Those who have seen both films noticed that you have not rewritten only the title but stylistic and aesthetic aspects of the French film. How can you explain this?
In his film, Yves Vandeweed constructs the security zone established by Morocco as the wall that separates Sahrawis from their lands and families which urged me in my film to refer more than once to the crimes of the Polisario, particularly those of kidnapping, with the complicity of Algeria the and Spanish media. Through my film, I want to tell the viewers that the security belt came to stop these crimes that were extensively practiced during the seventies and eighties under the European media blackout.
So, I rewrote the film of Yves Vandeweed by giving a voice to the activist Mustafa Salma Ould Sidi Mouloud, to explicitly reveal many sensitive issues that were ignored by the Spanish and European media, such as the recruitment of children, the violations of human rights, and the involvement of Boumedienne and Gadhafi in these abuses. Through the story of Mustapha, I pointed out to the issue of freedom of expression within the camps; an issue raised by Mustapha was kidnapped and tortured due to his public support to the Moroccan resolution.
The movie ‘The Lost Land‘ separates the sound from the image, silencing its voice, as it does with the identity of the land through testimonies of people whose names are unknown, which leads us to question the credibility of the film’s content. We do not even see those people while speaking, which form an obstacle between the viewer and the theme. Such fallacy was justified by an aesthetic choice of the filmmaker, which he explained to European journalists. But, this approach was not robust and only resulted in forming a gap in the film. In my film, however, my main concern was to give voice to Mustapha Salma, producing an image to break all the barriers set up by the French filmmaker.
What are the main difficulties you faced while shooting your film?
First, I would like to mention that it was too difficult for me to enter Mauritania with my camera and professional equipment, so I had to use my mobile phone. Besides, I did not get the shooting license from the Moroccan Film Centre (CCM) on time. However, my mobile recording gave credibility and realism to the film, demystifying all the prejudices in the French film ’The Lost Land‘. Apart from some shots taken from Youtube, others were shot with a small 3ccd camera with the absence of lighting and sound equipment due to the refusal of Moroccan Cinema Center to fund my project about Mustapha Salma. These difficulties do categorize my film within the trend of “Imperfect Cinema”. It also has something to do with “Third Cinema,” which is characterized as works filmed with modest equipment and which tackle the marginalized themes.
Who are ‘My Land Knows Me’ interviewees?
My film traces the story of Mustapha Salma through interviews with Spanish, Polisario, and Moroccan interviewees. The points of view of Bouchraya Byoun, the Polisario representative in Spain and their former minister, the Spanish former minister, Miguel Ángel Moratinos, and the journalist Ignacio Samprero, (who is known for his articles supporting the Polisario stance) are all presented in the film to provide different and contradicted attitudes to the viewers. These interviews reveal the complicity of Spanish media and journalists as illustrated by Ignacio Samprero’s words.
Don’t you fear criticizing the Moroccan Film Center?
No, simply because the CCM has already stripped me of any support. This, by the way, made people in charge at the CCM think that I might stop working on my documentary, which definitely wasn’t the case. I can use my knowledge about cinema trends that struggle against the odds and use modest equipment and ways to depict reality. The proof is what’s now happening regarding the Arab Spring and how the mobile videos compensate the professional camera that requires permissions and expensive equipment.
Interview of the Director Rabii El Jaouhari