Fest Track On Sirk TV Film Review: THE MOTHER OF ALL LIES [Red Sea International Film Festival 2023 - Jeddah, Saudi Arabia]

The texture of family history and those who protect, safeguard or adhere from the trauma has been a trademark in human existence from the beginning of time. But even when someone doesn't say something their reaction speaks volumes. Filmmaker Asmae El Moudir does this in an interesting way in her documentary The Mother Of All Lies" because she is one of a new generation of filmmakers around the region that understand that questions need to be made and asked of family, no matter what the answer (or lack of one). She examines a would-be lost tragedy/massacre in their neighborhood in Casablance in 1981 with the people that lived around their house at the time (with many still living there) and well as themselves. What she does is meta and reflexive and more than a little bit DIY but it does paint at times a vivid picture between those who cannot forget and those who push it back.

The most affecting beyond the antagonist of the picture (her grandma) is a neighbor named Said. The construct of the film moves in the idea of a neighborhood rebuilt by El Moudir's father in his own style of sculpting and figurines. This of course contributes to the DIY nature but the aspect is that the representation, even as you see him and her moving into frame and out. is authentic. It is not animation. It is more like stick figures and representations. The said scene that literally breaks Said (the neighbor) when he talks about his neighbors and friends being killed inside a prison in front of him and him sitting later outside is heart wrenching. In his estimation he died long ago but his agony is palpable in the present day as if he never left that sidewalk.

On the other side, El Moudir's grandmother is the real focus on the piece. Like many of an older generation, she was taught never to say anything, keep a firm grip and be strong. But beyond that she is vindictive and mean at most times, as if she doesn't understand the sensitivity apparent in her children and grandchildren (or even what her granddaughter is trying to do). There is a very real reason for her trauma that El Moudir mentions but doesn't linger on. However Grandma's reactions and remarks and actions (especially when she criticiszes her likeness on a doll and a glass painting of her) speaks volumes. She denies facts even when they are shown to her. The big caveat of the film is that she burned all the photographs of their past life during that time...a metaphor if there ever was one. The woman is in pain and angry but will never let go of that anger. It threatens to dismantle the film because she doesn't quite believe in her granddaighter but she goes with it with stops and starts. The film got support from various film festivals including the Red Sea Fund so it is interesting to see these kinds of stories being told from the people that lived them in perhaps unconventional ways but still true in their intent to the bone. A-

By Tim Wassberg