This conversation was recorded at e-flux before a screening of Ahmed El Maanouni’s Al Hal [Trances], curated by Omar Berrada. The evening was co-presented with ArteEast. Al Hal [Trances] (1981, 88 minutes) is a classic of Moroccan cinema and a compelling introduction to it. While presenting itself as a music documentary on the iconic band Nass El Ghiwane, it is also a film about friendship and collaboration, archival memory, the anti-colonial imagination, and working-class life in C...
This conversation was recorded at e-flux before a screening of Ahmed El Maanouni’s Al Hal [Trances], curated by Omar Berrada. The evening was co-presented with ArteEast.
Al Hal [Trances] (1981, 88 minutes) is a classic of Moroccan cinema and a compelling introduction to it. While presenting itself as a music documentary on the iconic band Nass El Ghiwane, it is also a film about friendship and collaboration, archival memory, the anti-colonial imagination, and working-class life in Casablanca.
Ahmed El Maanouni is a writer, director, cinematographer, and producer born in Casablanca in 1944. Among his essential works are Alyam Alyam (1978), the first Moroccan film to be selected at the Cannes Film Festival and winner of the 7e Art prize at FESPACO in Ouagadougou; and Al Hal [Trances] (1981), which was the first movie to be restored by the World Cinema Project in 2007. Among his other works are the feature films Burned Hearts (2007) and Fadma (2017), as well as The Paths of Freedom (2015–16), a documentary trilogy that tells the story of the Moroccan struggle for independence through the experience of families.
Omar Berrada is a writer and curator whose work focuses on the politics of translation and intergenerational transmission. He is the author of the poetry collection Clonal Hum (2020), and the editor or co-editor of several books, including La Septième Porte, a posthumously published history of Moroccan cinema by Ahmed Bouanani (2020), and Another Room to Live In: 15 Contemporary Arab Poets (2024). He is currently studying racial dynamics in North Africa while living in New York.
The African Film Institute aims to create a home and a place of intimacy with African cinema in New York, through developing gradually and organically a viewing program animated by fellowships; a growing library; an active writers’ room; and an expanding catalog of recorded dialogs. The African Film Institute draws from the visual cultures that view cinema as an evening school: a popular information system in the service of education, aesthetic experience, and public dissemination—employing a methodology concerning the use of cinema’s collective production, and investing in viewing methods informed by different uses of time, visual and textual histories, and social struggles and hopes in mutuality between their own locality and the world at large. The African Film Institute is convened by Christian Nyampeta and hosted by e-flux Screening Room.
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