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  • Juries

    Feature film jury


    Panos Karkanevatos



    Fatima Loukili


    Cristina Plazas


    Kadhy Touré

    Côte d’Ivoire

    Cristiana Paterno


    Francis Bordat


    Critic “Mustapha Mesnaoui” Jury:


    Hammadi  Guerroum



    Oussama Abdelfettah


    Rabha  Achit


    Houda Ibrahim


    Documentary film jury:


    Thomas Bauer



    Patrizia Pistagnezi


    Mohamed Chouika


    Fatima Luzardo


    Annick Ghijzelings


    Hakki Kurtulus


  • Competitions

    Feature-length films competition

    - Paris the white, Lidia Terki, France, 2017, 86’

    - The open door, Marina Seresesky, Spain, 2016 , 84’

    - Tramontane, Rabih, Vatche Boulghourjian, Lebanon, 2016 - 105’

    - Demain dès l’Aube, Lotfi Achour, Tunisia- France, 2016, 83’

    - Indivisibili, Edoardo De Angelis, Italy, 2016 , 100’

    - A Good Wife, Karanović, Serbia, Bosnia, Croatia, 2016, 94’

    - Amerika Square, Yannis Sakaridis, Greece, 86’

    - Godless, Ralitza Petrova, Bulgaria / Denmark / France – 99’

    - Park, Sofia Exarchou, Greece / Poland, 2016, 130’

    - My Father’s Wings, Kivanc Sezer, Turkey, 2016, 101’

    - Mawlana, Ahmed Majdi Ali, Egypt, 2016, 130’

    - Headbang Lullaby, Hicham Lasri, Morocco, 2016, 111’



    Documentary films competition:

    - Islam for memory, Bénédicte Pagnot, France 2016, 77’

    - Delta Park, K. Devilliers et M.Brenta, Bel/Italy, 67’

    - Hizam, Hamid Benamra, Algeria /France 2016 86’

    - Story of Sanae , Rogena Bassaly, Egypt 59’

    - Un dia vi 10 000 elefantes, Alex Guimerà & Juan Pajares, Spain, 51’

    - The abandoned land, Gilles Laurent, Belgium 2016, 73’

    - Bouchra: moving dreams, Khalid El Hasnaoui, Morocco 2016, 50’

    - Asphalt, Ali Hammoud, Lebanon 2016, 69’

    - Everything was beautiful dream, Branko ISTVANCIC, Croatia, 104’

    - Your son is a man, Ben Youssef Heifel, Tunisia, 77’

    - Mayyel Ya Ghazayyel, Jocelyne AbiGebrayel, Lebanon, 95’

    - Kazarken – by digging, Güldem Durmaz, Belgium - France, 2016, 90’

  • Previews

    - Fuocoammare, Gianfranco Rosi, Italy, 2016, 107 ‘

    -  Ceasefire, Emmanuel Courcol, France / Belgium, 2017, 103’

    - Jellyfish, Damien Ounouri, Algeria, 2016 ,40’

    - Foreign body, Rajaa Amari, Tunisia/ France, 92’

    - To live and other fictions, Jo Sol, Spain - 2016 – 81’

    - The monkey talks, Peter Mimi, Egypt 2017, 82’

    - Hedi, Mohamed Ben Attia, Tunisia / Belgium / France - 2016, 93’

    - Raja, daughter of El Melah, Abdelilah El Jaouhary, Morocco, 2016, 70’


  • Guest of the Mediterranean (The Chinese cinema)

    1-  OPERATION MEKONG , Dante Lam ,100 ‘ ,  2016

    2 - THE DEAD END , Cao Baoping ,  137 ‘ , 2015

    3 -  THE MASTER , Haofeng Xu , 109 ‘ , 2015

    4 -  MOJIN-THE LOST LEGEND ,   Wuershan ,  125 ‘ , 2015



     In collaboration with the Chinese general institution of communication, edition, radio, cinema and television.

  • Tributes

    Ana Fernandez

    Spanish actress

    Anyone who knows Anna Fernandez affirms that she is a woman with an overflowing gentleness. A global person who believes in a world without borders. Fundamentally tender, she is prepared to give herself completely to defend her causes. Apparently, her personality hides mysteries that only insiders can break…

    Khalid Sawi

    Egyptian actor

    Since he was a young child, Khalid Sawi, born in November 25th 1963, in Alexandria (Egypt), showed his taste for the cinema. He enjoyed acting while studying law at the University of Cairo. He also practiced writing stories, poems and theatre plays…

    Saadia LADIB

    Moroccan actress

    Being a very sensitive person, particularly passionate and lover of life, Saadia Ladib started her artistic journey with theater. She consistently insists that theater shall continue to be her first love. At the same time, she can’t deny that the cinema gave her keys to magical worlds. The television gave her the occasion to win the heart and the mind of the Moroccans.



    Moroccan actor

    Born in 1960 in Kelaât Sraghna (Morocco), Mohammed left his hometown in 1969 to pursue his secondary studies in Rabat. Since, he showed a remarkable talent on stage. His artistic career started when he first attended Abbas Ibrahim School, where also well renowned actors studied and graduated.

  • Special guest



    Messenger of love







    Abdelwahab Doukkali, singer and composer, is a maestro and a lute virtuoso. His music and his songs awaken our senses and stimulate our emotions, it reflect our identity and describe our reality. This singer, adored by the public, has charmed, fascinated a whole generation by refining the taste of the music lovers.

    He was chosen to play the feature role in “Al Hayatou Kifah” (Life is a struggle), directed by Ahmed Messnaoui and Mohamed Tazi. Long before the birth of the Moroccan cinema, he shared the screen with big musicians and artists of the Egyptian cinema: Sabah, Chadia, Fayza ahmed, Najat Assaghira, Fouad Al-Mouhandiss. Starring the film “Le Caire, la nuit” (1963) which music was composed by Mohamed Abdelwahab.

    During the same year, Abdelwahab Doukkali played along with Farid Al Atrach and Mohamed Abdelwahab in “Montaha al farah” (extrem joy). In this film, he performed his own musical composition entitled “Al Oula” (the first). It was his real commencement in the world of cinema during his stay in Egypt between 1962 and 1965. In Morocco, he signed the scores of “ A la recherche du mari de ma femme” and “Lalla Houbi” by Abderrahman Tazi.

    At the age of 16, he made himself known on the national radio. And his songs “ Moul Lkhal” and “ Al Ghadi ftomobil” marked the launching of his work as a composer. After his return to Morocco, and after a long journey across the Arab world and Egypt, he won the “Grand prix” of the first edition of the National Festival of Music in 1985 in Mohammedia for his unforgettable song “ Kan Ya makan” (Once upon a time). As of this date, his records started growing : In 1993, he won the “Grand Prix” of the second edition of the Moroccan songs festival in Marrakech. He was named best musical creator, awarded by the jury of International Festival of music in Cairo, for his original song “Allah Hay”. Thanks to Abdelwahab Doukkali, the Moroccan songs conquered the Arab world.

     Abdelwahab Doukkali’s songs cannot be categorized. It might be better to recognize that our guest of honor is hypothetically a music school where rhythms from the four corners of Morocco coexist and that he is one of the few who can arrange them to produce a unique piece of art.

    Abdelwahab Doukkali is a very exigent and selective artiste who can intelligently find the right words and the good rhythms to create a unique and an original art. His song “Allah Hay” is the perfect illustration: It is a real harmony that evoke Mozart, Platon, Vivaldi…Thus, every song is technically a product of his dedication, hard work and perfectionism:  “Rhamni min aynik”, “ Tik bia”,”Matlebch mimi lmouhal”,”Montparnasse”…

    Even if he sings” Ma ana illa bachar” (I am just an ordinary human), Abdelwahab Doukkali is, unquestionably, a living legend of the Moroccan music.



  • Retrospective




    Pioneer of the modern Spanish cinema





    El verdugo (The Executioner), Luis Berlanga, Spain  1963, 90’


    Plácido, Luis Berlanga, Spain 1961, 85

  • Colloquium


    François Jost


    Rachid Daif


    Lyana Abd Rabou


    Amir Amry


    Jean Cléder


    Patricia Fiorentino


    Mohammed Ennaji


    Carlos Esbert

    Del Moral


    The desire to travel seeking for a better life, to discover beyond seas and oceans, represented, historically, and still represents a constant among humans. That is why they always travel, challenging the hazards of the nature and the unpredictable dangers. Their real (The big travelers, the migrants) or fictive (Ulysses in the Odyssey for example) achievements were the object of numerous books, epics, movies etc. A hundred years ago, humans can freely travel without needing a visa nor a certificate of welcome. But it took some countries, a short while ago desperate for employees, or simply for people to populate their desolated lands, suddenly afraid of the strangers, motivated by a selfish desire to protect themselves against intruders, building borders, creating economic groups (EU) and requiring visas and stricter border controls in regard to neighboring countries to keep themselves to themselves and to enjoin the others from the wealth accumulated through the exploitation of migrants.

    New borders, dividing lines, walls of shame appear all over the countries of the Mare Nostrum, to kill very southern man’s dream for a better life. Our “white sea”, once upon a time, a land of exchange and conviviality, became a grave for thousands of Africans. Poor or developing countries became, for political reasons, economic if not ecologic reasons a big prison. The free movement of persons, as set forth in the Charter of the United Nations, became then an illusion and a big lie.

    However, although been conceived to protect the local population, physically or symbolically, the borders end up, paradoxically, keeping people from interacting and communicating with the others.

    Do those decisions discourage the human, the eternal traveler and the hardened adventurer? No, they don’t, the weapons of a dreamer are stronger than any border. It became then a stimulant, it invites people to travel, to face all the obstacles (physic or symbolic), to push the limits, to break the laws and to confront the death. Travel is life.

    Thereon, the obligatory (immigration) or chosen (going for an adventure) travels are very represented in the Mediterranean filmography, in the north and in the south. The cinema is always interested in this theme by showing and discussing  the persistence of men and women in travelling, seeking for their stolen dignity…

    The 23rd edition of the International Festival of the Mediterranean Cinema is dedicated to the theme “the representation of the borders in the Mediterranean cinema”. Filmmakers, writers and professional will participate in the colloquium to further discuss about the borders throughout the eyes of the Mediterranean camera. The participants will try, each in his field of specialization, to clarify the matters of this phenomenon in the light of the specific language of the 7th art.

    Beyond the space boundaries, the colloquium will also discuss the borders that can exist between artistic genres: cinema and literature, documentaries and fiction cinema for example.

    We have no choice but to recognize that the artistic genres are helping people to exchange and to communicate at a moment when others are setting walls and borders between them.




    Hereinto, many topics will be treated: What is the approach that filmmakers accord to the question of the borders, through the image, the sound, the space and the characters?

    Why do not the voice and the work of the filmmakers reach out the decision-makers?

    What are the types of borders that are recurrent in the Mediterranean cinema?

    The main axes are:

    1- Borders and illegal immigration. The point of view of the Arab filmmakers.

    2- The image of the immigrant in the cinema of the union (example France, Spain, Italy)

    3- Borders and conflicts

    4- The borders in the Palestinian cinema

    5- Literature and cinema:  Borders or porosity?




    Nourddine BENDRISS

  • Meeting 1

    The first work of the Moroccan films:

    What is the reality? what is the contribution? What are the perspectives?


    Organized in collaboration with the Union of the Moroccan Directors and Writers


    In 1995, Moroccan directors, nowadays called “veterans”, conscious of the need to ensure the continuity and the future of the Moroccan cinema, tried to find young Moroccan directors, living abroad, especially in Europe, to invite them to return to their country of origin and to present their films (short films at that time). This date will mark, during the national film festival in Tangier, the emergence of a new generation of directors, with a new thematic approach and a new vision of the cinematographic direction. The challenge of the future was well underway.

    In 2003, a new administrative rule opened the gate for a new generation of young directors. The purpose of the rule is to allow the amateurs and the freshly graduated directors to make 3 short films, to obtain a director card and to compete for the national production aid that will help them to shoot their first feature-length film.

    In 2016, twenty-one years after those two landmark dates, an assessment of the works of the two generation is required.

    Over the past decade, the number of feature-length and short films produced in Morocco have multiplied by three. The first works represent, since, about half of the national production.

    But what about the quality of those films? What about the hope offered by those directors in 1995? What consequences did the administrative measure of openness, decided in 2003, produce? What is the artistic contribution of this openness?

    How the Moroccan first feature-length films are written, prepared, filmed and post produced?

    All of those questions require a deep reflection, an exchange between professionals, directors, critics and filmmakers in order to identify the positive contribution and the angles that we should rectify. The main objective is to ensure a new future for our cinematography.


    Saâd Chraibi



  • Meeting 2

     “The development phase of the audiovisual and the cinematographic production, the need for funding and the modus operandi”


    (Round-table organized by the Moroccan Chamber of Film producers in partnership with the International Festival of Mediterranean Cinema of Tetouan)

    The development phase is crucial in the implementation of a film project. It ensures the quality and the success when it is properly approached, conducted and financed.

    This essential step of the production process is the longest and the most fragile. It is mostly rushed in Morocco. The reasons are obvious: lack of funding, lack of public support and the ignorance of its necessity.

    There will not be any quality in our productions if we continue ignoring the development phase in terms of writing but also in terms of production. The underdeveloped projects shall continue to be an insurmountable disadvantage for the continuity of the production and the projection of the films.

    Just as we took conscience of the importance of the quality in our films, the producers are left to fend for themselves. Their capacity to invest in developing creative and courageous projects is very alarming.

    The specific development supports are limited to a small number of box offices outside Morocco. And most of producers don’t have the capacity and the skills to prepare their applications and to defend them.

    The public services must take the measure of this disadvantage. Now is the time to create a fund to support the development of this category and to provide a continuous and constant aid for the development phase, the most fragile but also the most important. It is one of the biggest challenges of our cinema: to give a chance to ambitious projects, pledges for the emergence of new talented directors.

    In the MCFP, as part of our proposals in the area of saving cinema and audiovisual, we militate to bring in the development phase in every cinema and audiovisual project and to support the development of the produces by means of training, supporting and giving the chance to young initiatives.

    This necessity to organize this round-table, in the form of one day seminar, came by itself. It would not have been possible without our partnership with the International Festival of Mediterranean Cinema of Tetouan, committed, since its creation to promoting a quality cinema.


  • At the school of the festival

    At the school of the festival


    The Tetouan Film Festival is very keen to promote the cinematographic culture and is deeply engaged in the organization of educative events. The festival closely monitors the education reform project and takes this opportunity to invite the responsibles and the decision-makers to include the study of the cinema in the future school curriculums.  In looking at this situation as we have it today, we must agree that we need to train more professionals and to unearth new talents, especially since it is a very promising sector. The aspiration of the festival is very big: it calls for the creation of a cinema institute in the north region.


    STrainings, workshops, courses, Master class


    To open up to elementary, high school and university students is henceforth firmly entrenched in the IFMCT approach. Every year, the Festival is concerned with the necessity to introduce the public to the tools and the techniques of the cinematographic language and to the reading of the film images, dedicates a big part of it program to workshops, trainings and master classes, animated by professionals of the 7th art (Filmmakers, teachers, critics…) coming from the four corners of the Mediterranean. The festival managers attach considerable importance to this educational and, a fortiori, artistic aspect. It is all about joining the fun and the functional...

    • Master class, Cinema lesson, writing workshop, screening-debate, screening for children, making an animated film about the theme of the borders and the environment

    • Screening-debate



    Denis Glinn (Belg) – Souad Oulad Tahar -  Mohamed ChrifTribak (Morocco) -  Roland Carré (FR)- Mario Brenta (Italy)- Adam Pianko et Daniel Saïd (FR) -

    Thomas Boucart (Belg) - Youssef Ait Hammou, (Morocco) - Majid Seddati (Morocco) -Francis Bordat (Fr)


    Target institutions:

    Elementary, secondary school, high school, universities (Faculty of science, CRMEF, ENA+INBA, Faculty of literature, faculty of economy, ENS, French teachers…)



Tous les droits sont réservés.

Festival International du Cinéma Méditerranéen de Tétouan © 2014