to project Moroccan creativity beyond borders, in a language the world understands \u2014 <strong data-start=\"6647\" data-end=\"6701\">the language of art, emotion, and cinematic truth.<\/strong><\/p>\n<p style=\"text-align: justify;\" data-start=\"6708\" data-end=\"6733\">Would you like me to add:<\/p>\n<ul style=\"text-align: justify;\" data-start=\"6734\" data-end=\"6989\" data-is-last-node=\"\" data-is-only-node=\"\">\n<li data-start=\"6734\" data-end=\"6841\">\n<p data-start=\"6736\" data-end=\"6841\">A <strong data-start=\"6738\" data-end=\"6761\">short editor\u2019s note<\/strong> (signed \u201cEditorial Board \u2013 Moroccan Diplomacy Magazine\u201d) introducing the piece?<\/p>\n<\/li>\n<li data-start=\"6842\" data-end=\"6989\" data-is-last-node=\"\">\n<p data-start=\"6844\" data-end=\"6989\" data-is-last-node=\"\">Or a <strong data-start=\"6849\" data-end=\"6870\">headline subtitle<\/strong> for the printed layout (for example: <em data-start=\"6908\" data-end=\"6987\">\u201cExclusive English Feature: Moroccan Cinema Speaks to the World from Tangier\u201d<\/em>)?<\/p>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"z-0 flex min-h-[46px] justify-start\" style=\"text-align: justify;\"><\/div>\n<\/div>\n<\/div>\n<\/article>\n<article class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [&amp;:has([data-writing-block])&gt;*]:pointer-events-auto scroll-mt-(--header-height)\" dir=\"auto\" tabindex=\"-1\" data-turn-id=\"da6eca0a-8c63-431d-ad54-68cc5cc154ca\" data-testid=\"conversation-turn-3\" data-scroll-anchor=\"false\" data-turn=\"user\">\n<h5 class=\"sr-only\" style=\"text-align: justify;\"><\/h5>\n<\/article>\n","protected":false},"excerpt":{"rendered":"<p>In a groundbreaking moment for Moroccan media, Moroccan Diplomacy Magazine proudly marked its presence at the 25th National Film Festival in Tangier \u2014 held from October 17th to 25th, 2025 \u2014 delivering for the first time in Morocco exclusive interviews and in-depth coverage in English, aimed at the Anglo-Francophone world. This initiative, made possible through [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":3285,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[109,66],"tags":[],"class_list":{"0":"post-3284","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-cinema-diplomacy","8":"category-video"},"_links":{"self":[{"href":"https:\/\/diplomatique.ma\/en\/wp-json\/wp\/v2\/posts\/3284","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diplomatique.ma\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/diplomatique.ma\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/diplomatique.ma\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/diplomatique.ma\/en\/wp-json\/wp\/v2\/comments?post=3284"}],"version-history":[{"count":4,"href":"https:\/\/diplomatique.ma\/en\/wp-json\/wp\/v2\/posts\/3284\/revisions"}],"predecessor-version":[{"id":3289,"href":"https:\/\/diplomatique.ma\/en\/wp-json\/wp\/v2\/posts\/3284\/revisions\/3289"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diplomatique.ma\/en\/wp-json\/wp\/v2\/media\/3285"}],"wp:attachment":[{"href":"https:\/\/diplomatique.ma\/en\/wp-json\/wp\/v2\/media?parent=3284"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/diplomatique.ma\/en\/wp-json\/wp\/v2\/categories?post=3284"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/diplomatique.ma\/en\/wp-json\/wp\/v2\/tags?post=3284"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}