Mother of All Lies (2023) is a documentary delving into the tragic 1981 bread riots in Casablanca, Morocco. Filmmaker Asmae El Moudir recounts the stories of the riots in her neighbourhood in Morocco with her family, through doing this she also begins to unveil secrets kept by her grandmother that have caused family members to suffer for decades.
Through a unique blend of storytelling and visual representation, El Moudir uncovers the layers of secrecy and small lies that have shaped not only her family’s history but also a memory that many in Morocco have forgotten. With a stark absence of photos, videos, or tangible records from the time, El Moudir and her father create miniatures and models of their neighborhood to recreate the events. These models serve as an eerie metaphor for the stillness of emotions and the frozen memories of those who lived through and lost so much. El Moudir’s choice to use miniatures and models as a storytelling device is both innovative and deeply symbolic. The stillness of the figures contrasts sharply with the violence and chaos they represent, highlighting the ways in which trauma can paralyse and silence. The recreation of the neighborhood, with the camera hovering above, gives the audience the idea that these events, though past, continue to loom over the present.
The 1981 bread riots were a pivotal moment in Morocco’s history, sparked by a sudden increase in the price of flour and other basic foodstuffs. Bread, a staple in every Moroccan meal, became a symbol of survival, and the people, struggling to make ends meet, took to the streets in protest. What started as an act for justice quickly turned into a massacre, with over 800 people killed or imprisoned and tortured by the armed forces. This day not only changed lives but also altered the behaviors and coping mechanisms of those who survived.
Through recounting these events El Moudir unpacks the long-lasting impact of trauma and the toxic behaviors that arise from the need to protect oneself and one’s family. The film’s focus on her grandmother, the family’s matriarch who has kept secrets for over 40 years, showing the destructive power of silence and denial. The grandmother’s strict rules and harsh demeanor are depicted as villainistic-like traits but also as coping mechanisms, developed in response to the fear and suffering she endured during and after the riots.
A particularly striking image throughout the film is the portrait of King Hassan II that hangs in the living room of El Moudir’s childhood home, the only picture hung in the entire house. Despite the chaos and suffering his policies caused, the grandmother insists on kissing the portrait and condemning anyone who is critical of the picture. This act of devotion—or fear—illustrates the deep-rooted anxieties that continue to plague those who lived through the riots. The grandmother’s reverence for the king, despite the horrors he unleashed, speaks to the profound and often contradictory survival strategies people adopt in the face of oppression.
“Mother of All Lies” is a rare and courageous exploration of a dark chapter in Moroccan history. El Moudir’s eight-year journey to complete the film reflects the difficulty of confronting a past that many prefer to keep quiet about. When we think of Morocco, we might imagine the vibrant colors of the souks, the warmth of the sun, and the aroma of spices. For Asmae El Moudir and many others, Morocco is also a place of pain, fear, and untold stories. Through this film, she carefully tells a story about survival and the cost of silence.
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