The Mother of All Lies review – pursuing the truth of Morocco’s brutal dictatorship years

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Asmae El Moudir employs a delicate mix of handmade replicas and oral testimony to brilliantly evoke personal and collective trauma Between those who refuse to remember and those who struggle to forget, a tumultuous clash of minds occupies the centre of Asmae El Moudir’s inventive documentary, a prize-winner at last year’s Cannes film festival. Through a constellation of clay figurines and dollhouse-style miniature sets, most of which were constructed by El Moudir’s father, the director recreates her oppressive childhood in the Sebata district of Casablanca. Under the watchful eyes of her domineering grandmother Zahra, all personal photos are banished from the house, save for a picture of King Hassan II. The delicate mix of handmade replicas and oral testimony brilliantly evokes the personal and collective trauma that stem from Morocco’s “Years of Lead” – a period of state brutality under Hassan II’s dictatorial rule. Lingering on the nimble fingers of El Moudir’s father as he puts t
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‘The film industry is gone’: Jim Jarmusch on the his debut album, the death of filmmaking and the joy of mistakes

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At 70, the outsider movie hero is releasing his first album. He muses on music, the demise of film and finding joy in mistakes

There are few film-makers quite as particular about music as Jim Jarmusch. Over the years, he’s enlisted Wu-Tang Clan’s RZA to score his hitman-meets-samurai flick Ghost Dog: The Way of the Samurai, had Tom Waits and Iggy Pop jacked up on caffeine and locking horns in a thick swirl of smoke in 2003’s Coffee and Cigarettes, and got Neil Young to let rip some improvised guitar for the soundtrack to Dead Man. Not to mention that his films feature acting turns by everyone from Joe Strummer to Screamin’ Jay Hawkins and he directed a documentary on the Stooges along the way.

“Music’s always been there,” he says, in his unmistakable deep baritone register, speaking from New York. “Since being a teenager, music has been something that shaped my life and the decisions I’ve made throughout it.” But for the last decade, Jarmusch has evolved from avid admirer and astute curator to making music for his own movies with producer and musician Carter Logan in their band Sqürl. Together they’ve composed scores for films such as his deadpan zombie romp The Dead Don’t Die and Paterson, a subtle yet poignant tale of a bus driver poet.

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