Inspirationen - Laila Marrakchi

Inspirationen

Laila Marrakchi

Ein abstecher in die wüste

Einmal Marokko und zurück

Scenes from Rock the Casbah (2012): Three sisters (Lubna Azabal, Morjana Alaoui and Nadine Labaki) mourn their father (Omar Sharif), comfort their mother (Hiam Abbass), and deal with each other in Laïla Marrakchi's second feature.
Photos: Hassen Brahiti.

Laila Marrakchi Photo: Alexis Armanet

In der Sahara begibt sich die marokkanische Regisseurin Laïla Marrakchi auf die Reise, bevor sie im Pullman Marrakech Palmeraie Resort & Spa eine Pause macht. Sie nimmt Platz, um über ihr Leben hinter der Kamera und an einem kulturellen Knotenpunkt zu sprechen.

Laïla Marrakchi war knapp 30 Jahre alt, als ihr erster Spielfilm Marock bei den Filmfestspielen in Cannes Premiere feierte. Marock porträtiert junge Leute, die in Casablanca erwachsen werden, und gehört zu den Filmen, die einen Moment und eine Generation so wirkungsvoll einfangen, dass es sich gleichermaßen vertraut und neuartig anfühlt. Marock war ein eindrucksvolles Debüt, doch die junge Regisseurin hatte kaum Zeit, die Anerkennung zu genießen, denn einige konservative Kritiker in ihrem Heimatland tadelten sie für die Sicht des Films auf die marokkanische Gesellschaft.
Nachdem die Kontroverse abklang, wurde der Film ein großer kritischer und kommerzieller Erfolg. Als 2013 ihr zweiter Spielfilm Rock the Casbah in die Kinos kam, gehörte Laïla Marrakchi zweifelsohne bereits zu den engagiertesten und einfühlsamsten Filmemacherinnen unserer Zeit, nicht nur in Marokko.

Auszug eines Interviews von Randall Koral. Das komplette Interview ist in unserem Pullman Magazin in Pullman Hotels und Resorts oder online im App Store sowie bei Google Play zu finden.

Laila Marrakchi

RK: How did you get the idea you wanted to be a film director?
LM: When I was small, my uncle was a film distributor, and every Sunday he projected 35mm films at his home. My first memories of the movies are of me sitting on the floor by my mother’s knees and next to my aunt. They would cover my eyes with their hands if there was a love scene. My nanny would come in with a tea tray in in the middle of the action and ask, “Do you want tea? With or without sugar?”, and we’d all say, “Shhhhh! Not now!” I saw Hair, Kramer vs. Kramer, American films that weren't necessarily for kids my age.
The one that marked me the most, though, was Gone With the Wind. When I was a bit older I got my movie culture from videos my cousins would record off French television. They would bring back classics by Mankiewicz or Capra. When I was 15 or 16 a new movie theatre opened in Casablanca. We went every Saturday and Sunday. It was a way of travelling. It allowed me to understand the world a little bit.
After I passed my Baccalaureate I decided I wanted to make movies, except that, well, cinema was not considered very serious. But I was lucky to be a girl. I had an older brother and he’s the one who had to do serious studies. There wasn’t all that much pressure for me to undertake serious study – at least not from my parents, or in my family. That gave me the freedom, in a way, to study and do what I wanted. First I wanted to be a photographer, and then I decided that I wanted to make movies.
At 17 or 18 years old I went to cinema school in Paris. When I arrived it was like: this is freedom. I started my career with short films in Morocco. I worked on Franco-Moroccan coproductions. I figured out that being Moroccan and from another culture could give me an advantage – it gave me something to say. For a long time, while I was in Morocco, I had told myself I wanted to be someone else, and finally I understood to what extent my situation, and where I was from, could generate some good stories.

RK: In Morocco some people perceive you as an outsider, maybe because you’ve lived in France, while in the rest of the world you’re regarded as a Moroccan filmmaker. Where do you think you belong?
LM: I feel I’m deeply Moroccan and anchored in my roots. I also feel very Parisian. For a long time I worried about this, thinking, ‘I’m a crossbreed, a bit of this, a bit of that, not too much of anything’. And then I said to myself: ‘Listen, I am what I am’. I don’t carry that burden anymore. What’s annoying is that some Westerners expect me to be an Arab filmmaker and to focus on what is miserable, to have the same approach as the media’s. But I don’t want to get into that. I’ve tried to show something else, from the inside, that’s all. For a long time I have tried to find my place. So where is my place? My place is in my bed! [laughs] My place is everywhere.

RK: Do you like travelling?
LM: I like not being at home. I like what’s impersonal about travelling. Someone I met recently said that hotels are the best of what a country has to offer. It’s always interesting to see a country’s fantasies about itself through its hotels. I pretty much agree with that. Travelling is about moments suspended in time, about not knowing too much. I don’t like the tourist places. I like the moments that are close to solitude, when you sometimes meet people, like in Lost in Translation. I ended up stranded in Skopje in Macedonia once, in winter. It was a bit difficult, but in the end it was pleasant.

Dieses Interview fand im Hotel Pullman Marrakech Palmeraie Resort & Spa statt.

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