Leila Kilani It was a fantastic evening for Morocco at the National Film Festival in Tangier as ten female Moroccan directors took home five film awards. Leila Kilani, who believes it is vital for female directors to be technically distinguished from the male ones, won the grand prize for her feature film “Ala El Hafa” (On the Edge). Further to this she received critical praise from the committee as well as took an array of other awards from international competitions.
Other award winners included: Nargis El Nagar for her film “Ashaka Fe El Rif” (A Lover ??from the Countryside), Khadija El Saidi for "Khaanchut Tahaeen", Moroccan Jewish Director, Katie Azanafor for  “Al Andalus Al Jadeda”  (New Andalusia), Huda Beniamana who won the grand prize for her short film “Al Tareq Ela Al Jana” (Road to Paradise), Hind El Mouden who directed “Al Domia” (Doll), Halima Wardegy for  “Mukhtar”,  Ghalia Al Qaisi directed “Thalathoon Sania”  (Thirty seconds), Mariam Ait Blhasin for “Rosomat mn El Hob” (Drawings of Love) and Mariam Altozani, the director of  “Al Lila Al Akhera” (Last Night.)
A very similar scene was visible at the Ankara Annual Film Festival, held in Turkey, where five Moroccan films bearing the signatures of female directors were present. These included: “Al Dar El Baydaa” (Casablanca), “Khwanita Bent Mn Tanga” (Juanita Girl of Tangier) “Ala El Hafa” (On the Edge) “El Watar El Khames” (Chord V) and “Ashaka Mn El Rif” (A Lover from the Countryside).
There are other female directors worth noting such as Nargis El Najjar whose films denoted more sensitive issues affecting people. Her project “Ashaka Mn Al Rif” (A Lover from the Countryside) told the story of female trade and was acclaimed by many.
Film critic, Ahmad Allam stated: “This disparity in visions of female Moroccan directors in the new generation gives the Moroccan film scene vitality and beauty. It contributes to the renewal of a lot of present and prior attitudes, especially after the boom in productivity in Morocco. The world can describe these female directors as adhering to their authentic Moroccan culture and the European open mindedness — this made them gain a dual conceptual technical conception. This was clearly in their movies, where the technical proficiency and mastery is reflected through dealing with pure Moroccan topics.” He adds, “The Moroccan film scene had to be established with a new generation of directors, who have the power to make a film according to the customary rules of art, yet are also able to give the world other images far from the masculine vision.”
In reference to female involvement within the film scene, Fareda Bel Zayed said: “Although the number of female Moroccan directors today is not great compared to the male clan, it still goes to show that women are indeed just as capable of being creative and producing live image within the cinematic game as their male counterparts.” She also added that she would never tire of raising her voice so that other female voices would be heard.
Director Leila Marrakchi, known for her bold personality, shocked Arab viewers when she showcased sexual scenes between a Jewish boy and a Muslim prostitute in her feature film. It seems like the new era of female film makers are attempting to open up barriers within the cinema scene and take on subjects that may have once been considered a taboo. With a while yet to go, it is fair to say that cinema in the Arab world, may never be the same again.