In the Moroccan mountains. Touda is a Sheikah singer who can barely keep herself and her deaf son afloat. Her career doesn’t make a lot of money nor is it respected in patriarchal society – and it even exposes her to sexual violence. The tradition of Sheikah singers has its origins in the colonial era, a text at the beginning of the film explains. The songs are about resistance and emancipation, but also love and desire from a female perspective. For some (men) this is enough to consider the singers fair game or outlaws. This goes for Touda’s brother too. Despite her parent’s support, Touda wants more, for herself as an artist and above all for her son. Without an education herself, but with a strong will to give him one, they move to Casablanca. But the big change does not happen. The performances are badly paid and again and again, men who were just applauding her suddenly become threatening.

Nabil Ayouch begins with a small subsection of Moroccan society and tells a universal story about women and the patriarchy. The woman on stage is always a projection screen for wishes, desires, contempt. This repeats itself worldwide, whether it’s Touda or Britney Speaks, in Casablanca or online. The attention that Touda receives isn’t always love. Touda doesn’t let herself get reduced to that role and stays true to her self-image as an artist, even if she has to fight for it and take it. The film begins somewhat hesitantly, but actress Nisrin Erradi imbues Touda with an impressive voice, musically and emotionally. Her Touda has a magnetic presence that seems to touch everyone around her. Ayouch concentrates on Touda as an artist and mother and depicts a multi-layered portrait of her and the tradition of Sheikah singers.

Clarissa Lempp (INDIEKINO MAGAZIN)

Translation: Elinor Lewy