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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Saw X review – torture porn horror returns with more blood, less value

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Stomachs will churn once again in an attempt to rewind the clock for the fatigued franchise but there’s ultimately little of worth here

It’s a strange existential feeling to be seated in front of a Saw film once again, a return not just to a franchise but an entire torture porn subgenre. As a screaming woman is forced to cut off her leg and suck out a litre of blood from her fresh wound in order to save her head from being sliced off by serrated wire, one might start wondering the hows and whys of what got us here.

While financial greed is the obvious studio motivator (cheaply made horror still the most reliably profitable genre in Hollywood), it’s curious to ponder why we might want to endure another two hours of stomach-churning gore especially when served on such a musty old platter. The decision to kill the series big bad Jigsaw in Saw III was fitting given the franchise obsession with cattle-prod shock value but it also left the makers in a trap they then struggled to get out of. Ensuing sequels were flashback-heavy, filling in an increasingly convoluted backstory, making each new Saw film feel more like daytime soap opera. In an attempt to swerve away from a timeline that even the most devoted Saw fan would struggle to explain, 2021’s Chris Rock-led Spiral tried to spin the story off into a detective thriller with a different villain but it was an embarrassingly junky disaster, a new low for a series that was already in the gutter.

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