Written by the erudite script-writer Farida Benlyazid, farhati’s movie reflects the quotidian pains of Moroccan women during the post-independence era. The movie reflects the reality and demonstrates how sexual abuse and social oppression operate. It is also an invitation to explore Moroccan culture through the customs and the traditions it presents: wedding parties, funerals, traditional music and the entire folklore of the country.
Another noticeable aspect regarding the changes that the film industry witnessed at that time is the emergence of the female directors. Farida Benlyazid is regarded as the first woman filmmaker in Moroccan cinema. She began her career by writing some successful works for other filmmakers and shifted her focus…show more content… Before moving into film directing, Tazi worked as a cameraman in varied short movies. Like many filmmakers of his generation, he studied cinema in Paris and returned to his country to work in the CCM. In the late 80s, Tazi made his first appearance directing two feature movies, Ibno Sabil and Badis. Carter believes that Tazi’s early experiences taught him that making cinema in Morocco requires a lot of efforts especially that the funds provided and the infrastructure are not adequate. Gender issues are well manifested in his works. Tazi’s films present to the audience his own perspective regarding women 's experience in society. They frankly highlight women’s oppression under male predominance, and their quest for freedom. They are an indirect recognition of the patriarchal order within the Moroccan culture. In his films, women are more related to the private sphere and are represented as…show more content… The second generation of Moroccan directors managed to adopt new styles and techniques shifting their focus into the so called ‘auteur’ cinema. They also succeeded to detach themselves gradually from the impact of the French and other foreign cinema models rendering the films more original. The filmmaker’s growing interest in domestic issues contributed to the emergence of the debate over the role of cinema as cultural product in the development of the nation. Questions about the type of film the state should encourage pushed the latter to revise its policies and to issue new regulation so as to enhance