مدي 1 تي في : المخرج محمد عهد بنسودة - 23/11/2024
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00:00The message of art is not just words but it is an effective application on the ground of reality and a special impact on souls and minds.
00:29The language of cinema remains one of the strongest and most enjoyable creative dialects in the world.
00:35How not, and the magic of 7th art takes us to the edge of the special imagination to see the reality with the camera's eye that does not know complexity or even exaggeration.
00:46And for the rest of the talk, welcome.
00:50What do you think of this? What do you think of this?
00:54There is a huge difference.
00:56The sun is the biggest lie in the world.
00:59It's the first time I've met someone like that. Do you understand?
01:05I know myself, I don't feel anything, thank God.
01:08Shut up. Don't put me in trouble again.
01:12We don't do anything that is forbidden.
01:15We don't do anything.
01:17This is not our story.
01:18I don't want to go to jail.
01:20I'm angry with you because of the girl.
01:23In the summer, you give us money, in the fall, you give us money for the prison.
01:25Either you get me out of the house or I'll go to the police and tell them you want to rape me.
01:29I don't want to rape you.
01:30I want to tell you something terrible, God willing, and you will tell me from your mouth and your voice.
01:34And I will tell you from my mouth the day the message I hold you.
01:36Come on, calm down, what are you doing?
01:37I will tell you what my heart wants.
01:39What do you want from me? What do you want from me?
01:41I don't want anything.
01:43I want you to forget.
01:45I told you, I don't want to die.
01:46I swear, I'm not going to leave you.
01:47Why are you crying, my daughter?
01:48I don't want to die, I don't love him.
01:51You can't be fired if you don't agree to everything.
01:55In fact, I came to work.
01:58I came to see you.
02:00See me?
02:01What do you want to tell him?
02:02That the divorced woman has not yet taken her normal place as a free person in the Moroccan society?
02:07What do you want from me?
02:14Divorced Women of the White House
02:16A film by Mohamed Ahd Bensouda
02:22We greet our dear viewers again and we talk again about the world of creativity.
02:26The world of cinema in particular.
02:29A world that relies on other people's stories in a language that is a mixture of imagination and reality.
02:34And they are two sides of the same coin.
02:37You only know creativity.
02:39And in this context, I am happy to have with us today one of the creators of Moroccan cinema.
02:44An academic, literate and specialized in the fields of cinema, television and modern communication.
02:51He worked alongside the great international filmmakers.
02:55Among them, Ridley Scott, Martin Scorsese and Harry Wiener.
02:59We welcome the film director Mohamed Ahd Bensouda.
03:03Mr. Mohamed Ahd, welcome to the show Kingdom of Creativity.
03:09Thank you very much for the invitation.
03:11I am very happy to be part of this show.
03:14Its title refers to many things and refers to a world of creativity.
03:22And I hope that this session will be useful for everyone and that we all be creative.
03:27You are one of the creators in the field of cinema, Mr. Mohamed Ahd.
03:31Welcome again.
03:33I am also happy to have with us, as usual, the consultant of the show, Dr. Ahmed Dhafri.
03:39Welcome, doctor.
03:41Welcome, Mr. Hussain. Thank you.
03:43Welcome.
03:44So, let's start the discussion with all subjectivity and away from the language of wood.
03:50Mr. Mohamed Ahd, when you looked at your academic career,
03:54you said to me and to myself that you have all the tools and resources to give us successful works
04:02that we remember from years and decades.
04:08In your opinion, is it necessary for a scientist and an academic to practice a cinematic work?
04:16Well, I think that there should be no separation between academic formation and field formation.
04:25Yes.
04:26So, through academic formation, the director has a comprehensive view of the cinematic genres,
04:35cinematic disciplines, and cinematic schools,
04:38so that he can produce cinematic genres, forms, and creative styles that are close to the society they work in.
04:47Especially that he should also gradually look at all forms of cinema production, Mr. Mohamed.
04:56He should be a director's assistant, work in lighting, know how to deal with sound, and so on.
05:02This may give him a more present cinematic personality.
05:06I think that this is an important stage, and it creates a difference between one director and another.
05:20I think that the transition to a set of cinematic specializations within the framework of international cinema,
05:33for example, within the framework of our beloved Kingdom, the Kingdom of Creativity,
05:37there is a new form.
05:40For example, there is the city of Ouarzazate, which provides an important and rich school
05:47so that Moroccan technicians and creators can look at a set of cinematic schools
05:56that make them not completely separate from international cinema.
06:03Yes, Mr. Hussam, you have touched upon very important points
06:10regarding the high level of technical aspects that must be provided to the director.
06:16But I will try to focus with you on another important element that we may not be aware of,
06:23which is the issue of directing actors.
06:25I know that you have strong references in the field of theater,
06:31and I was a witness to the period when you were a student at FAS,
06:37studying in the field of university theater, under the patronage of Mohamed Kaghat,
06:43who produced major theatrical works, such as Murtajalat Fas, Murtajalat Jadida,
06:52and you were one of the amazing participants in this work.
06:57As for you, and going back to this stage,
07:01was there an important element in building your character,
07:05especially in terms of dealing with the actor,
07:08in the production of the cinematic shot and scene,
07:14starting from the strong and solid reference.
07:19First of all, I thank you for this question,
07:21because through you I will have mercy on the soul of our professor Mohamed Kaghat,
07:27who had a strong influence on my artistic life in general,
07:33because through him we loved art, we loved theater, we loved cinema and television,
07:39and the theater experience, I think,
07:44could be added to the international cinema that we talked about,
07:48in terms of practicing in international platforms, etc.
07:53So, going through the theater is a very important issue,
07:58because you become an actor in terms of wood,
08:03in terms of dealing with the actor,
08:06and this issue is noticed in many of my films,
08:09because I give a lot of time to the actor,
08:12because I am the kind of person who loves the actor.
08:16Mr. Mohamed Adi, your presence or your work in the theater
08:22contributed to the strength of your character,
08:24and gave you that positive energy in this path.
08:29We will now turn to the cinematic field.
08:32In recent years, you have presented many cinematic works,
08:36but what is striking is that topics related to women
08:39have been exported.
08:42Mr. Mohamed Adi, in the beginning,
08:44what is the secret of your interest in topics related to women and women in your works?
08:49Brother Hussam, I will tell you something,
08:52which may be exclusive to the Media 1 channel,
08:56which is that the issue of dealing with the topic of women is not like that at all.
09:01I am a brother of five daughters, and not a brother.
09:07And a father of four daughters, and not a son.
09:11So I think that...
09:12Praise be to God.
09:13Praise be to God.
09:16I think that this space, and this female environment,
09:21in which I grew up, and I still live in,
09:25I try my best to make me closer to the problems of women in Moroccan society.
09:30I think that the director who is very far from society,
09:35and I think that women are not only half of society, but more than that.
09:40So, the chance, I mean,
09:44I am lucky to live in this female space,
09:48which makes me closer to the problems of women,
09:51which makes me have a constant dialogue.
09:53You are keen to change the interests of women.
09:55Yes, yes.
09:56Even if there is a set of things,
09:58I mean, I should pay attention to them,
10:02I should reconsider them,
10:04I mean, I should deal with them through the film.
10:07Yes.
10:08Also, from my point of view,
10:11I have been following your cinematic experience since the beginning,
10:16in the field of short films.
10:18Short films,
10:20since 2005, 2006,
10:25until now,
10:26I mean, it has been almost 20 years.
10:30This experience, for me,
10:32if I try to read it,
10:35starting from the first short film,
10:38which has a kind of fantastic nature,
10:41a nature that refers to history,
10:43and refers to focusing on elements
10:46related to Moroccan heritage, culture, and heritage.
10:51Then we move on to other different topics,
10:54and we may be divided,
10:56and we may find ourselves divided
10:58in front of different and many methods.
11:01Don't you, in your opinion,
11:03find that direction,
11:07or the special style
11:09that you can focus on more
11:11and stay surrounded by?
11:13Let me say
11:15that this is an important question.
11:17Why?
11:18Because, in my opinion,
11:20the director,
11:21when he is able,
11:23from his cinematic tools,
11:25not only to work on one type of cinema,
11:29there are many types.
11:31If we take, for example,
11:32the world-renowned director,
11:34you don't see him working only on one type of cinema.
11:37Meaning, he focuses on one color.
11:39No, no.
11:40He has cinematic tools.
11:42Now, the issue is related to the possibilities
11:44that are available for this work.
11:47Whether it is an action film,
11:49which has its own possibilities,
11:50or a historical film,
11:51which has its own possibilities.
11:52So, the director,
11:53when he has cinematic tools,
11:55he has a great right to work
11:57and be comfortable
11:59in a variety of topics.
12:01Since we were talking about
12:03women in cinematic work
12:05by Mohamed Ahd Ben Souda,
12:07we will now watch
12:08some clips from the film
12:10White House Divorces.
12:12Through them, we will get to know
12:13the heroines of the work.
12:15Of course, the work of the director,
12:16Mohamed Ahd Ben Souda.
12:19White House Divorces
12:21is the largest divorce rate in Morocco.
12:24Layla Wazzam
12:26is still working in the same hospital
12:28as her ex-husband.
12:30Hadi Hafida
12:32is the director of a free school
12:34and she chose to live her life freely.
12:36Hadi is a journalist.
12:38Since her divorce,
12:40she has had a lot of clients.
12:42Divorces in the desert require a lot of marriage.
12:44More than ever.
12:46This is Fatima.
12:48Her neighbor,
12:50her daughter Bouchra.
12:52She was killed by Al-Waqs.
12:54This is Salwa.
12:56She is an interior decor engineer.
12:58Her story with the gun
13:00is longer than this.
13:02White House Divorces
13:04is a film by Mohamed Ahd Ben Souda.
13:08We were watching these clips
13:10to get to know
13:12the heroines of the film
13:14White House Divorces.
13:16Mr. Mohamed Ahd,
13:18in the cinema,
13:20dealing with women
13:22is not easy
13:24because of the position of women in society.
13:26There must be work
13:28on the appropriate text
13:30that justifies women
13:32and women's issues
13:34and justifies society
13:36and women's relationship with society.
13:38What do you think?
13:40Indeed,
13:42in order to make a beautiful film
13:44or a successful film
13:46or what we can call
13:48a film that benefits society,
13:50we must have a script
13:52and a basis.
13:54This basis,
13:56in most cases,
13:58I'm talking about my own experience,
14:00I don't try to be far from society.
14:02No.
14:04Notice with me
14:06that through
14:08a couple of recent experiences
14:10such as Behind Closed Doors
14:12and Divorces,
14:14a national movement
14:16has emerged.
14:18When we released
14:20the first film,
14:22Behind Closed Doors,
14:24after the release of the film
14:26in cinemas,
14:28a law for harassment
14:30was put in place
14:32and it was approved by the parliament.
14:34There are films that
14:36need social discussion.
14:38When the film was released
14:40in the last year,
14:42in November,
14:44and it is still in cinemas
14:46for 18 weeks,
14:48why?
14:50Because when we thought about the film,
14:52we felt the need
14:54to reconsider
14:56the family's rights.
14:58This is an important issue
15:00and His Excellency Nasrullah
15:02gave his orders to reconsider this issue.
15:04I believe that
15:06it is necessary
15:08to be close to society.
15:10We are now in need
15:12of a cinema
15:14that deals with the domestic
15:16politics,
15:18with its prospects,
15:20with its future projects in all sectors.
15:22Your Excellency, you are one of the advocates
15:24of what you call the positive cinema
15:26or in other words,
15:28the cinema that reflects
15:30only the beautiful,
15:32good, elegant,
15:34beautiful and wonderful to others.
15:36Does this mean that you have
15:38a position from the other cinema
15:40that some directors work on
15:42and which shows
15:44some of the flaws,
15:46some of the flaws
15:48and some of the problems
15:50that you may see in it
15:52that are not good for Morocco.
15:54What do you think?
15:56This is the point of view of each director.
15:58I am one of the directors
16:00or I believe that I want
16:02to always show
16:04a positive image of my country.
16:06I don't want
16:08in my films
16:10to see the masks
16:12I don't want that.
16:14I am always keen,
16:16and this is not only in my films in Morocco.
16:18In any country I have visited,
16:20I want to show
16:22the positive aspects of this society.
16:24There are different cinemas,
16:26but I don't want
16:28to show these things.
16:30So, the positive image
16:32that I give to Morocco
16:34in my films
16:36is a real image.
16:38Why should we ignore it?
16:40Yes, in my personal opinion.
16:42There are people who want
16:44to deal with the class
16:46that they think
16:48they need.
16:50Did you apply it in your choice?
16:52I know now that
16:54in the National Film Festival
16:56in Tanja this year,
16:58you are one of the members
17:00of the select committee
17:02of films.
17:04Is this your point of view?
17:06Maybe it affected you
17:08in choosing the films.
17:10Of course,
17:12it is a matter of the committee
17:14to see the positive aspects.
17:16Let's be realistic in our choices.
17:18The same films are put
17:20in two committees
17:22and the choice is completely different.
17:24In this committee,
17:26the Moroccan Film Center
17:28and the Ministry of Culture
17:30put us in a position to choose
17:32the films that will be in the competition.
17:34This doesn't mean that there is
17:36a better director.
17:38There is a new perspective
17:40in this committee.
17:42We were keen to present
17:44to the Moroccan audience
17:46that will come to watch
17:48the films in the National Film Festival
17:50to see the Moroccan creativity
17:52and all its differences.
17:54If we want to go in this direction,
17:56there are specialized festivals.
17:58In 2024,
18:00we have a variety of films.
18:02We have action films,
18:04fantasy films,
18:06romantic films.
18:08The audience should know
18:10this variety.
18:12We were keen
18:14to move in this direction.
18:16Since we are talking about festivals
18:18and the transition of films
18:20to festivals,
18:22there is a special issue
18:24that caught our attention.
18:26The issue of success
18:28in festivals
18:30and success in theaters.
18:32Sometimes, you find that
18:34a successful film in a festival
18:36doesn't find the same success
18:38in theaters.
18:40How do you explain this, Mr. Mohamed?
18:42This is a very sensitive issue
18:44in the film industry.
18:46Dr. Soury can confirm this.
18:48There are
18:50directors
18:52who deal
18:54with critics.
18:56How is that?
18:58For example,
19:00I don't direct
19:02critics' films.
19:04But,
19:06I consult them.
19:08There is a critical process
19:10before me, not after me.
19:12I want the critic to be with me
19:14in the beginning. Why?
19:16Because after the issue of
19:18criticism in the film,
19:20there is no need for it.
19:22So,
19:24there are people who work
19:26to make films
19:28and go to festivals
19:30and receive awards.
19:32This raises a question.
19:34What is a successful film?
19:36This is a question.
19:38What are the standards
19:40for a successful film?
19:42What is a successful film
19:44in theaters?
19:46This is a successful film.
19:48The issue of success
19:50depends on the quality
19:52of the film
19:54and the audience.
19:56To follow up on that,
19:58in contrast,
20:00according to the numbers
20:02and data,
20:04your films,
20:06Mr. Mohamed Ahed,
20:08are successful in festivals
20:10and theaters.
20:12In festivals,
20:14and according to the numbers,
20:16you won
20:1836 awards
20:20in Morocco
20:22and abroad.
20:24Yes.
20:26As for the films
20:28in theaters,
20:30there are films
20:32that lasted for weeks
20:34in theaters.
20:36How do you explain this equation
20:38between the success of a film
20:40and its success in festivals
20:42and theaters?
20:44Thank God.
20:46What is the secret?
20:48How do you work to complete
20:50this equation?
20:52First of all,
20:54when we are
20:56about to do something,
20:58we should think
21:00that this film
21:02should be close to you
21:04and you should not
21:06lie about it.
21:08You should not hypocrize
21:10if you are close to this film.
21:12You should give it
21:14all the ingredients
21:16to be successful
21:18in festivals and theaters.
21:20I believe that this kind of cinema
21:22needs research.
21:24The big problem
21:26in Moroccan cinema
21:28and we talk about many things
21:30related to the cinema industry,
21:32there is a big question.
21:34How can the results
21:36of successful films
21:38in festivals and theaters
21:40be different from
21:42the results of successful films
21:44in theaters?
21:46As a follower of his experience
21:48since the beginning,
21:50I know that he has
21:52an important element
21:54in the casting.
21:56Films that are not
21:58based on faces
22:00and castings
22:02are able to understand the roles
22:04and change the scenario
22:06from the written material
22:08to the real material.
22:10He has abilities
22:12because he has a casting company.
22:14A global casting company.
22:16They work with
22:18global directors
22:20in casting.
22:22This is a strong element
22:24that makes his films reach the level.
22:26This is our point of view.
22:28Let's look at
22:30two of the first works
22:32titled
22:34The Lost Authority
22:36and the second titled
22:38The Last Words.
22:40Our guest today is
22:42director Mohamed Ahed Ben Souda.
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