Critic and journalist Bilal Marmid discusses Nabil Ayouch’s latest film, “Everybody Loves Touda,” in which he recreates the story of Moroccan Aita art through the journey of a Cheikha.
“In a field such as cinema, being creative is not enough; nowadays, it is essential to know how to make a film and, more importantly, how to sell it. It’s hard to accept that you’re a diligent artist when only people close to you watch your film, with applause only from your mother, wife, and a few friends. Nabil Ayouch makes films and sells them in the best markets, so that those who shape world cinema can see them. This notable detail forms the basis for the discussion of his new work, ‘Everybody Loves Touda.'”
The film, which premiered at the Debussy Theater, opens with a scene in which a crowd of villagers surrounds Touda, played by Nisrin Erradi, who strives to earn the title “Cheikha” in Aita music meritocratically. This introduction immerses Touda in the world of Aita, ending with her fleeing during the ceremony, chased by men who see a Cheikha as a body meant to satisfy their desires after each celebration. Touda is assaulted, heals her wounds, and returns home to her son with special needs who waits for her return each night, or rather, in the early hours of each morning. He is her motivation to continue her journey and fight to earn their daily bread.
Nisrin Erradi once again proves that she is one of our finest actresses, especially as Touda represents the film, and the film represents Touda.
Ayouch puts Aita music at the forefront of the film, but not in a flattering light. It serves as a backdrop against which Touda fights her environment: the dangers of nightlife, an undervalued art form, and the physical and psychological toll it takes on her. Despite this, Touda remains determined, driven by her desire to prove herself artistically and to care for her son Yassine’s education, in schools often lacking resources for children with special needs.
Nisrin Erradi, accompanied by notable names like Jalila Talemsi, Abdalhak Belmjahed, and Amine Ennaji, leads the film, which revolves around her miserable daily life. The film reaches its climax in a sequence, lasting several minutes, in which she is seen taking an elevator to a higher floor, performing at an event in Casablanca, and then departing with tears mixed with a smile. All her dreams of becoming a leading artist in this genre are buried by many experiences. While Aita music is celebrated in our media, the situation of Aita artists is miserable, and Touda embodies this.
In the film, despite the presence of music, singing, and dance, the viewer barely finds a rhythm until the last part. The camera often zooms in on faces because expressions say a lot – false smiles and fleeting joy quickly give way to penetrating sadness. This duality is present in both parts of the film: the first part, dedicated to depicting a segment of Touda’s daily life, and the second part, where the protagonist embarks on a journey to prove herself in Casablanca.
Touda faces opposition in her relationship with her brother, who disapproves of her situation, and conflicts with club goers, club owners, and colleagues, whose initial competitive relationships turn into hostility, forcing her to seek new places to showcase her talent.
Touda strives to learn, master the art of Aita, and gain recognition; she wants to earn the title “Cheikha” in a genre that began with the struggling cries of resistance that cut through mountains, fighting the occupier, and has become just cries of pain housed in cabarets and, at best, some private parties and weddings.
Touda’s life is a tragedy, though many claim to love her fleetingly. In this film, Nabil Ayouch shifts from highlighting various actors in his previous works to entrusting the lead role to Nisrin Erradi, who once again demonstrates her ability to diversify her performance within the same scene and in every scene of the film.
Has the director succeeded in conveying sincere emotions to the audience? It is hard to say, and it is not necessary for all viewers to agree. What is important to me is that he has explored Aita music, drawn conclusions, and conveyed them through a film that will be widely viewed once it reaches theaters. As I said in the first lines, in cinema, it is not enough to be creative; you must know how to make and sell a film.
Nabil Ayouch returned to the Cannes Film Festival and presented the world premiere in the “Cannes Première” category. Now, Touda’s journey through international festivals begins, to be seen by film lovers around the world. Some will applaud, others will criticize, some will welcome it, and others will attack it, reducing the film to two scenes that are seen as bold or audacious.
For me, one crucial point is that Nabil Ayouch knows how to work in cinema; he makes films in his unique style, presents them, and promotes them. Congratulations to him and Nisrin Erradi for her excellent performance, and good luck to all Moroccan directors who strive to make films that reach beyond our borders. We need our cinema to travel and hear its echo back, not just make films for Moroccans. Nabil Ayouch invites us to love Touda, and I personally love Aita music and am pleased with Touda and its portrayal by Nisrin Erradi. As for the other details, they require a longer conversation.
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