[CPH:DOX '24] Using the miniature representation, the director delves into the secrets and lies that have marked her family, also in relation to the 1981 riots that left hundreds dead and thousands retaliated. As she places the camera between the represented walls of her house and focuses in close-up on the miniatures that represent his family, with excellent cinematography by Hatem Nechi that was awarded at DOC NYC '23, the film moves fluidly from family microhistory to macrohistory of Morocco. It's something similar to what she did with her first film in which she reconstructed the history of her maternal side of the family from an old postcard. Grandma Zahra places her finger in her mouth with a sharp gesture when she doesn't want to talk about a topic that should remain hidden, but this film aims to respond to that gesture by staring into the past.
Shout by Miguel A. ReinaBlockedParent2024-03-29T06:13:27Z
[CPH:DOX '24] Using the miniature representation, the director delves into the secrets and lies that have marked her family, also in relation to the 1981 riots that left hundreds dead and thousands retaliated. As she places the camera between the represented walls of her house and focuses in close-up on the miniatures that represent his family, with excellent cinematography by Hatem Nechi that was awarded at DOC NYC '23, the film moves fluidly from family microhistory to macrohistory of Morocco. It's something similar to what she did with her first film in which she reconstructed the history of her maternal side of the family from an old postcard. Grandma Zahra places her finger in her mouth with a sharp gesture when she doesn't want to talk about a topic that should remain hidden, but this film aims to respond to that gesture by staring into the past.