Damned tv show trailer12/31/2023 It’s very poetic and touching, the ways in which, because of the context, their love was mingled with crazy fights.” The son once faked his own death, just to witness the mother’s reaction. On her side, she would encourage that relationship. He started seeing her through the eyes of society more, like a jealous lover. “We witnessed the relationship evolve with this oedipal intensity. “The kid started taking on the role of a husband,” Boulifa explains. When writing the script, Boulifa took inspiration from an aunt whose son started earning money for the family after his father’s death. When you have that capacity, you think: wow, I need to be as honest as I can.” Being British, it’s easier to be more frank about sex and material conditions in Morocco. “I don’t have exotic illusions about the country. “The Morocco I know through my parents is very working-class,” says Boulifa. Around them are the swirling colours of Morocco, all lensed by Caroline Champetier, the acclaimed cinematographer known for Leos Carax’s Holy Motors and Annette. At home, in their cramped bedroom, Fatima-Zahra and the towering Selim increasingly resemble a feuding married couple, their bodies cramped together in the same frame. Fatima-Zahra adapts her persona for a romantic prospect who’s religious and, incidentally, already has a wife meanwhile, Selim, now old enough to work, is hired for menial jobs by a French businessman, Sébastien (Antoine Reinartz), unaware that the position requires sexual favours, too. Starting a new life in Tangier, the pair change positions. Further truths await: Selim overhears that his deceased father, whose photo he carries around, was a fabricated figure Selim was actually conceived after his mother was raped. Tebbae takes on the role of Fatima-Zahra, a single mother who sells her body for sex to support herself and her son, El Hajjouji’s Selim, much to the latter’s dismay. If you overtrain them, it defeats the point.” “So we did street casting, and the reason you want them is precisely because they’re not trained. “Most actors in Morocco are from a certain bourgeois demographic,” says Boulifa. Initially set in Casablanca, The Damned Don’t Cry is led by two non-professional actors, Aicha Tebbae and Abdellah El Hajjouji, an effervescent duo who present their emotions to the camera like classic movie stars. I didn’t want to diagnose Morocco as a society.” “My connection to Morocco is through my mother, so I was able to focus on those characters. “We would go back there every summer, and, as an adult, many times I’ll spend half the year there.” Still, the softly-spoken filmmaker considers himself an outsider in Morocco, thus he gravitated towards a mother/son story. “I’m very much British but my parents are Moroccan,” he tells me in Curzon’s offices in early June. “That lack of sentimentality is to do with survival.”īoulifa, 38, the director behind the acclaimed 2019 feature Lynn + Lucy, grew up in Leicester, moved to Paris, and then shot The Damned Don’t Cry in Morocco. “To me, the title sounded better in French than English,” remarks Boulifa. Written and directed by Fyzal Boulifa, Les damnés ne pleurent pas (its French-language name) instead takes inspiration from the robustness of Crawford’s onscreen performance. One is a Joan Crawford crime-thriller from 1950, the other is a Moroccan melodrama that borrows the title but is certainly not a remake. There are two heart-wrenching films named The Damned Don’t Cry.
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