A woman in a remote village struggles to raise her son with her father-in-law, while they await the trial of the boy's father on political charges. We do not get very close to the characters (close-ups and medium close-ups are used sparingly if at all) and this is not a film in which one is likely to feel caught up in the plight of its protagonists, save on a representative level, because very real people like them exist; moreover, the ending, which shows them leaving for the city, begs many questions. What is interesting here, though, is the wealth of sociological detail: the value placed on furniture (the boy carries a chair to and from school, for the teacher, who does not feel important enough without one); the kaïd who must collect wives wherever he goes (he is so corrupt he can afford them); the farmer who ferries water to a patch of land like Jean de Florette, even though it has been appropriated by the government; the wife contemplating union with another man who visits furtively by night, because she has to support herself and her child somehow. A film, in short, which repays close attention but will not overwhelm.
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Rave-Reviewer28 May 2010
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KayMack2322 July 2013There are very few "real" Moroccan films. There is a reason for this- one, Morocco doesn't invest a lot in film, and it may be on account of cultural reasons. Moroccans are very discreet. This is something that is lacking in this film, actual discretion, namely by the character playing the mother (her clothing shows a bit too much of her shape) and the rebellious daughter- who's acting is truly awful. Very early in to the film, she goes on and on describing some demonstration at her school "it was like a rock concert! A boy put me on his shoulders, I could see everything! The riot police.." to her little brother as she plays music in her bedroom. I found this particular scene extremely insincere, and off putting actually. In other words: I didn't buy it. To know Morocco and Moroccans- rebellion is not something one promotes (in Morocco, beards are considered "terrorist-y" and the secret police literally pull out their beard hairs, one by one with tweezers! Rebellion of ANY kind is strongly quashed, not only by the police but in the home as well) children don't go round bragging about things like this, so I found that scene not believable at all. If you go to any news media, you will plainly see that if Moroccans have any sort of rebellion, it's very small and quickly stopped. The scene in other words, was written in with some sort of propaganda involved in my opinion. "Hearts and Minds" indeed! I can't recommend seeing this unless one wants to practice their Moroccan Arabic language skills. Maybe not, really, as it leaves a bad taste in one's mouth with the characters, although speaking daridja (Moroccan Arabic) do some very un-Moroccan things. I knew I was in for it when as the beginning credits went across the screen, two of the producers had Jewish names- let me tell you why this unnerved me: would you watch a film on capitalism and free trade that was produced by Soviets? Although Moroccan Muslims & Jews live side by side without any problems, and there is a lively Jewish population in Morocco, I would not consider a particularly Muslim topic left to Jewish productions, just as I would not trust a particularly Jewish plot left to a Muslim production. Just doesn't "jibe".
As usual, any production out of Morocco with embarrassingly bad acting, stinky plot (why oh WHY must the producers degrade the female characters so?) the mother character seems to want to have a "fling" with a man who is not her husband- in Morocco, a man may refuse to marry a girl simply on the rumor she has even THOUGHT of another man. To understand the faults with this production, one would do best to understand the Moroccan culture.
I'd steer clear of this film- it's unreal, it's based on fantasy, and has an agenda. This is NOT Morocco, it's some political propaganda dreamed into a goofy, boring bad actifying mess.
Miss it. -
runamokprods22 January 2012This film divided critics, some of whom found it slow and/or hard to follow. But I agreed with those that loved the rich tapestry of life in a small town in Morocco during Ramadan in 1981.
The film (which is gorgeously shot in a static, presentational style that recalls Kubrick at times) reminded me of films like 'Amarcord' and 'Nashville' – films that capture through multiple story lines the tragedy and comedy of life at a particular moment in a particular place.
What's so interesting here is that the culture is a foreign one to most westerners like myself, so there were moments I was lost, but many more where I felt a world I knew nothing of was being opened up to me, and – as cinema is so great at doing – the common ground we all share was found.
It does get slow at times, no doubt, and I did have a hard time keeping track some of the complex familial relationships. But as a 'memory film' of growing up under a repressive regime in a society both modern and feudal it made me laugh, made me think. and touched my heart. -
KobusAdAstra13 July 2020Mille Mois is a rewarding and atmospheric film that takes place in a small Moroccan village during Ramadan of 1981. We quickly learn that there is civil unrest and that the father of Mehdi, the young protagonist, is in jail because of his political activities. It is up to Mehdi's grandfather to try to keep the family together.
Difficult circumstances with a devastating drought and government land-use policies force peasants off the land. The barren and harsh landscape is well captured by the camera.
We see the village and its people through the eyes of young Mehdi and in the process meet a range of colourful characters, from corrupt politicians to devout Muslims.
Although the pace of the film is slow, it is rich in nuance and ultimately rewarding. Mention must be made of the great, natural performance of Fouad Labied, the young actor who played Mehdi, as well as the outstanding cinematography. 7.5/10.