The Moroccan film 'On the Margin' adopts a dramatic and satirical style in criticizing social corruption within the working class in Morocco

By Abderrahim ECHCHAFII

The Moroccan film “On the Margin” by director Jihane El Bahhar revolves around three different love stories centered on marginalized characters. The paths of these protagonists intersect unexpectedly, creating dramatic and comedic situations that reflect the challenges and experiences they go through.

The film, written by Nadia Kamali and Jihane El Bahhar, stars Khalil Oubaka, Fatima Zahra Benacer, Abdelatif Chouki, Aziz Dadas, Majdouline Idrissi, and Hind Benjbara.

The sequences in “On the Margin” are marked by a delicate balance between drama and comedy, which captivated the audience’s attention from beginning to end. The director succeeded in weaving scenes that combined seriousness and humor with great skill, contributing to a dynamic engagement with the viewers.

Strong acting played a central role in reinforcing this engagement, especially with popular actors like Majdouline Idrissi and Aziz Dadas, who delivered comedic performances that resonated with the audience. Meanwhile, Hind Benjbara shined in her high-quality dramatic performance, adding deep human dimensions to the story and creating an artistic equilibrium. This harmony among the cast and the diversity in acting styles brought the film closer to the audience and made it more impactful.

Young actor Khalil Oubaki stood out with a remarkable portrayal of his role, emerging as a promising cinematic face worth following. His performance was marked by simplicity and realism, and although he is still new to the scene, he displayed maturity in acting and harmonious interaction with the rest of the team. His future is expected to be bright in Moroccan cinema thanks to his talent and determination.

The film also features sequences containing illustrations and classical Arabic poetry, adding great artistic and technical value. These elements reflect Morocco’s rich cultural heritage and deepen the narrative, showcasing the beauty and expressive power of the Arabic language. The illustrations embody the characters’ inner worlds, while the poetry enhances emotional connection with the viewer, creating a unique cinematic experience that transcends words and reflects a rich cultural identity.

In “On the Margin”, Jihane El Bahhar tackles two highly sensitive topics in Moroccan society: incest and organ trafficking. Though these issues are present, they remain taboo and are rarely addressed openly. El Bahhar aims to open a public discussion about these painful phenomena and their social, familial, and political roots.

The film was screened in Moroccan cinemas, and a controversial scene between Khalil Oubaki and Hind Benjbara sparked widespread debate. The scene included a kiss that drew mixed reactions—some considered it unnecessary, while others saw it as part of the narrative. The director clarified that the purpose was not provocation but rather to illustrate the complexity of the characters' relationship. She emphasized that addressing taboo topics like incest and organ trafficking is not meant to shock but to break the silence around them.

El Bahhar believes that such sensitive subjects must be addressed if cinema is to reflect reality in all its dimensions. While media and journalism sometimes touch on these issues, cinema offers a deeper exploration of their psychological and social aspects. She views the film as an opportunity to open a meaningful dialogue on issues that may seem distant but actually affect many families, hoping to raise awareness and encourage critical thinking.

The director also spoke about her creative collaboration with writer Nadia Kamali Marouazi on the screenplay. She highlighted how this partnership added a special depth to the story, with dialogues that accurately reflect the psychological dimensions of the characters. The joint writing enriched the screenplay, and El Bahhar emphasized the importance of teamwork in crafting more mature cinematic texts.

Casting was a significant challenge for El Bahhar, as choosing the right actors for the story required great precision. She relied on some actors she had previously worked with, such as Majdouline Idrissi and Aziz Dadas, for their strong acting abilities. These actors brought the complex characters to life effectively, adding powerful human depth to the story. She also praised Hind Benjbara for her surprisingly mature performance in a difficult role.

“On the Margin” tells three love stories intertwined with marginalization and poverty. The first story is about a woman seeking a better future through a forged diploma. The second depicts a love that defies class and illness. The third centers on a mother forced to sell her daughter’s kidney to save her husband from prison—highlighting the painful decisions families face under economic hardship. These stories reveal how love interacts with social and economic realities and affects individuals.

Jihane El Bahhar faced major challenges during the film’s production, especially under the health restrictions of the COVID-19 pandemic. She handled sensitive scenes without resorting to sensationalism, focusing instead on the psychological depth of the characters and using suggestion rather than explicit visuals—adding dramatic depth to the film. According to El Bahhar, technical and production challenges pushed the team to create a more focused and professional work while preserving the film’s human message.

El Bahhar is considered one of the most prominent names in contemporary Moroccan cinema. She has developed a unique artistic vision characterized by depth and diversity. This distinctiveness is evident in her contrasting styles between “On the Margin” and her earlier film “In Wonderland.”

In “In Wonderland”, which tells the story of a wealthy and arrogant woman forced to live with a poor family in the Atlas Mountains, El Bahhar adopts a more serious and introspective approach. The film focuses on the psychological and social changes the woman undergoes in harsh conditions, which is reflected in the cinematography and adds dramatic weight to the story.

The contrast between the two films lies in how they address social and human issues. While “On the Margin” uses a lighter and more engaging style, “In Wonderland” highlights the darker aspects of life and social change. This diversity showcases El Bahhar’s ability to handle various topics in innovative and engaging ways, making each of her works unique.

Ultimately, Jihane El Bahhar remains a director capable of stirring emotions and maintaining a balance between humor and seriousness. Her work enriches Moroccan cinema and reflects social challenges and transformations in fresh and impactful ways.