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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Time Addicts review – drug-fuelled, time-travelling fairytale in Melbourne

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A mission to steal a bag full of crystal meth sparks an enjoyable labyrinthine sci-fi adventure for two bickering addicts

Denise (Freya Tingley) and Johnny (Charles Grounds) are drug buddies living in present-day Melbourne. When they’re not getting high, they spend their time mooching about, bickering, and arguing about whether some of the fancier words Johnny uses are real. (Funnily enough, most of the time they are.) They are what the cops might uncharitably describe as no-hopers.

In what turns out to be a labyrinthine time-travelling plot, one day, the dirty duo’s regular drug dealer, Kane (Joshua Morton), sends them on a mission to a dilapidated house to steal a bag full of crystal meth, a chore that will clear their debt to him. Kane warns them not to try the supply, but of course garrulous Johnny does and within seconds he evaporates with a snap and whoosh of wind right before Denise’s face. In an edit, he finds himself in the same house but 25 years or so in the past, when the home was in better nick and occupied by jumpy former undercover cop Tracey (Elise Jansen). In the present, meanwhile, Denise meets her future self who is also using the time-travel meth and has come back to give her a warning. The rest of the movie skips back and forth, using the same location and four actors, until it gradually reveals the fundamental relationships between the characters and periods.

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