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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Tom Priestley obituary

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Film editor who was nominated for an Oscar for Deliverance and sought to promote his father JB Priestley’s writing

Tom Priestley, who has died aged 91, knew early on that he wanted a career in the arts. “But my father had covered so much territory, there wasn’t much left,” he said. He was the sixth child and only son of the playwright and novelist JB Priestley.

The discipline he eventually chose, and excelled at, was film editing. He won a Bafta for Morgan: A Suitable Case for Treatment (1966), Karel Reisz’s dark comedy about conformity and rebellion, starring David Warner and Vanessa Redgrave. He was also nominated for an Oscar for John Boorman’s thriller Deliverance (1972), with Burt Reynolds and Jon Voight. It was adapted by James Dickey from his own novel about four friends who are terrorised by Appalachian locals while on a canoeing trip.

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