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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Barbie v Oppenheimer lures Britons back to struggling cinemas

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Films’ success pushes admissions to over 17.6m in July and combined takings have passed £130m mark

It was billed as the definitive box office showdown, but the summer phenomenon that was Barbie v Oppenheimer ultimately proved to be the catalyst to get the UK’s struggling cinema sector back on track.

The extraordinary success of both films, released on the same day, pushed admissions in July to more than 17.6m – the biggest month for UK cinemagoing since December 2019. And the popularity of “Barbenheimer” has continued into this month, with experts predicting 13.5m admissions for August.

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