We are delighted to be partnering with Dublin International Film Festival (DIFF) once again and working with the Silver Screen Critics as they comment on this year’s programme. In this article, the critics give their thoughts on Everybody Loves Touda.
Frances Heffernan
Morocco is the exotic setting for Everybody Loves Touda, which made its debut at Cannes in 2024. This film is directed by Nabil Ayouch, who co-wrote the screenplay with Maryam Touzani .
Touda (Nisrin Erradi) is a Sheikha, a young female poet and singer who historically sang about love and lust, especially at weddings in the Moroccan sunshine. They were mostly free, peasant women but, over time, became impoverished and moved from their villages to the cities to sing at larger venues. They hoped to be accepted for their talent and storytelling – but times had changed and they were perceived as loose women, and then abused and slighted.
This film depicts the life of one woman, Touda, who endeavours to follow in the footsteps of the Sheikha women who came before her. Early on, she is chased through a forest and gang-raped, a shocking and violent moment which takes place after an outdoor singing and drinking session. The misogynistic elements remain ever-present throughout this film.
Her journey progresses with her attempts to ‘make it’ – to be valued and recognised as part of a new generation that might reignite this long-lost tradition and take her place as a respected member of the culture.
Touda’s deaf and mute son, Yassine, is nine years old and ably played by Joud Chamihy. Touda has to consider him and his education, as she is illiterate herself. As he does not have a school to attend in their rural environment, she chooses to travel to Casablanca, both in search of a school and to follow her dream. She leaves her son with her parents while she settles there.
Overall, the film tracks the plight of this strong but naïve woman. She is attractive, and as a result, garners unwanted advances from men; something amplified by the strange lyrics of the songs she sings, Sheikha-style, are repetitive and quite dark.
The real joy of this film lies in the music. Nisrin’s voice is beautiful and strong. She sings a cappella, swaying to the rhythm, a hypnotic performance that demands full attention. However, the conflict of the plot relies on the constant fight between the patriarchal society she lives in and her determination to succeed.
The many depictions of life in Morocco were picturesque, both from a rural and a city perspective, displaying clearly the contrast between the locals and the tourists, and giving the viewer an insight into the everyday life here. These are powerfully captured by the cinematographer and the atmosphere created by the production design team.
At almost two hours long, the pacing of the film is slow, yet I have to commend the intriguing and unexpected ending. Ultimately, the emotion of this narrative is driven by the power of Nisrin Erradi’s performance. She is exceptional.
Martina Kearney
Everybody Loves Touda is one of three Moroccan films screening at DIFF that were supported by the Embassy of Morocco. This critic not only supported Touda, but also loved her. I would steer you towards this movie for many reasons, but the most important was the quality of the acting, primarily from Nisrin Erradi in the lead role of Touda. She’s in almost every scene, embodying the emotional turmoil of a single mother. She advocates for her adored deaf-mute son and yields the anger of a woman trying to survive in a world where men treat her as vastly inferior. Her singing bursts with strength and inner power, through ancient songs (Aita) and Moroccan pop.
A woman, trapped economically and socially, tries to use her talent to find a better life for herself and her son. But the world she lives in tries its very best to thwart her dreams. It’s a tough watch at times – both from a cultural and female perspective. In preparation, Erradi trained in singing, percussion and dance with professional Sheikhas for nearly a year and a half, and it shows. When she opens her mouth to sing, ancient ghosts fly out.
The film itself is also a journey, shot over a 13-month period with the intention of showing the seasons, as well as emphasising the importance of nature in Touda’s life (according to director Nabil Ayouch). The cinematography spans vibrant landscapes alongside the griminess of big cities. For example, when Touda arrives in Casablanca, the only thing that truly glistens is her beautiful performance wardrobe and spectacular earrings – all of which I want!
Superb, intimate camerawork and wonderful lighting – particularly in the “blue” of the nightclubs – give yet another edge to this film. Director of Photography, the award-winning Virginie Surdej, closely captures Touda’s stage performances alongside the shifting energy and mood of the crowd. Surdej has collaborated many times with the director, Ayouch, and his wife Maryam Touzani, who co-wrote the script. This film marks a natural evolution, from the similarly nuanced, and raw, film The Blue Caftan, a movie that is a masterclass in gentle human storytelling.
Touda’s finale illustrates technical excellence in its final scenes, which take place in a lift. It’s a mammoth seven-minute single shot — a credit to Surdej and crew. Focus remains on Touda’s face and her changing emotions, and the lesson we come to realise: her talent as a performer will only ever be secondary to how men truly see her.
Everybody Loves Touda screened at DIFF on 27th February 2025.
For 11 unforgettable days in February, Dublin transforms into a vibrant hub of cinematic excellence as the Dublin International Film Festival (DIFF) brings the best of Irish and international cinema to the capital in a celebration of storytelling. The festival welcomes lovers of film, dreamers, and curious newcomers alike.
From world premieres to intimate screenings, exclusive Q&As to parties and celebrations, DIFF offers a unique journey into the world of cinema — all set against the buzz and energy of the Irish capital. It’s a contemporary cinema experience that connects communities, ignites ideas, and inspires a lasting love for film throughout the year.
Read more about the work they do here or submit your film here.
