Daoud Aoulad-Syad
The Voices of the Desert tell a story of three destinies: Mouloud, a young man who goes in search of his parents, Hammadi, an old man who awaits the return of his son and Zineb, a young woman in search of her roots. A bottle filled with sand will be the link between the three characters.
Thami works as an extra in foreign films shot in a small village near Ouarzazate. He became a friend of Pier Paolo Pasolini, who shot in 1966 his movie Oedipus Rex in Morocco. Forty years later, an Italian crew comes to Ouarzazate to shoot a film. Thami thinks his friend Pasolini is back in town and thus triggering cinema fever in all the locals.
Suddenly, Omar a worn-out garment salesman, finds himself among the rich of the ancient city of Marrakech, finds himself among the rich of the ancient city of Marrakech, after he found a large sum of money in a pile of clothes, He decides to change his life, wearing a modern suit, and starts illegitimate with another girl, hoping to enjoy the happiness and tenderness that he missed during his marriage of Latifa.
Tahar is a retired blacksmith living with his son from his first marriage. After seeing his late second wife in a dream, he decides to visit her grave, in Azemmour. In the trip, he meets Driss who is going to Essaouira, looking for his mother whom he has never known after receiving a letter about her. The two men go to Marrakech together where Driss gets a combination motorbike that Tahar calls "wind horse". And they begin their journey together, first to Azemmour, then to Essaouira, looking for their past.
The nomadic life of Moroccan carnival performers forms the basis of this debut from director Daoud Aoulad-Syad. Rabi (Abdellah Didane), a female impersonator who dances with traveling fairs, teams up with Kacem (Hassen Essaklli), who hires him to ballyhoo his gambling concession. While Rabi's lack of romantic interest in women befuddles Kacem's son (Med Bastaoui), he does strike up a friendship with a schoolteacher (Nezha Rahile), who in her way is as much of a misfit as Rabi. Deliberately paced, Adieu Forain is dominated by the stark beauty of life at the side of the Moroccan highway.
One day, a potter buys an old frame in which to put the family photos. But the merchant refuses to sell the frame without the photo of a stranger that it already holds. The potter sets off to look for the stranger in order to give back the picture.
