When viewers first meet the family, their Spanish getaway is as mundane as every other family holiday: Roman (Roman Lutskyi) quibbles with his wife Nastia (Anastasia Karpenko) about where to park, teenager Sofia (Sofia Berezovska) bats away advances from boys, and a tearful Fedir (Fedir Pugachov) is consoled by his father after accidentally biting his tongue. It’s all incredibly naturalistic in its presentation, which only serves to make the imminent events resonate even more.

Everything changes when Sofia spots updates on her phone later that night. From here, the carefree summer spirit is replaced with terror. Although the family do their best to distract themselves with day trips to keep their minds off the bombings, their worries nevertheless bleed into their relationships with each other. Roman and Nastia’s arguments become intense, which consequently drives a wedge between them and the children. Likewise, uneasy glances towards Russian guests staying at the resort become more confrontational as time goes on.

The emotional turmoil the characters go through is handled subtly by the filmmaker, with most of the work being done by stunning turns from the main actors. Although the film is light on plot, small moments like Roman and Sofia bonding over music speak volumes. Clever imagery also plays a key role in conveying atmosphere. A group of merry holidaymakers dancing in a circle around the family as they read the news about which cities have been hit underscores the surreal nature of their situation. Sometimes Kocur lingers on the visual metaphors for too long, stretching the already slow pacing after viewers have understood their meaning.

Under the Volcano isn’t a perfect film, but it is an atmospheric portrait of an everyday family dealing with their lives being turned upside down. By shifting its focus away from the fighting to a family dealing with the fallout hundreds of miles away, this is a different kind of war film that is just as effective at conveying the devastation it can cause.

Andrew Murray

Under the Volcano does not have a release date yet.

Although the events on screen have been dramatised, Davaa and Zaha’s story is nevertheless a true one. After meeting and filming the couple in the city’s ger district, the production then moved out into the countryside to recreate the events that led them to relocate. This hybrid approach allows the feature to have all the polish of a scripted drama while maintaining its authenticity. Nowhere is this better seen than in the interactions between the family members: whether it’s the parents settling their children at night or the couple quietly reassuring each other that everything will be okay, the love they share is felt in every scene they’re together.

The retrospective approach to shooting the opening half likewise allows for some wonderful moments of visual storytelling, which characterise the open wilderness of the desert as a place of freedom, a theme which becomes a recurring motif throughout the picture. No scene is as affecting, though, as when the herder finds the remains of their flock in the aftermath of the sandstorm. Presented in complete silence, the discovery comes as a devastating blow.

Removed from the vast expanses of the countryside, life in the city’s outskirts is drastically different from what the family is used to. Instead of enjoying nature, the family now stay in a polluted shantytown with others who have similar stories. The roaming horses have been replaced with registration forms, and the patriarch gets a job at a mining company where he finds it difficult to destroy the land that he holds so dearly.

The Wolves Always Come at Night is a love letter to a traditional Mongolian way of life and a message about climate change. Above all, though, Brady’s docudrama is a moving tale about family and endurance.

Andrew Murray

The Wolves Always Come at Night does not have a release date yet.

The plot centres around journalist Nacer (Khaled Benaissa), who becomes interested in an unusual yellow sand when it’s pointed out to him by some elderly men. They tell him that it’s the result of Djinn’s curse that was caused by the violence during the decade-long war, which supposedly brings back the dead. Although Nacer initially doesn’t believe accounts of locals being reunited with deceased relatives, he soon finds himself face-to-face with his wife Fajar (Camélia Jordana), who was killed during the conflict. As the storm clouds loom above in the sky and the strange dust begins to spread, something is about to happen as more of the dead begin to appear.

As intriguing as this central premise is, the supernatural elements largely remain in the background. Rather, the film focuses predominantly on the connection between Nacer and his wife. Despite being fully aware of her death, Nacer accepts her story that she is simply back from a trip to Canada. In fact, every character, except for Nacer’s brother (Mehdi Ramdani), seems to be unaware that ghosts are walking among them. There’s no further explanation about why this is, nor is there a deeper exploration of the trauma that’s brought about the ghostly storm. Instead, the filmmaker asks audiences to come along for the ride, which often leads to confusion more than anything else. Without much signposting, most of this feature’s narrative is rooted within its evocative imagery and poetic dialogue, the most powerful of which are found within the final stretch when the foreboding storm finally arrives.

Silent Storms is a conceptually interesting study of collective trauma with a dash of folk horror thrown in. Its spellbinding cinematography and provocative writing conjure a wide range of emotions. However, it’s difficult to follow what exactly is supposed to be happening.

Andrew Murray

Silent Storms does not have a release date yet.

Composed of luscious long takes of sweltering fields dotted with vibrant red tomatoes, dusty countryside roads and the quiet small town nearby, Fıratoğlu’s first film is an exceptionally good-looking one. More than its aesthetic brilliance, the purposeful slow pace is designed to allow audiences to fully absorb the small actions of the characters’ everyday lives. Whether that be a friendly chat with an elderly man, taking a break to watch a cartoon playing on TV or catching up with a former classmate, Fıratoğlu gives an insightful and profoundly human glimpse into modern life in Turkey.

It’s through these micro-interactions that the filmmaker taps into wider themes concerning masculinity, class and community. These ideas are all naturally woven throughout the script and developed at their own steady pace as Eyüp reflects on his experiences. Fıratoğlu’s performance is also appropriately understated, his expressions during the long pauses conveying more than words ever could.

There’s a lot more going on in Fıratoğlu’s feature debut than its simple premise lets on. Although the deliberately methodical speed and lingering shots won’t be to everyone’s taste, Those Days When Hemme Dies nevertheless presents a marvellous cinematic odyssey to those willing to lose themselves within it.

Andrew Murray

One of Those Days When Hemme Dies does not have a release date yet.

Schinicer takes her time in establishing the tone and setting. The small community and surrounding area seem so far removed from the world outside that the location feels like its own isolated bubble. Despite the wide-open countryside, there’s an eerily claustrophobic ambience, which only grows more oppressive when the situation escalates. The tone is only elevated further with some beautiful cinematography, with one rainy night by an open window being a particular standout. However, The Cottage is at its best whenever it taps into horror elements to emphasise the children’s trauma. This choice not only adds a unique layer to the domestic drama, but also results in some genuinely effective moments. In one scene, for example, young Fede (Milo Zeus Lis) is so affected by what transpired that his distressed mumbling and restlessness looks more like he’s been possessed by a demon than having a vivid nightmare.

The slow-burn approach the filmmaker takes to develop these ideas only enriches the sense of place and tone further, right up to its poignant conclusion. Given how strong its horror-tinted spin is, it comes as somewhat of a disappointment that most of the film’s focus lies elsewhere. Although the deliberate pacing means that it takes some time for the main plot to get underway, strong performances from the entire cast ensure that the feature remains engaging.

By introducing a touch of horror into an atmospheric domestic drama, Schnicer creates something wonderful with The Cottage. Its only downside is that it doesn’t lean into its strengths more to elevate it higher above the crowd.

Andrew Murray

The Cottage does not have a release date yet.

The Official Competition will focus on 14 first and second feature films from new filmmakers worldwide. Among the entries are Saïd Hamich Benlarbi’s Across the Sea, a narrative on love and exile, and Hind Meddeb’s documentary Sudan, Remember Us, which portrays the resilience of Sudanese youth. Other notable films include Damian Kocur’s Under the Volcano, exploring the crisis in Ukraine, and Mo Harawe’s The Village Next to Paradise, set against the backdrop of Somalia.

This year’s festival will also include films that address significant social issues. Huo Xin’s Bound in Heaven addresses domestic violence in China, while Gabrielle Brady’s documentary The Wolves Always Come at Night examines the impact of climate change in Mongolia. The competition also includes films from new directors like Muhammed Hamdy with Perfumed with Mint, an exploration of Egyptian history, and Dania Reymond-Boughenou’s Silent Storms, premiering internationally at the festival.

The Gala Screenings section includes highly anticipated films such as Walter Salles’s I’m Still Here, a poignant family drama set during Brazil’s military dictatorship, and David Cronenberg’s personal science fiction work The Shrouds. Additionally, the Special Screenings segment will present 15 contemporary films by acclaimed directors and promising new talents, featuring a range of genres and themes from various global perspectives.

The festival’s 11th Continent program includes 13 innovative films that challenge traditional cinematic boundaries, and the Moroccan Panorama showcases local talent with five films, including three premieres.

Luca Guadagnino, celebrated for his eclectic and intense cinematic style, will preside over the jury, which includes figures from across the global film industry including Iranian director Ali Abbasi, Indian filmmaker Zoya Akhtar, American actor Patricia Arquette, Belgian actor Virginie Efira, Australian actor Jacob Elordi, British-American actor Andrew Garfield, Moroccan actor Nadia Kounda, and Argentine director Santiago Mitre. The jury will select the winner of the Étoile d’Or from the films in the Official Competition.

The festival not only serves as a platform for showcasing global cinema but also supports the development of film industry talents through initiatives like the Atlas Workshops. With its broad array of films and programs, the Marrakech International Film Festival continues to be a significant event in the international film calendar, promoting cultural exchange and the appreciation of diverse cinematic expressions.

The editorial unit

For further information about Marrakech Film Festival visit their website here.

Check out our coverage of the 2023 edition here, the 2022 edition here and the 2018 edition here.

As in previous years, the festival’s 20^th-anniversary line-up brought together the best of homegrown cinematic talent with movies and movie stars from across the globe, screening 75 films from 36 countries in total. A standout for this year was the top prize, the Étoile d’Or, being awarded to a Moroccan film for the first time in its history, namely The Mother of All Lies by Asmae El Moudir. The Jury Prize meanwhile was given jointly to Hounds by Kamal Lazraq of Morocco and Bye Bye Tiberius by Lina Soualem of Palestine, which, like The Mother of All Lies, had emerged from the festival’s Atlas Workshops, a vital initiative for incubating emerging talent from Africa and the Arab world. Best Directing Prize went to Sengalese Ramata-Toulaye Sy for Banel & Adama. Tributes were also paid to Mads Mikkelsen and Moroccan director Faouzi Bensaïdi.

The jury this year was led by Jessica Chastain alongside the likes of Camille Cottin, Joel Edgerton, Joanna Hogg, Alexander Skarsgård and Leïla Slimani, plus we heard from many actors and directors during the In Conversation sessions, including Simon Baker, Willem Dafoe, Viggo Mortensen and Tilda Swinton.

During the festival, The Upcoming had the pleasure of sit-down and red carpet interviews with many of the stars. We had the privilege of an in-depth chat with Swinton, who shared her experiences and reflections on her latest film, The Eternal Daughter, delving into its personal significance and the creative process with director Joanna Hogg. Swinton discusses the nuanced exploration of mother-daughter relationships, the unique approach to performance that prioritises authenticity over traditional acting, and the importance of collaboration in her work. She also touched on her selective project choices, driven by meaningful connections and curiosity. Additionally, Swinton expresses optimism about the future of cinema, highlighting its resilience and the enthusiastic engagement of newer generations, contrasting the rise of streaming platforms. 

We heard from Mads Mikkelsen in a candid interview about his versatile acting career, spanning both Hollywood and European cinema, particularly the benefits of navigating between blockbuster and art-house films. Mikkelsen addressed being typecast as a villain in American films, attributing it partly to his accent, but emphasised his desire to portray complex characters, transcending black-and-white morality to reflect the nuanced reality of human nature.

Willem Dafoe shared his experiences and perspectives on the film industry, emphasising the importance of directors who create immersive worlds on set, such as Yorgos Lanthimos. He shared insights into his preparation for roles, mentioning the unique and human aspects of his characters. Dafoe also reflected on the evolving nature of cinema and the significance of film festivals in discovering new works and connecting with fellow creatives. He highlights the communal aspect of movie-watching as a crucial, humanising experience, contrasting it with the solitary nature of streaming. Additionally, Dafoe touches on his role in Poor Things, appreciating the novel’s adaptation and the film’s clever commentary on societal norms.

Simon Baker discussed his collaboration with Ivan Sen on the film Limbo, describing it as a unique blend of genres, which he affectionately terms “Outback Noir”. Baker expressed admiration for Sen’s multifaceted role in filmmaking and shared his own immersive experience in shaping his character, Travis. He highlights the importance of addressing themes of racism and the Indigenous community’s struggles in Australia, reflecting on the recent referendum and its political implications. Baker also touched upon reconnecting with his Australian roots through storytelling, hinting at upcoming projects that explore Australian narratives and the significance of international film festivals in promoting diverse cinematic voices.

The legendary Viggo Mortensen reflected on his diverse career choices, from blockbuster hits like The Lord of the Rings to independent films, highlighting his preference for challenging and original projects over mainstream Hollywood roles. Mortensen also discussed his ventures into directing, his collaborations with David Cronenberg and the creative freedom in filmmaking. 

Then Lisandro Alonso, alongside Mortensen, spoke about their latest film, Eureka, which screened at Marrakech Film Festival. The film, transcending conventional narratives, invites viewers into diverse American landscapes, particularly focusing on Indigenous communities and differing perspectives on the American Dream. Alonso’s inspiration stems from a desire to challenge historical representations by Western films, leading to a journey across American terrains. Mortensen highlights their seamless collaboration, underpinned by mutual understanding and respect for Alonso’s visionary storytelling, which navigates challenging locations with a compelling narrative. 

Joel Edgerton discussed his experiences and learnings from working with director Paul Thomas Anderson, his love for writing and directing, and praised working with George Clooney recently on The Boys in the Boat, and the supportive, enjoyable environment he creates on set. Furthermore, he reflected on the Australian film industry, recognising its independent spirit and the inspiration it offers to new filmmakers.

Camille Cottin reflected on her diverse acting career, from her breakthrough role in Call My Agent to working with Hollywood icons like Tom McCarthy and Helen Mirren. Cottin expressed gratitude for the opportunities that have shaped her career, highlighting the impact of varied roles across comedy and drama. She also discussed her admiration for British humour and the evolving French cinema scene, acknowledging the significance of recent achievements by French filmmakers, especially women. Additionally, Cottin touched on the importance of bravery within the industry, citing Adèle Haenel’s actions as inspirational. 

Matteo Garrone shared insights on Io Capitano, which seeks to immerse the audience in the perilous journey migrants undertake before reaching Europe, a narrative often overlooked in mainstream media. By focusing on authentic stories from African cultures, Garrone aims to humanize the migrant experience, challenging perceptions and fostering empathy. He emphasised the collective effort in storytelling, working closely with non-actors who have lived similar journeys, to maintain authenticity. He reflected on how the story has resonated widely, sparking discussions in Italian schools and gaining international acclaim, highlighting the universal desire to pursue dreams despite formidable obstacles.

Joanna Hogg spoke about her latest film, The Eternal Daughter, highlighting the joy and depth found in reuniting with Tilda Swinton, a long-time collaborator. Hogg explored the intricate dynamics of mother-daughter relationships, a theme central to the film, enriched by her and Swinton’s personal connections to their mothers. The creative process, marked by improvisation and trust, allowed for a profound exploration of identity, memory and loss. Hogg also touches on the film’s ghost story elements, drawing inspiration from classic literature, and shares her anticipation for future projects, emphasising a desire to venture into new territories.

We also caught many of the attendees on the red carpet. Matt Dillon delved into his rich acting career and collaborations with many incredible directors and actors, his repeated participation in Marrakech Festival, and his reflections on the evolving film industry, particularly noting the impact of streaming services.

Jessica Chastain shared her experiences and insights from working on Memory, highlighting the unique and liberating filming techniques employed by director Michel Franco. She discussed the significance of jury equality, expressing pride in leading a jury with a historic female majority, and underlined the importance of pushing societal norms towards greater gender and racial equality. Chastain also touched on her role in advocating for fair actor agreements within the Screen Actors Guild (SAG), emphasising the value of collective decision-making and her commitment to supporting the acting community. Additionally, she expressed her affection for Morocco, reflecting on her experiences at the Marrakech Film Festival and her work in the country.

Alexander Skarsgård reflected on his unique experience at the Marrakech Film Festival, particularly the rare luxury of enjoying films as a spectator rather than doing press. He shared insights into his approach to selecting roles, seeking characters that intrigue and challenge him, and how transformative his role in Big Little Lies has been on his career.

Luca Guadagnino stopped briefly to discuss his film Challengers, praising Zendaya and the cast’s portrayal of jealousy, rivalry and love. He cites a compelling script and collaboration with producer Amy Pascal as key motivators. Guadagnino lauds Zendaya’s complex and intelligent persona and her deep cinematic knowledge. He also touches on his friendship with Tilda Swinton, the impact of filming in Greece, and the significance of film festivals in discovering new cinematic languages. 

Viggo Mortensen and Lisandro Alonso shared their enthusiasm for presenting their film Eureka to a Moroccan audience, emphasising the festival as a platform for diverse cinematic works from across the world. Mortensen reflected on a retrospective conversation about his career, appreciating the chance to revisit past projects and the memories they evoked. 

Joel Edgerton shares his enthusiasm about serving on the jury at the Marrakech Film Festival, particularly for its 20^th edition. He highlighted the diversity and balance of the jury panel and expressed eagerness to discover films by next-generation filmmakers. He also mentions the opportunity the festival presents for inspiration amidst a quiet year in the American film industry due to strikes, appreciating the cultural diversity of the films showcased.

Alexander Payne chatted about his latest film The Holdovers and his desire to evoke the 1970s, not just through its setting, but its cinematic style, reflecting his teenage years and the films that influenced him. Payne, deeply involved in the screenplay despite not having screenwriting credit, emphasised the collaborative process with the writer and the importance of casting, particularly praising Paul Giamatti. He touches on the film’s thematic focus on education, its role in combating ignorance and the nuances of moral dilemmas faced by teachers, drawing parallels with his previous work Election, hinting at a potential project adapting a sequel to the film. He also expressed support for young filmmakers and the hope that audiences will perceive the love poured into the making of his film.

Holt McCallany stopped to chat about his upcoming role in Iron Claw, a poignant family drama about the tragic lives of professional wrestlers in 1980s Texas, which explores themes of fatherhood, ambition and the fine line between motivation and control.

Matteo Garrone expressed his excitement and apprehension about the African premiere of Io Capitano, a film partly shot in Morocco, emphasising its authenticity and the challenge of portraying migrants’ epic adventures beyond mere numbers. The film, aiming to humanise migrants’ stories, has garnered attention, including a screening with the Pope and in schools, highlighting its educational value. Garrone hopes for a positive reception in Africa and is optimistic about its Oscar nomination, aiming to reach a broad audience.

We had the chance to hear from Monia Chokri about The Nature of Love, exploring themes of love, social class and the rarity of love stories in French Canadian cinema. Chokri’s narrative centres on a middle-aged philosophy professor caught in a passionate affair, underscoring her intent to fuse love with societal constructs. 

We also heard from the film’s star, Magalie Lepine Blondeau, about playing Sofia, how the story navigates complex emotions and societal expectations of love and the fabulous collaboration she shared with the director.

Joanna Hogg expressed her delight in serving on a predominantly female jury, seeing it as a refreshing break and a step towards gender balance in the industry. She relished the opportunity to watch a diverse range of cinema without preconceptions, a rare luxury in her busy schedule. Hogg also touched upon the poignant reception of her recent film, Eternal Daughter, and her fruitful collaboration with Tilda Swinton, hinting at future projects together.

Our photographer Ambra Vernuccio also chatted to some of the stars. Bertrand Bonello discussed his film The Beast showing at the festival, detailing his choice to centre the narrative on a female protagonist, Gabrielle, played by Léa Seydoux, diverging from the original male lead in the novel. Bonello shared the themes of humanity, wisdom and the role of women that run through the story, suggesting that Gabrielle’s journey symbolises a broader commentary on emotional resilience and the future of human connection. 

Simon Baker shared his enthusiasm for showcasing his film, Limbo, to a Moroccan audience, highlighting the distinction and novelty it brings compared to traditional Australian cinema portrayals. 

Catch more of our interviews from the festival below:

Sarah Bradbury
Photos: Ambra Vernuccio

For further information about Marrakech Film Festival visit their website here.

Check out our coverage of the 2022 edition here and the 2018 edition here.

The result? A stunningly immersive, stylish, seductive neo-noir thriller that impeccably recreates old Hollywood through incredible costumes and set design, with the 1939 LA underworld conjured from the streets of modern-day Barcelona, and plenty of world-weary detectives and femme fatales puffing from cigarette holders. Diane Kruger and the legendary Jessica Lange invoke the latter as an electric blonde bombshell mother/daughter pair. Viewers can expect to be transported to the era and taken on an intricately woven mystery that will keep them on their toes until the closing scenes.

The Upcoming joined the red carpet for the premiere of the film at the Marrakech Film Festival. Kruger spoke to us about why she wanted to take on the role of Clare of Cavendish, and how much she loved making the film.

The director explained why he was motivated to adapt the story and gave us some insight into working with Kruger and Neeson.

We also had a further in-depth chat with the director about the making of the film and his career so far.

Sarah Bradbury

Marlowe is released in cinemas and on Sky Cinema on 17^th March 2023. Watch our interviews from the London premiere here.

Watch the trailer for Marlowe here:

The inimitable Paolo Sorrentino, one of Italy’s foremost filmmakers, was heading up this year’s jury, which also featured British actress Vanessa Kirby (The Crown, The Son), German actress Diane Kruger (In the Fade, Inglorious Basterds), Australian director Justin Kurzel (Nitram), French actor Tahar Rahim (A Prophet, The Serpent), Lebanese actor and director Nadine Labaki (Capernaum), and Moroccan filmmaker Laïla Marrakchi (Marock, Rock the Casbah, The Eddy).

From across the impressive shortlist in the Official Competition, they settled on awarding A Tale of Shemroon by Iranian director Emad Aleebrahim Dehkordi with the top prize, the Étoile d’Or, while the jury prize went to both Alma Viva by Portuguese director Cristèle Alves Meira and The Blue Caftan by Moroccan director Maryam Touzani. Further awards included for Best Director to Thunder by Swiss Carmen Jacquier, Best Actress went to Choi Seung-Yoon for her role in Riceboy Sleeps by Canadian Anthony Shim and Best Actor to Arswendy Bening Swara for his role in Autobiography by Indonesian Makbul Mubarak.

The festival hosted international superstars such as Guillaume Canet, Marion Cotillard and Tilda Swinton, while the packed programme included a series of talks with the likes of Jim Jarmusch, Jeremy Irons, Ruben Östlund, Julia Ducournau, Marina Foïs and Julie Delpy.

The Upcoming had the privilege of being there to soak up the atmosphere, capture the stardust emanating from the red carpet, hear talks from veterans of the screen, as well as sit down for some in-depth chats with some fascinating actors and directors beneath azure skies and palm trees. 

Some of our personal highlights were having the chance to sit down with the icon that is Isabelle Huppert, alongside fellow French actress Marina Foïs and director Jean-Paul Salomé, to discuss all things The Sitting Duck about whistleblower Maureen Kearney.

We also had the pleasure of speaking with the rather intimidating, but nonetheless impressive, Julia Ducournau on the boundary-pushing, Palme D’Or winning Titane.

Maryam Touzani spoke with us about her award-winning The Blue Caftan and forbidden LGBTQ+ relationships in Morocco, while Makbal Mubarak gave us some insights into the making of his feature debut, Indonesian thriller drama Autobiography.

Renowned Oscar-winning composer Gabriel Yared explained his process and working on The English Patient and The Talented Mr Ripley with Anthony Minghella, plus Australian director Justin Kurzel shared his reflections on being part of the festival jury and his exploration of male violence on screen most recently in Nitram.

Martin Scorsese-collaborator and celebrated director Paul Schrader spoke to us about finishing the Joel Edgerton and Sigourney Weaver-starring Master Gardener, the final film in a trilogy following First Reformed and The Card Counter centred around a former Proud Boy, while Anthony Shim and Choi Seung-Yoon shared their thoughts on the captivating and award-winning Riceboy Sleeps.

On the fan-surrounded red carpet, we managed to catch a few moments with Diane Kruger and Irish filmmaker Neil Jordan to chat all things metatextual 1939 Hollywood-set neo-noir thriller Marlowe, Ali Suliman on bringing Sally El Hosaini’s stunning The Swimmers to a Moroccan audience, Andrea Pallaoro on Monica, Fatih Akin on Rheingold and Thibaut Bracq on supporting new filmmakers with the Atlas Workshops.

In addition to sit-down chats, we also heard fascinating talks with stage and screen legend Jeremy Irons (for some, eternally the unmistakably the villainous voice of Scar) on his life and career, plus two-time Palme d’Or winner Ruben Östlund on his interest in breaking social contracts and pushing limits through satire in his work, most recently captured in the outrageous and entertaining Triangle of Sadness, which we chatted about more in a one-to-one.

We also had more time to discuss Marlowe and Jordan’s fascinating career.

Among those honoured with tributes were the singular Tilda Swinton, alongside American director James Gray, Indian actor Ranveer Singh and Moroccan director, screenwriter and producer Farida Benlyazid. We had the pleasure of a sit-down roundtable with Swinton and long-time collaborator Joanna Hogg about their latest venture, The Eternal Daughter, a moving and genre-inflected film. Swinton was also a hot topic during Jim Jarmusch’s talk, who spoke about working with her as well as his broader, eclectic career.

While the 2022 edition perhaps didn’t provide as many opportunities to rub shoulders with the glitterati of Morocco at the many parties and gatherings that we experienced in 2018, we still made the most of our time away from the festival to indulge in the local cuisine, and get a glimpse of the city’s labyrinthine streets and bustling souks. Hitting up the Jemaa El-Fnaa main square to see locals and tourists alike gathered shoulder-to-shoulder to hear from French comedy superstar Gad Elmaleh and watch Minions 2 on the big open-air screen set up by the festival was undoubtedly a unique and memorable experience.

Check out more of our interviews below:

Our uber-talented photographer Ambra Vernuccio was on hand throughout the week to capture the special moments on the red carpet, as well as some incredible portraits of our interviewees in the luscious settings of Marrakech.

Sarah Bradbury
Photos: Ambra Vernuccio

The Marrakech Film Festival 2022 took place from 11^th to 19^th November 2022. For further information visit their website here. Check out our coverage from the 2018 edition here.

Countless names that have defined cinema over the decades graced the festival’s red carpet, with Marrakech paying special tribute to Robert De Niro – in a ceremony presented by none other than Martin Scorsese – and Agnès Varda, as well as Moroccan actor and director Jillali Ferhati. Masterclasses were held with these legends plus esteemed auteurs Guillermo Del Toro, Christian Mungui and Yousry Nasrallah (hailing from Mexico, Romania and Egypt respectively), not to mention Cannes director Thierry Frémaux.

In competition were a range of first and second-time filmmakers and an all-star jury were put in place to make the difficult decision of who should be awarded the coveted Golden Star of Marrakech: namely Dakota Johnson, Lynne Ramsay, James Gray, Daniel Brühl, Laurent Cantet, Michel Franco, Joana Hadjithomas, Ileana D’Cruz and Tala Hadid – a majority of women for the first time.

After a nine-day competition, during which 14 films competed, the L’Étoile d’Or of Marrakech finally went to JOY by Sudabeh Mortezai, which follows a young Nigerian woman caught in the vicious cycle of sex trafficking, and which had also scooped best film at London Film Festival. The Jury Prize went to The Chambermaid by Mexican director Lila Avilés, Best Director went to The Toad by Serbian Ognjen Glavonić, Best Actor to Nidhal Saadi for Tunisian feature Look at Me and Best Actress to Aenne Schwarz for All is Good by German auteur Eva Trobisch.

Moroccan cinema was also given a prominent place, with hundreds of professionals from the country’s movie industry invited and 12 of the 80 films programmed for the official selection of native origin. The festival was also made accessible the public, with over 100,000 attending free screenings and events across Marrakech-based venues such as Palais des Congrès, Panorama of Moroccan Cinema, the Colisée and the stunning Yves Saint Laurent Museum. Special screenings were devoted to films from Green Book to Roma to Capharnaüm. Stars including Yousra, Laila Eloui, Martin Scorsese, Abdellah Ferkous, Bouchra Hraich, Laurence Fishburne, Aziz Dadas and Monica Bellucci introduced films to a standing public at the famous and bustling Jemaa el-Fnaa Square in the centre of the city, drawing a crowd of 7,000 to 12,000 each evening.

It was no surprise to see how such an array of talent were attracted to the event, the guests lavished with opulent parties and dinners, given a taste of the nation’s hospitality, rich cuisine and five-star hotels while also being given the opportunity to experience authentic culture via the labyrinthine market streets and souks of the medina.

A star-studded and beautifully curated festival celebrating cinema and bringing together cultures in the heart of the stunningly blue-skied and lively Moroccan city, the 17^th Festival International du Film de Marrakech was a delight from start to finish.

During our time out in the North African metropolis, we had the pleasure and privilege of speaking with some of the amazing talent there.

Master of cinema Guillermo del Toro sat down with us to talk about on monsters, Mexican filmmaking and upcoming feature Pinocchio, which promises to be a far cry from the Disney version. He also gave a masterclass in film, offering a vast array of insights into his directing career with personal reflections.

Robert De Niro spoke about being honoured in Marrakech and the joy of working again with Martin Scorsese.

Martin Scorsese talked about what drew him to cinema as a child, and some of the films which inspired him.

And shared his tips for young filmmakers.

Mexican actor Gael Garcia Bernal chatted to us about his latest film The Accused, Latin American cinema, how he reflects on his vast range of roles and the political nature of film, plus his next directing project.

American actor Laurence Fishburne talked to us about Ant-Man and the Wasp, which had a special screening in Marrakech, his reflections on Stan Lee, the upcoming John Wick 3 and of course his role as Morpheus in The Matrix.

German actor and jury member Daniel Brühl talked to us about his Golden Globe nomination for The Alienist, its upcoming second season The Angel of Darkness and his other upcoming projects including My Zoe – with Gemma Arterton and Richard Armitage and director Julie Delpy – as well as his directing project and the Kingsman prequel. He also reflected on being typecast as a German actor, working with Tarantino, Stan Lee’s legacy and Captain America.

Fellow Jury member and director James Gray told us about his views on film festivals – in particular, his relationship with Cannes and upcoming film Ad Astra, with Brad Pitt, Donald Sutherland, Tommy Lee Jones and Ruth Negga.

Laurent Cantet, also on the jury, spoke to us about his filmmaking career, including his Palme d’Or-winning 2008 film The Class, his latest feature The Workshop and his future projects.

Jury member, Mexican director Michel Franco spoke about his experience of being in Marrakech and the importance of film festivals, why it is that Mexican directors have dominated great cinema over the last decade – from Guillermo Del Toro to Alfonso Cuaron to Alejandro González Iñárritu – and his own projects.

Austrian director Sudabeh Mortezai told us about making film JOY, her time spent with Nigerian sex workers as research for the film and what she hopes to achieve with the piece.

We also chatted to Romanian director Christian Mungui about his career, what it’s like being the first Romanian director to win the Cannes Palme d’Or in 2007 for 4 Months, 3 Weeks and 2 Days and why film festivals remain relevant.

Italian actor Riccardo Scamarcio chatted to us about on his role in Euforia, which was screening at the festival, working with Italian director Valeria Golino, the film’s themes of confronting death, sexuality and his views on flirting being policed in a post-MeToo world. We also spoke with his co-star Valentina Cervi.

Scottish director Lynne Ramsay spoke to us about her critically-acclaimed 2018 film You Were Never Really Here with Joaquin Phoneix, her uncompromising approach to filmmaking, how the current moment is, in fact, a terrible time for women and female filmmakers plus a few words about her highly-anticipated next project, dubbed an “environmental horror.”

The inimitable Agnès Varda gave us the privilege of her time, reflecting on her 60-year career, her approach to directing and how the industry has changed, particularly for women. She also gave a talk on filmmaking and was honoured with a special tribute.

Italian actress Monica Belluci told us how she felt introducing Asterix and Obelisk: Mission Cleopatra in Jemaa el-Fnaa for Marrakech Film Festival, her career-defining roles from The Matrix to Irreversible to James Bond, women’s shifting place in contemporary society and the sad loss of Bernardo Bertolucci.

American director Julian Schnabel spoke about why he love’s Morocco, and the chasm that exists between the artist and their art.

Filmmaker Kent Jones discussed the highlights of the festival year, including the awards he picked up at Tribeca.

Designer Christophe Guillarmé spoke about fasion at festivals on the red carpet .

Cannes director Thierry Fremaux spoke us about the festival season this year, how he is working to improve Cannes and why he thinks film festivals are still important.

And he also spoke in-depth about his career during his In Conversation session.

Festival director Christoph Terehecte spoke about taking on the Marrakech Film Festival, how and why he took the job after years working at Berlin Film Festival, the highlights of this year and what he hopes to achieve going forward.

Sarah Bradbury
Photo: Sife Elamine/ Marrakech Film Festival

For more information about the Marrakech Film festival, visit their website here.