Casablanca in the near future. The country is at war.
X and Ney are young men of around thirty years of age. They live together and share a close relationship. Although they think of themselves as brothers, there is always a certain sexual tension between them. In spite of this, X falls in love with a beautiful young girl named Lili. When Ney meets Lili, he too falls in love with her, and this marks the beginning of a wonderful love triangle.
But X has high hopes; in fact, his dream of universal happiness is so strong that it prevents him from pursuing his personal happiness in the shape of marriage to Lili.
And this drives him to distraction.
For their film, young Moroccan filmmakers Swel and Imad Noury have chosen to adapt an early Dostoyevsky story that appeared in 1849. In this story, financial problems prevent the hero’s marriage to Lisanka, resulting in his descent into madness. Since their directorial debut HEAVEN’S DOORS (shown in the Panorama section of the Berlinale in 2006), these filmmaking brothers are widely regarded to be the enfants terribles of contemporary Moroccan cinema. In their new work they have succeeded in creating a modern cinematic adaptation that is both ‘universal’ and unique.
X and Ney are young men of around thirty years of age. They live together and share a close relationship. Although they think of themselves as brothers, there is always a certain sexual tension between them. In spite of this, X falls in love with a beautiful young girl named Lili. When Ney meets Lili, he too falls in love with her, and this marks the beginning of a wonderful love triangle.
But X has high hopes; in fact, his dream of universal happiness is so strong that it prevents him from pursuing his personal happiness in the shape of marriage to Lili.
And this drives him to distraction.
For their film, young Moroccan filmmakers Swel and Imad Noury have chosen to adapt an early Dostoyevsky story that appeared in 1849. In this story, financial problems prevent the hero’s marriage to Lisanka, resulting in his descent into madness. Since their directorial debut HEAVEN’S DOORS (shown in the Panorama section of the Berlinale in 2006), these filmmaking brothers are widely regarded to be the enfants terribles of contemporary Moroccan cinema. In their new work they have succeeded in creating a modern cinematic adaptation that is both ‘universal’ and unique.