Moroccan Cinemas Withdraw "The Outcast from God's Mercy," Igniting Debate on Film Distribution

The withdrawal of Hicham Lasri's film "The Outcast from God's Mercy" from major Moroccan cinemas after only two weeks is a stark illustration of the challenges facing auteur cinema in our country. This decision, driven by commercial considerations, has ignited a crucial conversation about film distribution and exhibition in Morocco, particularly for works that deviate from mainstream formulas.

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the controversy that the film has sparked, whether through its title or its promotional material or the way it was presented, puts everyone in front of a real problem represented by the apprehension of cinemas towards this type of work.

Director Lasri rightly points out the "hesitation" of cinemas to screen films that don't fit the mold of commercial comedies. This isn't just about profit; it's about a systemic issue where the logic of the market overshadows artistic merit. While the Moroccan Cinema Center mandates a quota for national productions, this framework, as Lasri argues, doesn't guarantee fair play. Films that represent Morocco culturally abroad through festivals and international platforms are often relegated to inconvenient screening times or are pulled altogether, effectively silencing diverse artistic voices.

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these cinemas practice, in his opinion, a kind of 'piracy' of non-commercial films.

What is particularly galling is that this commercial logic ignores a clear audience demand for more substantive cinema. The success of Lasri's "The Outcast from God's Mercy" during its tour with the French Institute, with sold-out shows and additional screenings requested, demonstrates a vibrant segment of the Moroccan public eager for films that challenge, provoke, and engage. This isn't a lack of audience; it's a failure of exhibition and distribution to cater to this discerning viewership.

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the chances of screening films that are not part of commercial comedy remain very weak.

From the perspective of a Moroccan publication like Hespress, this situation calls for a re-evaluation of our cinematic ecosystem. We must advocate for policies that support not only commercially viable films but also those that contribute to the richness and diversity of our national cinema. The current model, which prioritizes profit above all else, risks homogenizing our cinematic output and stifling the very creativity that makes Moroccan cinema unique on the international stage. We need a balanced approach that allows both commercial entertainment and auteur-driven films to thrive, ensuring that the 'soft power' of our cultural exports is not undermined by internal exhibition practices.

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the exploiters and distributors focus mainly on the profit aspect, which is legitimate, but it becomes a problem when these films are programmed at inappropriate times, such as weekday mornings or late at night, to make way for commercial works.