At the 7th Atlas Workshops, which are taking place from December 1st to 5th during the Marrakech Festival, Lina Soualem’s family story “Alicante,” Walid Messnaoui’s Western about gangsters titled “The Last Beast of Atlas,” and Linda Lô’s drama exploring identity called “Lucky Girl” are generating a lot of excitement.
“Mud” director Jeff Nichols has already been announced as this year’s Workshops tutor.
They will likewise reveal the initial visuals for three highly anticipated films from the Arab world – coming from the director of “Amreeka,” Cherien Dabis, the director of “The Yacoubian Building,” Marwan Hamed, and the creators behind Palestine’s Oscar entry titled “Gaza Mon Amour,” known as Tarzan and Arab Nasser.
Joining the mix are a host of first or second-time filmmakers, many from Morocco, Africa, and the Arab world who have previously earned Academy Awards or recognition at major film festivals. This makes the 2024 Atlas Workshops one of the most prestigious and exhilarating development programs I’ve come across this year.
The work of filmmakers from the Arab and African regions is increasingly being recognized at major global film festivals. These projects are being developed as compelling films for international audiences, not just limited to social dramas. In fact, filmmakers are exploring a wide range of genres, offering innovative perspectives to portray the challenges and optimism in our world today. As director of Atlas Workshops, Hédi Zardi shared with EbMaster that he focuses on selecting bold, original stories that can resonate with both artistic value and market demand.
Heading: Notable Workshop Participants this Year: Mira Nair’s “Amreeka” and “May in the Summer” standout from 2009 Sundance; Mira Dabis will share preliminary images of her new project, “All That’s Left of You,” a multigenerational story set in Palestine, filmed in Arabic.
As a film enthusiast, I’m thrilled to share my thoughts on “Once Upon a Time in Gaza,” a compelling revenge drama directed by the talented brothers Tarzan and Arab Nasser. This epic production marks the Workshop’s largest co-production yet, bringing together film industries from Palestine, France, Germany, Portugal, Jordan, and Saudi Arabia. Bac Films has been entrusted with handling French distribution and international rights for this powerful film.
El Sett” represents the grandest stride yet from Egyptian filmmaker Hamed, whose films have significantly elevated the global aspirations in contemporary Egyptian cinema.
Filmmakers making their debut in fiction features, who gained attention with the 2023 Venice and Toronto-titled film “Bye Bye Tiberias” (starring Hiam Abbas as the protagonist), first worked at the Soualem Workshops.
In addition, they include Murad Abu Aiseh, the inaugural Arab recipient of a Student Oscar, as well as Zamo Mkhwanazi, the pioneering Black South African director whose short film “Sadla” made its debut at Sundance.
Morad Mostafa’s film ‘Aisha Can’t Fly Away,’ which won the final cut at Venice Production Bridge in September, has been selected. Meanwhile, Charlotte Rabate’s television series ‘The Colony’ has been acquired by HBO Max.
Also in the mix are awaited second features. One, “Behind The Palm Trees,” is from the Oscar-nominated Meryem Benm’Barek (“Jennah”), whose debut feature “Sofia” scooped best screenplay at Cannes’ 2018 Un Certain Regard.
Babatunde Apalowo’s latest work, titled ‘In the Shadows of Good Fortune’, serves as a sequel to his previously acclaimed piece ‘All the Colors of the World Are Between Black and White’. This latter production was honored with a Berlin Best Feature Teddy Award.
Of more consolidated directors, Tala Hadid’s first film screened at Toronto, her second at Berlin.
A more detailed drill-down on the far-ranging Atlas Workshops titles:
Projects in Development
“Alicante,” (Lina Soualem, Algeria, France)
After her break-up, Assia decides to spend some quality time with her family who have recently opened a restaurant in Spain. However, she finds herself struggling to keep the family business afloat. This emotional journey is depicted by one of the most prominent first-time feature filmmakers from the Workshops, supported by Omar El Kadi and Nadia Turencev at the dynamic French production company, Easy Riders Films.
“Flowers of the Dead,” (“Flôr di Finado,” Nuno Miranda, Cape Verde, Portugal)
As a passionate film enthusiast, I’ve been captivated by the early stages of Miranda’s latest creation, “Flowers,” which was showcased at the Rotterdam Festival. This 55-minute masterpiece, titled “Kmêdeus” (“EatGod”), unfolds as a heartfelt romantic road movie, beautifully contrasted against Cape Verde’s mystical landscapes. The plot revolves around two characters grappling with grief and personal development. Pedro Soulé takes the helm for Cape Verde’s KS Cinema, while Pedro José-Marcellino does so for Portugal’s Pedrada.
“Ici Repose,” (Moly Kane, Senegal, France)
The upcoming film from Senegalese writer-director Kane, renowned for his works such as “Moly” (2011) shown in Cannes Classics, “Sër Bi” (2020), and the founder of Dakar Court festival in 2018, is under consideration. This film, based on real-life occurrences, follows a mother who conforms to her community’s norms, but decides to defy them when faced with burying her gay son, who was lynched. The production companies behind this project are Babubu Films (“Sër Bi”) and Films Grand Huit, the team behind the Berlin Silver Bear winner “Disco Boy.
“The Last Beast of the Atlas,” (Walid Messnaoui, Morocco)
The upcoming Western-drama “The Last Beast,” directed by Casablanca-born and ESAV Marrakech Film School alum Messnaoui, who gained recognition for his intense and despondent petty crime caper “No Key” in 2022, is highly anticipated. This film, which won at the Indie Short Fest and screened at Fantastic Fest, is set in the 1990s middle-Atlas. The story revolves around Boulohouch, a notorious outlaw symbolizing freedom and fear. However, the myth begins to unravel as events unfold. This production is backed by Taoufik Rais, El Mahdi Amsrouy at Caestus Film, who also produced “No Key,” and are becoming a significant force on the Moroccan film scene with another project in development.
“Lucky Girl,” (“Chanteuse,” Linda Lô, France)
In her first film, Lô narrates her personal tale through a work of fiction. During a holiday in Bordeaux, 4-year-old Lili and her siblings, aged 9 and 20, are left unsupervised when their vibrant mother departs unexpectedly to Gabon to manage her restaurant-discotheque. The narrative unfolds across three acts, following Lili’s transformation from a young girl, through her teenage years, to maturity, as she evolves into Linda, striving to win her mother’s approval and rediscover her African roots. This film was produced by Maneki Films, the renowned French independent production company behind notable festival hits like “Paulina,” “White Elephant” and “Bang Bang.
“The Orange Grove,” (Murad Abu Eisheh, Canada)
Roger Frappier, who worked as a producer on Jane Campion’s “The Power Of The Dog,” is involved in adapting Larry Tremblay’s 2013 novel into a movie. This story revolves around an actor-understudy and his traumatic childhood during wartime, primarily spent in an orange grove with his twin brother. Eisheh’s “Tala’vision” received not only a Student Oscar but also the best short award at the Red Sea Festival.
“Princess Téné,” (Fabien Dao, Burkina Faso)
In a contemporary Ouagadougou, Téné, the reigning queen of the city’s nightlife, finds herself inheriting her family’s stable. She utilizes the horses to traffic illicit substances, unknowingly selling them to the same terrorists who took her brother’s life. Over time, she reconnects with the community of horse breeders and the rich history of equestrianism that she had abandoned during her childhood. This thought-provoking film is the creation of Moustapha Sawadogo at Future Films, a group of innovative filmmakers based in Ouagadougou.
“Pure Madness,” (Inés Arsi, Tunisia, France)
From Instinct Bleu, a new project hailing from Tunisia, established in 2019 by Sarra Ben Hassen and the producer of “Who do I Belong To,” an Oscar-nominated film directed by Meryam Joobeur. This inaugural documentary feature, titled “Pure Madness” by director Arsi, follows the director’s own journey as they unravel the mysteries surrounding their uncle who moved to France in the ’60s. The story delves into the silence that surrounds mental health issues in Tunisia. Previously screened in Competition at Berlin Festival and now selected for Special Screening at Marrakech.
“Samir, the Accidental Spy,” (Charlotte Rabate, France)
12-year-old Samir flees to Lebanon following Syria’s 1966 coup d’état, fearing his father might be a spy. Together with his girlfriend Christine, he embarks on an investigation that uncovers his father’s hidden truth. The project is developed under the supervision of Coralie Dias at Inter Spinas Films. Rabaté, who has previously produced and co-written the feature “Stray Dolls” (premiered at Tribeca), is also involved in this production. The short film “Warsha,” produced by Dias, was awarded a Sundance 2022 International Jury Prize and was nominated for an Oscar. It has been acquired by Arte, Netflix, and The Criterion Channel.
“The Shelter,” (Talal Selhami, Morocco, France)
Establish at La Prod by Lamia Chraibi, where films like “The Last of Us” by Hicham Lasri, “The Forgotten” by Narjiss Nejjjar, “Omar” by Ismaïl Ferroukhi, and “The Wedding of the Dead” by Mohcine Besri are displayed, also features Selhami’s latest work, a fantasy film titled “Achoura,” which won awards at both the Hardline Festival and Sitges. In this Paris setting, Leila, a Syrian refugee who survived war, is tasked with caring for Georges, a man nearing the end of his life who was once a diplomat. This encounter with mortality stirs the memories of Leila’s past traumas.
“The Source,” (Mouloud Ouyahia, France, Algeria)
In my perspective, this movie chronicles the journey of two companions reminiscent of modern-day treasure hunters, pushing the limits of advancement and moral standards. The synopsis unfolds alongside an image capturing a solitary figure in desolate, sun-baked mountains. ‘The House is On Fire, Might as Well Get Warm,’ directed by Ouyahia after his Cannes 2023 Directors’ Fortnight short, is lead-produced by L’Oeil Vif, a Toulouse-based production company founded by Lucas Senecaut and Ouyahia.
“Your Turn 203,” (“A Vous, 203,” Cynthia Sawma, Lebanon)
Amidst turmoil in Lebanon, Aida, a 50-year-old housewife, finds fresh liberation and purpose in her life when she responds to a call for extras, as described in the plot summary. This story unfolds in a setting where reevaluating one’s societal position is a crucial step towards change, as suggested by the Atlas Workshops. The film, titled ‘Dreaming of Lebanon,’ which was directed by Sawma and was chosen for SXSW and won the best VR award at the Ji.hlava doc fest, is vibrant and spirited. This production is a collaboration between Lebanon’s Abbout Productions and France’s Wheelhouse Productions.
Atlas Close-Ups
“And Still I Rise,” (“A balles perdue, mon âme gagnée,” Djanis Bouzyani)
In a new take, we find that the documentary “And Still I Rise,” directed by the former actor and now director Djanis Bouzyani (of Moroccan-French descent), focuses on French tennis player Aravane Rezai. She is grappling with the tension between family obligation and her yearning for independence, while striving to make a return to the sport, complicated by the hostility of her own father. This film was produced by esteemed French art-house producers Agat Films-Ex Nihilo, who have previously worked on “The Most Precious of Cargoes” at Cannes and five other films chosen for the festival.
“Dar Marjana,” (Lamia Lazrak, U.S., Morocco)
A film titled “Dar Marjana,” supported by Caravan Features in the U.S. and Paper Tongue in Morocco, is focusing on boosting the representation of women and nonbinary individuals of color. The story revolves around Kenza, a restaurant owner, who decides to break free from her family’s traditional eatery situated within a 200-year-old house in Marrakech’s Medina, which houses capricious and powerful spirits known as jinns. Lazrak, a Moroccan director based in Portland, is at the helm of this project, having previously directed “Camoflauge” and “Birth of Venus.” In this movie, she showcases her own family.
“The Field,” (“Le Champ,” Mohamed Bouhari, Morocco)
In a sprawling cornfield in Morocco, five characters intersect under the direction of Bouhari (known for “Jeans” and “Abandon de poste”). These individuals are compelled to face their deepest apprehensions, mainly the dread of retribution. This compelling drama unfolds at Casablanca’s Le Moindre Geste, a production company founded by Francesca Duca and Alaa Eddine Aljem in 2012 (previously known as “Le Miracle du Saint Inconnu”).
“Fatwa,” (Mohamed El Badoui, Morocco)
Moving forward, we have an upcoming project by the Spain-based filmmaker El Badoui, recognized primarily for “Lalla Aisha,” featuring Angela Molina, and “Palestine,” a dramatic piece centered around mistaken identities set in the West Bank.
“The Nours,” (“Les Frères Noirs,” Yassine Iguenfer, Morocco)
A cheerful and captivating road trip film, set in 1975 Morocco against the breathtaking backdrop of the Atlas Mountains, follows the journey of a young Vietnamese man named Ahmed Nour. He has come to Casablanca with a green truck, on a quest to locate his Moroccan father. This film is brought to you by Caestus Films.
Films in Production or Post-Production
“Aisha Can’t Fly Away,” (Morad Mostafa, Egypt)
2024’s Venice Production Bridge Final Cut winner, Mostafa’s debut feature, received further development at the Doha Film Institute’s Qumra Lab. This film focuses on a woman who tends to her aging parents while observing the escalating ethnic conflicts in Cairo. The Final Cut jury praised it as “powerful and authentic,” noting that despite being a first-time director, the movie demonstrated strong direction and a unique cinematic style. They were particularly moved by its raw realism, careful attention to detail, and compelling narrative.
“All That’s Left of You,” (Cherien Dabis, Palestine)
Among the highly anticipated films in Atlas Workshops, this one focuses on various generations of a Palestinian family. In Dabis’ third movie, both Dabis and an outstanding cast featuring brothers Adam Bakri (“Official Secrets”) and Saleh Bakri (“Wahib”), as well as father Mohammad Bakri (“Private”), take the lead roles. Germany’s Pallas Film and AMP Fireworks of Cyprus are the production companies for this film.
“Bardi,” (Tala Hadid, Morocco, U.S., France)
After Zaha Hadid’s award-winning “House in the Fields” (2017), this project forms the second part of a planned documentary trilogy that follows a group of traveling horsemen across Morocco. As the synopsis describes, the film is a tribute to horses, men, and the shared passions that unite them. The production companies involved are Morocco’s Kairoi Films, Danny Glover and Joselyn Barnes’ Louverture Films from the U.S., Cine Sud of France, and K Films.
“Behind The Palm Trees,” (Meryem Benm’Barek, Morocco, France)
Currently in post-production and another highly anticipated film at this year’s Atlas Workshops, produced by internationally Oscar-nominated Jean Bréhat (known for “Days of Glory” and a regular at Cannes Film Festival), the story unfolds against the historical context of France’s influence over Morocco. It revolves around a love story between a young Moroccan and a wealthy French expat woman, whose relationship doesn’t succeed.
“Chronicles From the Siege,” (Abdallah Al Khatib, Palestine, Algeria, France)
This film, titled “Life Under Siege: Five Interconnected Tales,” is a fictional extension of Abdallah Al Khatib’s critically praised initial documentary, “Little Palestine: Diary of a Siege.” It was jointly produced by Issaad Film Production from Algeria, Evidence Film from France, and Blue Train Films. This thought-provoking narrative is characterized by dark humor and presents five interconnected stories that delve into life under siege conditions. In this challenging environment, individuals strive to fulfill their fundamental needs – food, warmth, enjoyment, intimacy, and wellbeing. Despite the hardships, these stories beautifully portray human resilience, adaptability, and ingenuity as they navigate through adversity.
“Laundry,” (Zamo Mkhwanazi, Switzerland, South Africa)
1968, set in South Africa, the story of “Laundry” revolves around Khutala, a character based on Mkhwanazi’s family history. He finds himself torn between his passion for music and safeguarding the family laundry business, as the apartheid government imposes stricter regulations on Black-owned businesses. This is the first full-length film by esteemed short film director Mkhwanazi, produced by Akka Films, who have shifted from documentary to fiction productions, such as “The Shameless” in Un Certain Regard. South Africa’s Kude Media, responsible for “Sadla,” is also involved in the production of this film.
“In the Shadows of Good Fortune,” (Babatunde Apalowo, Nigeria)
Experience a heartfelt exploration into the intricacies of family relationships, as families grapple with their daughter’s life-threatening illness. This compelling narrative is brought to you by a writer-director acclaimed for his keen psychological insights. Co-produced by Polymath Pictures of Nigeria and The Make It Happen Production.
“It’s a Sad and Beautiful World,” (Cyril Aris, Lebanon)
In the debut fiction film from Cyril Aris of Lebanon, whose recent documentary feature “Dancing on the Edge of Volcano” received a special jury mention at Karlovy Vary in 2023. This romantic comedy unfolds amidst the economic crisis in Lebanon. The story revolves around two characters, one an ever-optimistic individual and the other a practical, impulsive person, who must decide whether they wish to establish a family and navigate their path towards happiness. As per one summary, this film is being produced by a formidable team comprising renowned Lebanese producer Georges Schoucair from Abbout Productions (“Zama”), U.S.-based Diversity Hire, which was behind the Un Certain Regard winner “Joyland,” and Germany’s Reynard Films.
“Once Upon a Time in Gaza,” (Tarzan and Arab Nasser, Palestine)
In a retaliation-themed narrative, as Hamas strengthens its grip on Gaza, Yahia embarks on a quest for vengeance following the gruesome slaying of his comrade Ossama. Yet, an encounter with the perpetrator alters everything. The lead production is overseen by France’s Les Films du Tambour.
Atlas Film Showcase
“El Sett,” (Marwan Hamed, Egypt)
In a major motion picture, renowned actress Mona Zaki portrays legendary Egyptian singer Umm Kulthum, who in the late 1920s became the first significant Arab artist to share her music with the public through emerging technologies such as radio, phonographs, cinema, and television. The production companies behind this film are Synergy Films, Film Square, Film Clinic, Luxor Studios, and Oscar Studios.
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2024-11-22 17:19