Alle lieben Touda

There is nothing better than sinking into a cinema chair and watching a really good film. This film is just that. You are thrown into another world and another life. This is a very well-acted film and a script that grabs you from the first frame of the film. The team behind the film is Nabil Ayouch and Maryam Touzani who have made the films "Adam" and "The Blue Kaftan". 2 brilliantly good films. If you haven't seen those films, try to see them too. Nisrin Erradi who has the lead role as Touda carries the film brilliantly and is a brilliant actress who you should keep an eye on in the future. I can't say anything else, go and see the film as soon as possible. Be enchanted and captivated by this jewel of a film.

In Everybody loves Touda, we see the point of view of the artist on the scene. We see her struggle to sing what she wants and in the way she wants to sing it. We see her fight between pleasing her audience and pleasing herself. Will she find a place that accepts her as she wants to perform?

There are some beautiful images. It depicts, in my opinion, quite well the culture of the Morocco in which she lives. While giving us get a good grip of her life. I would recommend you to go for the VO of this movie, I think the language is important to be authentic.

This movie did two things to me: 1. It made me wonder if I sometimes push people to do things that I want, without caring about their opinion.

2. It made me realize how much the male flirty behaviour is annoying for women.

My first experience watching a Moroccan movie in a cinema was this one, and let me just say, it was an unforgettable one. The film brought a mix of emotions, starting slow but eventually pulling me into a beautifully crafted story.

The first 30 minutes, though visually stunning, felt like a test of patience. The pacing was slow, and to be honest, it seemed like the story hadn't quite found its footing yet. However, what kept me intrigued during this phase was the beauty of the cinematography. Every shot felt intentional, as if the visuals themselves were telling a story, even when the screenplay wasn't. The acting also stood out, with the cast's performances adding layers of depth to the quiet moments.

But once the screenplay found its rhythm, things changed drastically. Around the 30-minute mark, the narrative started to engage, pulling me into Touda's world with such intensity that I forgot all about the slow start. The story blossomed, filled with meaningful moments that made the wait worth it.

An outrageous performance was delivered by Nisrin Erradi, who carried the movie on her shoulders with grace and brilliance. Her portrayal of Touda was mesmerizing. It was clear that she had poured her heart into this role, especially in the scenes where she performed AITA. And it's not an easy one to master. Nisrin's performance was so authentic that it felt like she had been doing this all her life.

The film's ending was the cherry on top, leaving the audience with an open-ended conclusion that invited multiple interpretations. Personally, I loved this aspect.shows that the director trusts his viewers to draw their own conclusions, and Everybody Loves Touda did so with elegance.

Despite its rocky start, the movie ultimately delivered a unique and memorable experience. It wasn't just a film, it was a journey-a visual and emotional exploration of a story deeply rooted in Moroccan culture. For a first cinema experience with a Moroccan movie, this was a gift, and I can confidently say: Everybody Loves Touda will stay with me for a long time.

Everybody Loves Touda is more than a film, it's a poetic experience where the camera becomes a narrator in its own right. From the very first frames, the cinematography immerses you in Touda's world not as a passive observer, but as a silent companion walking through her struggles, dreams, and silences. Every movement of the lens feels intentional.

Nisrine Erradi delivers a breathtaking performance. Her embodiment of Touda is raw, vulnerable, proud, and complex. Her voice alone carries the weight of generations, and her face, its quiet defiance and unspoken grief, tells as much as any monologue could.

One of the film's most impressive qualities lies in its attention to detail. There are tiny, almost imperceptible moments that radically shift your understanding of the narrative. Without giving anything away, I urge viewers, especially those planning to rewatch the film, to pay close attention to the scene where Touda appears in a white caftan, it's just 2 second. There is an unexpected sense of time, of age, perhaps even of rebirth, condensed into that single image.

The final scene, in the elevator, this will be a topic of discussion in future cinematography courses. A sequence of ascending and descending, is simply masterful.

Is it a happy ending? A tragic one? Has Touda finally discovered what it truly means to be a sheikha? The film doesn't offer easy answers. And that's its strength. The more you know about Moroccan culture, especially the historical and social layers of Aita music and female performers, the deeper your understanding of that final scene will be.

It's a film that trusts its audience. It challenges, provokes, and stays with you.

Highly recommended.

The tale of escaping the conflicts and the rise of being a musician to become better in life isn't a grand or brand new tale. However, director Nabil Ayouch does offer some good insight to the atmosphere and direction, alongside with a strong lead performance from Nisrin Erradi.

Culture of Morocco isn't something I'm familiar with and the movie does offer a good insight to the surroundings of the characters and the conflicts around. Adding some good musical singing moments and camerawork throughout. As mentioned, the story is pretty basic. And it's quite predictable once you know where things are likely going to head.

However, despite the predictable nature and some cliche character tropes that were a bit dull, the strong performance and the beautiful color presentation still manages to keep the movie a float.