Cinema releases of the week: “The Mother of All Lies”, “Eureka”, “There is No Shadow in the Desert”…


In theaters this week, the first feature film from a director who strives to revive family memories based on a model of her childhood neighborhood ( The Mother of All Lies ); the awaited return of filmmaker Lisandro Alonso, one of the leading figures of Argentine auteur cinema, who, with Eureka , takes us on a transcendent journey through space and time, along the American continent. And a troubled love story set against the backdrop of the trial of a former Nazi executioner ( There is no shadow in the desert ).

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“The Mother of All Lies”: a dive into a family history full of secrets

Asmae El Mudir was 12 years old when she realized that no photographs of her as a child existed. No more, moreover, from his family. From then on, she never stopped questioning her mother, who ended up naming the culprit in the person of Zahra, the paternal grandmother who always refused the presence of photos in the house. Having become a director, Asmae El Moudir undertook for her first feature film to free speech and recreate family memories.

Since the traces of the past had disappeared, she decided to make them literally, commissioning her father to build a miniature replica of the neighborhood and home of her Moroccan childhood, in Casablanca. But also to sculpt figurines intended to represent members of the family. In the workshop, she brought the family together. This is where it places the spectator, now a witness to the creation of the decor, to the progress of the scenario, which is written according to the confidences to which everyone agrees, at their own pace.

Multiplying angles and points of view, Asmae El Moudir listens, discreetly encourages speech. Little by little, the intimate stories are revealed, tearing the veil of a broader history, that of Morocco during the years of lead and the riots against the rise in bread prices on June 20, 1981, which were violently repressed. The director’s precise, fanciful and wildly inventive staging captivates us with its childish grace and this magic which tends towards this small miracle: resuscitating oral memory and re-enchanting lives. V. Cau.

“Eureka”: a ceremony where the worlds of the living and the dead are inseparable

So many films are sold today solely on the strength of a compelling subject, that a feature film without an a priori identifiable subject, where the viewer must make their own way, suddenly seems like a breath of fresh air. This great breath, it is in Eureka , a long film by Argentinian Lisandro Alonso, that he came back to infuse it. Here, the filmmaker looks at the indigenous condition, not locally, on the scale of a tribe, but in a transcendent way, on that of a continent disrupted by colonial history.

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