"Jabal Moussa" by Driss Mrini: Transcendence to the pleasures of certainty

It may be seen that cinema is a manifestation of a whole body of beliefs, transcendental values, and of dreams merely; in the same way, the acceptance and tolerance of diversity is a value that cinema transfers and expresses in a very delicate, yet powerful manner.

When a movie director has a remarkable ability to achieve fluidity in storytelling and cinematic translation of the spectator’s sense; it is important to mention that only an intelligent director can manage that, he/she should have gone through a beautiful journey without display or pretense.

In this context, the creative Moroccan filmmaker Driss Mrini accomplished and is still achieving diversity in themes; without compromising the noble function of the critical-educational approach, which is the main treat of movie making and cinema.

2- From history to affection (Bamou), from individual monographs to the foreseeing drama of the margins stereotypes and raising the dogma (Al Arabi), from the dominance of preconceived ideas to openness to reality and cosmology (Aida), from across-the-board comedy to capturing the box-office and its tendencies (Lhansh), and from the superficiality of considering the place of questioning to the glorification of the joy of certainty (Jabal Moussa).

All these films manifest how the name of the Moroccan cinematographer Driss Mrini is associated with films that cannot be overlooked when approaching the Moroccan cinematic body; it is a journey of creative achievement, and of moving forward from television creations, towards more depth and diversity.

3- The direction of the movie “Jabal Moussa” was a challenge in itself; Driss Mrini has the taste of a great change in the course of Moroccan cinema, thought-provoking, and always noiseless. Challenging delicate topics that demand intelligence, elegance, experience, and involvement in the complexity of society’s profound foresight and aspirations is key.

Such is the case in creations by the young generation, to see attempts in tackling heated subjects and digging into taboos.

However, the extent of their ability to create structural aesthetic transformation is usually questionable; in a manner that goes along with a good understanding of society and its mental and forthcoming constructions. These ‘ways of seeing”, in ‘John Berger’ sense, have changed the language of society and its images and interpretation, communication, priorities of interests, and values.

Sometimes the role of the camera and the aesthetics of its positions are blank; it is like an attempt in capturing what is familiar while lacking depth of the contents.

The transcendence of the eye and the distinguished thought in the gaze and the consideration, the dialogues, the situations and the diagnosis are directed with a deep sense of coordination between the capability to create and depth of personality; these are all recipes to make of Mrini the director that he is.

The movie ‘Jabal Moussa’ is out at the same time as movies by a new generation of Moroccan directors; they seem to challenge and bet on renewing and moving what is stagnant. It is a generation that is supposed to carry the torch of change and aesthetic adventure, to risk renewing and reviving new aesthetic content.

It started by an interchange, a temperamental discussion, leading to the start of a journey of discovery. The philosophy teacher, peaceful and somewhat naive citizen; and the wiser character, lost and found in a world where he could not be who he thought he is, where reality is usually blurry, and where he is seeking answers to unstoppable questions.

Driss Mrini was able to manifest in a humorous, yet cruel and intelligent way; a philosophical liberation represented by characters yearning and aspiring to a better understanding, of a new meaning constructed in line with the complexion of the whole plot. Driss Mrini’s management of talented actors, including Abdel Nabi Al-Banawi, Siham Assif, Younes Bawab and Saadia Azkoun.

The spirit represented in the behavior of both Fatiha and Aisha (mothers), in the midst of dialogues, was also proof of Mrini’s oversight. In the midst of the course of the dramatic escalation; exciting and smooth, together, Marwan and Hakim’s climb to Mount Musa, is in a way also mirrored in the conduct of both mothers.

Creating and working in television does not necessarily damage the ability to construct in cinema. Driss Mrini’s path is evidence to that; – “Bamou”, “Aida”, “Lhansh” and “Jabal Musa” – seem to all embody conclusive evidence that art rules over mediocracy.

An intelligent plot, disturbing and moving all the ‘comfortable’ convictions, in opposition to the bitterness of suspicious doubt, and the courage of a picturesque presentation of the burning heart in search for oneself; these are ingredients to an artistic route, uneasy without doubt, yet proficient to be part of the visual culture construction.