Join on WhatsApp
Join on Telegram
Meknes- Franco-Moroccan director Nabil Ayouch said last Saturday, on Medi 1 Radio that his recent movie Much Loved has been watched by Moroccans despite the Moroccan government’s ban of the film.
Ayouch was a guest of the Medi 1 Radio program “Face Bilal Marmid,” speaking about his intentions when creating the film, which he said were not to stir controversy nor to create uproar among Moroccans.
He added that the aim of the movie is to shed light on prostitution as a shameful phenomenon that he finds personally painful. It is also intended to portrayed the experiences of prostitutes as well as how they suffer.
He explained that the film is derived from reality. “I met those prostitutes. They told me their stories and detailed what they experience every day. Nobody listens to them and nobody understands exactly what they experience,” he said.
Ayouch went on to reveal the inspiration behind the screenplay of Much Loved. “Once upon a time, I met up a girl who told me that I am as psychiatrist, and she said ‘I am going to tell you everything.’ She told me that she gives her family everything they need but they look at her as an ATM. All that she needs is love from them. This is the secret behind Much Loved—I found the courage to make this film inside that girl.”
He also asserted that the film’s ban is not a solution for the social problems prostitution presents. “Should we ban a movie about prostitution or wake up to fight against prostitution in order to protect the coming generation from becoming prostitutes?” he asked.
Ayouch also spoke about his satisfaction with his cinematic career by reversing the title of his movies, in addition to his happiness with Much Loved,” which he considers his best film to date.
He expressed delight with the nomination of Much Loved heroine Loubna Abidar in the Best Actress in the 41st annual César Awards alongside with high profile actresses such as Catherine Deneuve and Isabelle Huppert. He went on to add that she is the first Moroccan actress to be nominated in the César Awards.
Edited by Kelsey Fish
