Documentary Review: “Mother of All Lies” – A detailed, triggering, and impactful recollection of history.

“Mother of All Lies,” a 96-minute documentary directed by Asmae El Moudir, is a profound and evocative exploration of memory, trauma, and truth. This endearing documentary film takes an innovative approach to unravel the troubling mysteries of Asmae’s childhood and her family’s trauma, set against the backdrop of the infamous ‘Casablanca Bread Riots’ of 1981.

The film unfolds on a handmade set meticulously recreating Asmae’s Casablanca neighbourhood. This creative decision is not just a visual treat but a symbolic representation of the fragmented and constructed nature of memory itself. Using this set, Asmae enlists her family and some close neighbours to delve into the layers of deception and intentional forgetting that have shaped her life.

At the heart of the film is the attempt to uncover the hidden truths of the Casablanca bread riots. On June 20, 1981, thousands of young people from impoverished shantytowns around Casablanca erupted into violent protests, destroying symbols of wealth. The state’s response was brutal; police and military units fired into the crowds, resulting in numerous deaths, arrests, and imprisonments. Among the many tragic stories, the film narrows in on the case of Fatimah, a young girl from Asmae’s street whose body was never recovered, leaving a permanent scar on her loved ones.

Among those who faced the harshest repercussions were her close neighbours, Said and Abdallah, both of whom were arrested and imprisoned. Their stories form a crucial part of the film, offering first-hand accounts of the trauma inflicted during the riots.

Adding to the complexity is Asmae‘s grandmother, a matriarch who witnessed the atrocities but has chosen silence. In the film, she is seen as a formidable, stoic figure, described as a ‘dictator who oppresses everyone,’ yet refuses to recount the events she saw. Her silence presents a contrast to the intimidating person that we see her to be. This contradiction adds an interesting layer of depth to the narrative of this film. What did she see, how did it affect her and why is it so difficult for her to talk about it?

“Mother of All Lies” employs a unique and artistic approach to documentary filmmaking. The film uses miniature dolls and figurines, along with a detailed model of Asmae’s childhood neighbourhood, to reenact scenes from that fateful day. Her neighbors Said and Abdallah help with this as well. But her father Mohamed EL Moudir is the real creative being the detailed sculpturing and building of the miniature world that becomes the center of this film.  He has it down to every single detail, capturing everything from the aesthetics of the buildings to the lighting of the streets. This brings an almost theatrical, yet deeply personal, dimension to the film.

One particularly moving scene features Said recounting his arrest and imprisonment. Using the miniatures and models, he vividly reenacts the events, transforming the set into a stage that blurs the lines between past and present. His detailed recollection, coupled with the emotional weight of his performance, moves both the filmmaker and her family to tears, and it’s a moment likely to resonate deeply with viewers as well.

That’s how strong and intentional this film feels. The way it was done, you could almost think that this is a narrative feature rather than a documentary film. It doesn’t use the typical narrative style for docs that involves interviewing subjects or just following them around.

The film’s visual style is both pleasant and haunting. Shot in a studio set with the family and miniature models, it employs a dreamy, artsy aesthetic, enhanced by the effective use of lighting and shadows. Despite the lack of actual documentation or archival footage from the riots, Asmae successfully captures the intensity and horror of the events through these visual techniques.

Sound design and editing play a crucial role in immersing the viewer in the lives and perspectives of the El Moudir family and neighbors. The careful curation of these elements helps convey the emotional and psychological landscape of the narrative, making the viewer feel part of the unfolding story.

“Mother of All Lies” is a film that certainly needed to be made, a film that has to be seen not just to be appreciated for the creative work of art that it is but also for the history that it protects and holds. History of a day, a time, a place and of lives that otherwise would be hidden by lies and unsaid truths. A day when ‘survivors were reborn and the dead went missing’.

I would score this film 4.5 out of 5 stars. It does not only keep Fatimah’s memory alive, it honors the lives of many.  It’s a powerful reminder of the importance of memory, the pain of forgetting, and the courage needed to confront the past.

Author
This review was produced as part of the Talent Press programme, an initiative of Talents Durban in collaboration with the Durban FilmMart Institute (DFMI). The opinions expressed in this article are those of the author (Tony Asankomah) and cannot be considered as constituting an official position of the organizers.