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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Streaming: High & Low: John Galliano and the best films about fashion

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Kevin Macdonald’s finely balanced portrait of the disgraced Dior designer, on Mubi from Friday, is the newest arrival on a catwalk of fashion industry movies, from Funny Face to Zoolander

For those who bleat on about the iniquities of supposed “cancel culture”, the career of British fashion designer John Galliano is a useful counterpoint. Sacked in 2011 as the creative director of Christian Dior after an appalling incident of antisemitic abuse on his part, he spent two years in the wilderness before being hired by Oscar de la Renta and subsequently Maison Margiela, where he has been for a decade. A-listers still wear his gowns on red carpets. Life goes on. Kevin Macdonald’s documentary High & Low: John Galliano (streaming on Mubi from 26 April) chronicles Galliano’s rise and fall and rise with a more distanced, critical eye than you may expect from a film co-produced by Vogue publisher Condé Nast. There’s due appreciation of his distinctive design sensibility, but sharp scrutiny of personal flaws enabled by an unruly, permissive industry.

With its loucheness and capacity for bad behaviour, the rag trade has always made a great film subject: the clothes provide the visual dazzle while the volatile business of it all provides the drama. Macdonald’s film is the latest in a recent run of fine fashion docs: Ian Bonhôte and Peter Ettedgui’s ravishing McQueen told the markedly more tragic story of Alexander McQueen, the ill-fated enfant terrible of the industry, with a formal flamboyance well matched to his extravagant aesthetic and a humane consideration of his demons. Frédéric Tcheng’s Dior and I isn’t as burdened by pathos in its spectacular overview of designer Raf Simons’s debut season for the venerable French fashion house, but is compelling in its detailing of creative process. The same film-maker also made Halston, a tricksily framed but compulsive portrait of the disco-era American designer, who went from ubiquitous tastemaker to sellout by the time of his Aids-related death in 1990.

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