‘Everybody Loves Touda’ Review: Nisrine Erradi’s Nuanced Performance Elevates Nabil Ayouch’s Return to Form | Cannes
For over two decades, Nabil Ayouch has been a dominant force in Moroccan cinema, crafting films that have garnered both critical acclaim and international recognition. His work, known for its bold character, has not only resonated with audiences but has also sparked significant controversy in his home country, making him a celebrated figure one moment and a pariah the next. Despite this, Ayouch’s privileged background often paints a complex image of him as an outsider critiquing a social class that he is not part of. With Everybody Loves Touda, the filmmaker takes a more sentimental approach, focusing on a single narrative thread rather than an ensemble cast, yet still managing to polarize audiences and solidify his reputation as a filmmaker unafraid to stir discourse.
Everybody Loves Touda delves into the life of a young single mother deeply passionate about Aita, despite her limited resources. The film follows Touda, played by Nisrine Erradi, as she balances her devotion to her craft with the harsh realities of her daily life. While honing her skills, she takes on various gigs, driven by the hope of achieving national recognition. Her ultimate aspiration is to leave her small village behind to seek success in Casablanca, the bustling city where all renowned Chikhats thrive. However, Touda encounters pervasive social stigma and disrespect due to her chosen path, as Chikhats are often marginalized in Moroccan society, particularly in rural areas where they’re unfairly branded as lacking morals, shame, and respect.
To compound Touda’s challenges, she also grapples with finding a suitable educational environment for her deaf son, rejecting suggestions that he should abandon schooling in favor of alternative pursuits, Touda remains steadfast in her conviction that the best opportunities for his learning exist in Casablanca, where specialized schools can accommodate his condition. This adds another layer to Touda’s struggle, as she must not only confront societal prejudices and economic hardships but also advocate fiercely for her son’s right to education and a better future.
In keeping with tradition, Nabil Ayouch does not shy away from controversial elements and shocking scenes. The film opens with a beautifully lit performance by Touda and her troupe in the mountains, entertaining a group of men. As night falls and the alcohol flows, the mood darkens, culminating in a nightmarish sequence where Touda is forced to flee from a group of men intent on assaulting her. This harrowing rape scene is bound to provoke intense debate about its necessity. Arguably, this scene is gratuitous and could have been prevented since such a graphic depiction risks overshadowing the film’s more nuanced explorations of Touda’s struggles and resilience. The film already effectively illustrates the pervasive male gaze directed at Chikhat through more subtle and powerful means. By showing how they are ogled on the streets, in their workplaces, and even in their homes, Ayouch underscores the constant injustice and objectification they endure. These moments are sufficient to make a poignant statement about the broader societal issues at play, without resorting to disproportionate scenes that may detract from the overall narrative and its impact.
Moreover, Touda’s character is not afraid of sex or men, as evidenced by her steady and complicated relationship with a police officer for whom she has immense affection, which he reciprocates. In an intimate scene between the two, Touda takes control, pleasuring herself and asserting her agency. This may be Ayouch’s way of expressing that Touda is a woman who, despite societal constraints and challenges, claims her sexuality and desires on her terms.
But not all men are monsters in Nabil Ayouch’s latest film, and not all men are uncontrollable after a drunken night. Touda has important men in her life who, though imperfect, provide her with support and affection. Her loving father is a source of care. Additionally, when Touda arrives in Casablanca seeking a better future, she meets a new acquaintance with whom she shares a deep love for music. Their connection sparks a series of magical nights, reviving the vibrant spirit of Casablanca by night.
More than halfway through the film, Touda finally goes to Casablanca. While initially daunted by the change in surroundings and the dazzling allure of its nightlife, Touda finds herself apprehensive yet fortified by her inner strength forged through past episodes of trauma, she confronts this new chapter with a demeanor that masks her inner turmoil.
Once she sets foot in the city, she seeks solace in the intimate embrace of a modest hotel nestled within the alleys of the medina. Wearing her cherished stage attire, she ventures forth into the pulsating heart of the city, lured by the neon glow of cabarets. With an audacious spirit and step-by-step, she carves out a niche for herself amidst the chaotic rhythm of Casablanca’s nightlife.
It’s hard to discuss Everybody Loves Touda without highlighting the significant contribution of Virginie Surdej, a recent prominent collaborator with Nabil Ayouch. Surdej’s cinematography emerges as a powerful asset to the film, elevating its visual narrative with a keen eye for detail and a nuanced understanding of mood and atmosphere. Through Surdej’s lens, the juxtaposition of Touda’s intimate moments of vulnerability with the sprawling grandeur of Casablanca’s streetscape becomes a great reflection of the film’s themes of resilience and self-discovery.
The film’s success hinges significantly on the exceptional performance of its lead actress, Nisrine Erradi. On paper, she may seem like an atypical choice for the role, but she embraces it with remarkable dedication, transforming herself into a fully-fledged heroine. Her nuanced peculiarities and authentic language reveal an actress who has meticulously prepared for the role, immersing herself in Touda’s world long before filming began. This commitment to her craft is evident in every scene, as she brings depth and authenticity to Touda that anchors the entire narrative. The film wouldn’t have achieved the same impact without her moving performance, making her an indispensable part of it. In a stunning final sequence, Nisrine Erradi, alone in an elevator, conveys a torrent of emotions solely through her expressive face offering a rapid flashback of a life too complex and arduous to be fully captured in a single film.
Grade : B
This review is from the 2024 Cannes Film Festival where Everybody Loves Touda premiered in the Cannes Premiere section. There is no U.S. distribution at this time.
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