Mouna Fettou

In southern Morocco in 1954, an old man and a young man cooperate to restore water to a wasteland.

A jazz singer and a British jewel thief are brought together by their mutual desire to forget the past.

Jawhara has grown in prison after the rape of her mother, Safia, and has lived for six years behind bars by her mother's side. Through her innocent vision, Jawhara grew up looking and watching the world of families telling the story that brought her mother together with her alleged father Saeed. Saeed and Safiya lived together a period of youth marked by enthusiasm and ideal values. Inhuman living conditions. Jewel's search for the truth of her mother and father's story leads her to tragedy...

The film is considered one of the first Moroccan cinematic tapes that tried to convey Moroccan reality with its traditions and customs to the cinema screen in a bold way, especially the issue of sex in Moroccan society, an issue that cinematographic works have always avoided before.

The members of a debt-ridden family reunite in an evanescent Tangier, running away from painful memories but at the same time clinging to a past they do not want to forget. Their childhood home and its magnificent estate are due to be sold in early autumn; increasingly, summer days fade into distant memory.

Lhadj Benmoussa, a rich jeweler, is married to several wives and appear to be a good manager of the three concubines, except when Houda, his third wife, who is young and gracious, is repudiated for the third time.

In the early years of the reign of Hassan II, Houcine, a fan of the new king, is the director of a popular orchestra and the proud father of Mimou. This is a very particular troupe, male musicians who are sometimes forced to pretend that they are blind in order to play at parties reserved for women in conservative Moroccan families. But then young Minou runs into Chama, the neighbor’s new maid

Rhimou, a poor young girl, inherits a big fortune that changes the course of her life.

Edith, a 45-year-old textile factory worker, sees her life turned upside down by the company’s downsizing measures. Estranged from her son and without any other ties, rather than go into unemployment, she decides to leave her life behind and follow her work at the factory which has been relocated in Morocco.

As co-directed by brothers Swad and Imad Noury (and produced by their mother, Pilar Cazorla), The Moroccan picture Heaven's Doors (2005) employs an episodic narrative, with three related substories presented sequentially. The Nourys shoot the episodes in distinct cinematographic styles (and with distinct overtones) suited to each tale, recalling Humberto Solas's masterpiece Lucia (1969).

The story of four Moroccan women who reunite after a period of estrangement. Their happy facades mask a lot of misery and pain, caused by divorce and betrayals as one of them discovers that the man she loves is cheating on her with one of her closest friends.

An old journalist, Omar, remembers the 70s and Salim a young 35-year-old journalist who had dared to investigate a corrupt senior state official. Omar knows it's a fight lost in advance but Salim refuses to let go. He resists because his duty as a journalist and his contempt for the untouchables who believe themselves above the law incite him to take all risks. But one day, the newspapers announce the death of Salim, cowardly murdered by a burglar. In short, a simple fact.

After years of suffering, Rahma ends up in a tyrannical marriage. Torn between seeking revenge and rewriting her destiny, Rahma gathers the strength to face her past and build herself a new life.

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