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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Oppenheimer: sex, death and impending apocalypse – discuss with spoilers

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Christopher Nolan’s film about the godfather of the nuclear bomb is impressive, and Cillian Murphy the perfect man for the job, but do women get a raw deal and is it all too sanitised?

  • This article contains spoilers for Oppenheimer

J Robert Oppenheimer’s apocalyptic legacy has haunted modern politics and culture, but his personal story is not obvious blockbuster material. It would take a film-maker of the talent, and Hollywood heft, of Christopher Nolan to pull it off.

Oppenheimer opened in the US last weekend with a box office haul of $82m, second to Barbie’s gargantuan $162m. The instincts of Nolan, and his backers at Universal Studios, have been rewarded in a way that, hopefully, bodes well for the future of big-budget films about difficult subjects (Nolan isn’t the only purveyor of such work, but there aren’t many around).

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