Hajji: The Participation of Bong Joon-ho, Jodie Foster, and Guillermo del Toro Enhances the Global Standing of the Marrakech Festival
Ali Hajji, the general coordinator of the Marrakech International Film Festival and a member of the selection committee, asserted that the participation of significant figures from the film world, such as Bong Joon-ho, Jodie Foster, and Guillermo del Toro, in the 22nd edition of the festival scheduled to take place from November 27 to December 6, strengthens this event’s position as an indispensable gathering for global cinema.
In an interview with the Moroccan News Agency, Hajji highlighted that the Red City attracts renowned directors, producers, and actors from the international film scene. He added that the participation of the director of the Oscars for the first time in the “Conversations” section serves as a testament to the festival’s growing significance on the world stage.
Regarding the updates for this 22nd edition, Hajji noted that it represents a crucial phase in the festival’s development, both in terms of programming size and the new structure of its professional activities.
He stated, “We aim to bring more consistency and clarity to our program by consolidating all our initiatives under one umbrella named ‘Atlas Programs,’ which has become a fundamental pillar of the festival’s identity.”
Hajji emphasized that thanks to the “Atlas Programs,” the Red City plays an active role in the Arab and African cinematic landscape by supporting creativity, training, distribution, and screening. He pointed out that this professional dimension significantly contributes to the festival’s international visibility.
He confirmed that a noteworthy new feature is the launch of the Atlas Distribution Meetings, an unprecedented gathering that will for the first time bring together international sellers, distributors, and key players from Africa, the Arab world, and Europe.
Another important innovation concerns the “Atlas Platform,” which is becoming more accessible to Moroccan directors showcasing short films in the post-production stage.
Additionally, the volume of programming has increased, featuring 82 films from 31 countries, alongside a stronger commitment to youth creativity through a competition dedicated entirely to first and second films, a more diverse jury than ever before, and a notable presence of female directors across various sections.
After discussing the highlights of this new edition, he explained that it is distinguished by an exceptional focus on works, voices, and meetings. He noted that “Marrakech will transform over nine days into a space where imaginations from around the globe intersect, showcasing world premieres, prominent figures, young writers, discoveries, and tributes.”
The opening of this edition will feature “Dead Man’s Wire” by Gus Van Sant, marking the anticipated return of the American director, while the festival will conclude with “Palestine 36” by Anne-Marie Jaser, a wide-reaching and impactful work starring Hiam Abbas and Jeremy Irons.
Between these two milestones, the festival will present a series of notable moments that define this new edition through four exceptional tributes, “celebratory screenings” featuring some of the most anticipated films of the year, and sections like “Horizons,” which will offer a rarely intense panorama, as well as “The Eleventh Continent,” “Panorama of Moroccan Cinema,” and discussions.
Regarding selection criteria, Hajji explained that the selection changes every year according to the strongest offerings of global productions, emphasizing that the standards are fundamentally based on artistic requirements, originality of vision, quality of writing, and the film’s ability to testify to its era.
He highlighted that the competition focuses on first and second films to showcase new voices and support a new generation of filmmakers, noting that although the festival does not adopt a unified theme, this year features a striking presence of strong political and social awareness from young filmmakers.
On another note, he affirmed that Moroccan presence in the festival is robust, with 15 films across various categories, including two world and international premieres within the panorama, in addition to a pivotal role for filmmakers from the Moroccan diaspora.
He pointed out that this increasing presence is a result of long-term efforts, particularly through the Atlas Workshops, which have facilitated the emergence of new Moroccan voices since 2018.
Regarding direct interaction with the audience, he noted that the openness to passionate viewers is at the core of the festival’s identity, with entirely free admission, a rarity on the international level, allowing various generations—youth, families, students, and cinema enthusiasts—to access films from all over the world.
He explained that “this closeness is not just about free access; it is also reflected in the way each screening session is designed. Most screenings are accompanied by discussions with filmmakers or public dialogues, or interactive moments that enhance the film experience.”
Hajji remarked that this interaction continues smoothly throughout the city, stating, “Thus, artists stroll around, meet the audience, engage in conversations with students, and live to the rhythm of Marrakech,” emphasizing that this dynamic between the city, artworks, and artists, alongside an ambitious program, makes the festival “a vibrant human gathering.”
