The Moroccan film "What Happens in Marrakech Stays in Marrakech"

  A situational comedy produced independently, screening in cinemas for two month

• There is no such thing as a failed director—only works that succeed in some aspects and fail in others.

By Abderrahim ECHCHAFII

The events of the film “What Happens in Marrakech Stays in Marrakech” by director Saïd Khallaf revolve around two completely different characters: Redouane, a shy young man working at a company, and Jilali, nicknamed “Tbita,” an unemployed man who spends his time loitering at the end of the street spying on the neighborhood residents. Redouane decides to spend his vacation in Marrakech, hoping to find a love story that will change his life. From that point on, a series of thrilling and comedic situations unfolds, as Redouane, influenced by Tbita, finds himself entangled in shady situations within a framework of situational comedy.

The film is written by Saïd Khallaf and stars Rafik Boubker, Aziz Hattab, Fatih Jamali, Ahlam Haji, with guest appearances by Mansour Badri, Chakiri Abdallah, and Nafissa Dokkali.

Regardless of the critics’ intentions toward “What Happens in Marrakech Stays in Marrakech”, many ended up involved in a personal dilemma. Those who supported the film defended it as a light Moroccan movie made through independent effort, reflecting the director’s perseverance in creating an entertaining work without the support of the Moroccan Cinema Center (CCM). Meanwhile, those who initially described it as a failure were the same ones who once praised Khallaf’s first film, “A Mile in My Shoes,” which was nominated to represent Morocco in the 89th Academy Awards for Best Foreign Language Film. That film also won the Golden Palm at the Luxor Arab and European Film Festival, the Grand Prize at the National Film Festival in Tangier, and the Bronze Stallion at FESPACO in 2017.

Despite the critical acclaim of his first film—which was not achieved through insider connections—many critics have since ignored Khallaf’s work, resorting to personal attacks and avoiding serious analysis. This lack of critical rigor undermines any meaningful critique or discovery of a new, unstudied film.

In my view, “What Happens in Marrakech Stays in Marrakech” is a comedic film that the director himself acknowledged as an entertaining movie for the public. It is a private cooperative production, unaided by public funding. Still, many Moroccan viewers welcomed it in cinemas, and it ran for nearly two months. In contrast, many publicly funded Moroccan films did not last long in theaters, yet no one labeled them failures despite their weak reception.

I’m not interested in listing the arguments against the film. Instead, I believe that watching the film and analyzing its strengths and weaknesses is the essence of cinematic criticism. We should not call a director a failure; rather, we should say a particular film failed in certain areas or succeeded in others—based on specific criteria. There are no failed directors, only films that succeed in some areas and falter in others.

What I’m attempting here is a preliminary impression of the film “What Happens in Marrakech Stays in Marrakech.” I start from a clear point: the story is told through Redouane, played by Aziz Hattab, and Tbita, played by Rafik Boubker. My focus is on the key part of the film—the journey to Marrakech. This is just one possible approach to the film, no more valid than others. Studying Redouane’s character opens the door to various themes and interpretations, as with any cinematic entry point.

Independent film production in Moroccan cinema is an act of courage only pursued by someone who truly loves the profession

The film’s premise—a weekend trip to Marrakech—is familiar. Redouane and Tbita, from very different worlds, agree to vacation together in the beautiful city. The holiday is filled with comic events. By the end of the trip, they agree to keep their adventures a secret, echoing the famous saying: “What happens in Marrakech stays in Marrakech.” This adds a humorous, lighthearted tone to the film.

Redouane and Tbita contrast in personality: one is reserved, the other impulsive. Yet, they are surprisingly in sync. Redouane is shy and always gets into trouble; Tbita is reckless. Directors often cast actors they get along with and who share similar cultural backgrounds, which helps in the performance preparation.

Every comedic cinematic format has its own dramatic structure and matching style. This film, which could represent a unique comedic genre, requires a bold acting style. The director subtly introduces themes of homoeroticism through situational comedy, especially in the prison scenes, such as when Redouane is shown wearing underwear with the “Scooby-Doo” logo. The film maintains a delicate balance in scene arrangement, sound design, and music—never disrupting the overall tone.

To truly appreciate the dynamic between Boubker and Hattab, we must observe both their joint presence and individual portrayals—sometimes alternately, sometimes simultaneously—shifting between harmony and intense conflict. This calls for an acting style that’s both realistic and theatrical. Even when the audience’s attention is drawn elsewhere, our eyes remain on these two characters. They bring the film to life with spontaneity and movement. During their journey, they remain untransformed, never adopting any essential new identity, even in the face of extreme situations. Like in global cinema, no film is a total failure—there’s always a script, acting, editing, directing, soundtrack, makeup, set design, and many technical and artistic professions involved. Not all elements can be poor across the board.

Film scholars have identified many ways to analyze cinema: historical context, genre, national cinema, creativity, ideology, or major film theories like formalism and realism—which are still distant from Moroccan films.

Filmmaking requires immense courage and determination, especially when a director chooses to embark on this journey without the support of the Moroccan Cinema Center. This is exactly what Saïd Khallaf did with “What Happens in Marrakech Stays in Marrakech,” a film produced through personal effort. It reached cinemas and maintained public interest for two consecutive months. This reflects the director’s courage and determination to offer a joyful, light-hearted film that resonates with audiences, even in a time when financial support can make or break a project. He overcame many challenges—from securing funding to assembling a qualified team and marketing the film. His persistence made the film a notable milestone in his career within Moroccan cinema.