Compositor
Fatima-Zahra and her teenage son Selim move from place to place, forever trying to outrun the latest scandal she’s caught up in. When Selim discovers the truth about their past, Fatima-Zahra vows to make a fresh start. In Tangier, new opportunities promise the legitimacy they each crave but not without pushing the volatile mother-son relationship to the breaking point.
Imagine that love disappears from our lives, the color red becomes forbidden, romantic songs are rejected, imagine on Valentine’s Day February 14, there is no “teddy bear” in the streets, but whoever buys or carries it gets arrested, and the state uses the media to control the minds of citizens through the radio announcer Hassan, who was once a romantic poet, is now the person who tries to make people forget Valentine's Day.
Durrya
She rejects grief as a reaction to loss. Instead confronting her misery face on and pushing herself to the brink, clinging to a flood of magic she experienced as a child as it flows across time from person to person and story to story.
Music
Through the diary entries of the film's main protagonist K., we learn about her return from post-revolutionary Russia to her home in Greater Syria, in which, after the collapse of the Ottoman Empire, individual communities are trying to find a way to autonomy. Thanks to the juxtaposition with the Russian past, presented through shots from Soviet film classics such as Esfir Shub's Spain or Kinoglaz by Dziga Vertov, and the Syrian present, portrayed through various mobile phone footage, the director draws parallels between two incompatible realities and creates a multimedia essay on neo-colonialism and independence.
