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Título: Razzia Título original: Razzia País: Marruecos, Francia, Bélgica Idioma: Español Latino Estreno en España: 04/01/2019 Productora: Unité de Production, Les Films du Nouveau Monde, France 3 Cinéma, Artémis Productions Director: Nabil Ayouch Género: Drama | 119 min. Reparto: Maryam Touzani, Arieh Worthalter, Amine Ennaji, Abdelilah Rachid, Dounia Binebine, Abdellah Didane, Saadia Ladib, Younes Bouab, Maha Boukhari, Nezha Tebbai, David El Baz, Marwa Tiyane, Fatim-Zahra Lahouitar, Mohamed Zarouki, El Housseine Dejjiti Calificación: No recomendada para menores de 16 años. Sinopsis: Casablanca, vibrante y áspera, atractiva pero implacable. Entre el pasado y el presente cuatro seres en busca de la verdad, treinta años después de que un apasionado maestro en las montañas del Atlas fuera obligado a renunciar a su idioma y a la enseñanza de determinadas asignaturas. Rostros distintos, trayectorias distintas, luchas distintas, pero la misma búsqueda de la libertad. 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Another SHOCKER by the Author of "RIFIFI" Original title: Razzia sur la chnouf. Henri, the Man from Nantes, comes back to his country after a successful stay in the United States, where he was working for Liski, the drug dealer. With the fame of being a tough guy preceding him, he sets himself to the task of knowing why the French operations were not so profitable - and soon he is master of all links of the organization. He can now get it honed to perfection - or destroy it. Only. the Police are following his every step. Razzia movie download torrent. Biography of Nabil Ayouch. Nabil Ayouch was born on April 01, 1969 in Paris. He is a member Academy of Motion Picture Arts and Sciences (The Oscars), the Academy of Caesars and is part of the founding board of the Arab Film Academy. In 1997, Nabil Ayouch directed his first feature film, MEKTOUB, which has represented Morocco at the Oscars. Others of his films have also been presented at the Oscars like ALI ZAOUA (2000) or HORSES OF GOD (2012). His other films include A MINUTE OF SUN IN LESS (2003) and WHATEVER LOLA WANTS (2008), produced by Pathé and MUCH LOVED (2014) and finally RAZZIA (2017). His first short film in 1992, LES PIERRES BLEUES DESERT has revealed the famous French humorist Jamel Debouzze. In 2009, he designed and staged the closing performance of the World Economic Forum in Davos, after having staged several live shows, such as the opening of Le Temps du Maroc in France at the Château de Versailles in 1999. Nabil Ayouch created in 1999 Ali n’ Productions, a company with which he helps young directors to launch through initiatives such as the Mohamed Reggab Award, a script competition and production of 8 short films in 35 mm. Between 2005 and 2010, he produced 40 genre films as part of the Film Industry. In 2006, he launched the program Meda Films Development - with the support of the European Union and the Foundation of the International Film Festival of Marrakech, which is a support structure for producers and scriptwriters coming from the ten countries of the South Shore of the Mediterranean. Nabil Ayouch founds G.A.R.P. (Grouping of Authors, Directors, Producers) in 2002 and the "Moroccan Coalition for Cultural Diversity" in 2003. In 2008, he participated in the creation of the Moroccan Association of Fight against Piracy, which he chairs. In 2011, he was appointed to the Economic, Social and Environmental Council. He also released his first feature documentary, MY LAND, which he shot in the Middle East. Biography of Siham El Faydi. Cultural and talent communicator, fighter. Siham El Faydi has made her way into the film industry thanks to her perseverance and passion. She has made her debut on the radio and forged herself into press relations. Meet a woman working "in the shadows" who still keep on shining. She does not count the many hours of work she is doing anymore. Passionate and determined, Siham El Faydi has managed to find a place in the world of cinema and cultural communication. She is often associated with Nabil Ayouch since she has been working by his side for many years. To shine, she can rely on the inspiration given to her by the energy of the director. Razzia subtitles. "An excursion into the twisted back-alleys of the Paris underworld. ". Henri, the Man from Nantes, comes back to his country after a successful stay in the United States, where he was working for Liski, the drug dealer. With the fame of being a tough guy preceding him, he sets himself to the task of knowing why the French operations were not so profitable - and soon he is master of all links of the organization. He can now get it honed to perfection - or destroy it. Only. the Police are following his every step. Movie rating: 7.0 / 10 ( 866 ) AKA: Chnouf, Potera za drogom, Raid on the Drug Ring, Razzia sur la Chnouf. Toronto Film Review: ‘Razzia’ Moroccan director Nabil Ayouch courts controversy with this everything-is-connected drama about five characters snared by intolerance. Scott Tobias. Latest. If political courage were a measure of artistic merit, Moroccan director Nabil Ayouch’s “Razzia,” a kaleidoscopic drama about intolerance and social tumult in Casablanca, would be a formidable achievement. As it stands, Ayouch’s decision to keep courting controversy after his last film, “Much Loved,” was banned from Morocco for its depiction of prostitution in Marrakech is laudable in a country where the censors hold sway. Yet the everything-is-connected framework, linking five stories across a 30-year span, plays like a multipronged pitchfork wielded against the establishment, with each character sharpened to a point. The message-first approach drains the film of spontaneity and depth, despite the rousing passion of its director. A prime spot in TIFF’s Platform competition will raise its profile, but “Razzia” may struggle to find a home, inside and outside Morocco. With repeated references to “Casablanca,” Ayouch draws a contrast between the romantic and rebellious spirit of the Humphrey Bogart-Ingrid Bergman classic and the modern city of Casablanca, which is falling short of those ideals. (At one point it’s noted bitterly that not a second of “Casablanca” was shot in Morocco.) But “Razzia” starts outside the city, 30 years earlier, with Abdallah (Amine Ennaji), an enlightened rural schoolteacher who bristles against Islamic government reforms that would change his curriculum and force his students to speak in Arabic, a language they don’t know. When he resists, Abdallah loses his job without notice. From there, “Razzia” reveals how that single injustice ripples through the lives of generations to come, as religious dogma begins to take root. Cutting to 2015 Casablanca, Ayouch follows four more stories that have hidden links to this past oppression. Ayouch’s co-writer, Maryam Touzani, plays Salima, a rebellious modern woman who’s punished for her libertine ways, both at home, where she’s shunned by her misogynist boyfriend, and on the street, where a random passerby scolds her for her tight dress. (In response, she hikes it up further.) Then there’s the affable Joe (Arieh Worthalter), a well-to-do Jewish restaurateur who strikes up a relationship with a prostitute, only to watch her flee in disgust when she discovers his religion. The film’s roundelay also includes two young people at a confusing juncture in their lives: Hakim (Abdelilah Rachid), a would-be rock star who worships Freddie Mercury but cannot please his conservative father, and Ines (Dounia Binebine), a wealthy teenager who cannot find relief for her stress or a healthy outlet for her burgeoning sexuality. Popular on Variety. The interaction among all these characters is minimal, which means that the amount of time we get to know them is also limited, because the film has to keep juggling five balls in the air. Ayouch’s solution is a narrative shorthand that underlines the messages he’s trying to send, like noting Ines’ cultural quandary by having her pray toward Mecca while a racy music video plays on her computer monitor or introducing an abortion subplot as a crude affront to government restrictions. “Razzia,” which means “raid” in Arabic, touches on feminism, education, religious law, anti-Semitism and freedom of expression — a list of political topics so comprehensive that Ayouch could moonlight as an opinion editor or a debate coach. As a filmmaker, Ayouch displays a formal elegance at times, as in a tracking shot where Hakim struts through a hostile neighborhood like John Travolta in “Saturday Night Fever” or the malevolent hordes of protesters that creep into the frame. Ayouch idealizes “Casablanca” as a vision of the city he wants, flush with romance and resistance, but he has a strong sense of Casablanca as it actually is, seized by the encroachment of repressive ideology. Yet “Razzia” is fatally crippled by a conceit that flattens the characters to serve an argument, like bullet points in a sweeping editorial about the current state of Morocco. It’s a style better suited to the opinion page.