What do you do when you don't have any audiovisual archives to support a film dedicated to what is nothing other than a historical event – in this case, Casablanca’s 1981 popular uprising against rising food prices? But what about when, even worse, the very concept of such an archive is a taboo subject within your own family? Many would resign themselves to it. Like any self-respecting filmmaker, Asmae El Moudir knows that's not an option. For filmmaking is first and foremost about creating images – even in the most literal sense: making them from scratch, touching them before seeing them. On the plus side, the same family is home to a great craftsman: the director's father has transformed the family’s neighbourhood into a splendid diorama that pays close attention to all folds of reality. On the downside, this makes Zahra even angrier, her being the grandmother who was at the origin of the interdiction (repression? traditionalism? delusion?) and now a venerable hag ever so keen and able to terrorise her loved ones. For the filmmaker, ‘The Mother of All Lies’ is both an opportunity to heal certain wounds – the attempt to understand this woman is a passionate one – and to then open even deeper ones, that are particular to this plunge into dizzying intimacy. (Victor Morozov)