Civil society or male society? Nabil Ayouch’s ‘much-loved razzia’
DOI:
https://doi.org/10.7203/HYBRIDA.7.27420Keywords:
sex, bodies, masculinity, patriarchy, identityAbstract
Nabil Ayouch’s Zin li Fik (Much Loved) and Razzia narrate the risks of social and cultural alienation, sex work, poverty, and resistance in Morocco. By depicting thorny realities, the films boldly unveil all that Morocco does not want to see of itself. Nabil Ayouch proposes an in-depth interrogation of the sociocultural and structural relations between masculinity, sexuality, cultural identity, exclusion, and survival. The reaction that Ayouch’s works provoke put them at the forefront as some of the most daring, controversial, and pertinent cultural productions in Morocco’s recent history. What are the implications of exposing Morocco’s linge sale in an effort to offer a new perspective through which identity is reflected?
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References
Ayouch, Nabil. (Réalisateur). (2015). Much Loved [Film]. Les films du nouveau monde ; New District ; Barney Production ; Ali n’ Productions ; Région Ile-de-France ; L’Aide aux Cinémas du Monde ; CNC ; Ministère des Affaires Étrangères ; Institut Français.
Ayouch, Nabil. (Réalisateur). (2017). Razzia [Film]. Unité de Production ; Les Films du Nouveau Monde ; France 3 Cinéma ; Artémis Productions ; Ali’N Productions.
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Smolin, Jonathan. (2015). Nabil Ayouch: Transgression, Identity, and Difference. In Josef Gugler (Ed.), Ten Arab Filmmakers: Political Dissent and Social Critique (pp. 214–239). Indiana University Press. https://www.jstor.org/stable/j.ctt16gzbbw.15
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