Mimosas MIMOSAS A film by Oliver Laxe A caravan escorts an elderly and dying Sheikh through the Moroccan Atlas. His last wish is to be buried with his loved ones. But death does not wait. The caravaneers, fearful of the mountain pass, refuse to continue transporting the corpse. Ahmed and Said, two rogues traveling with the caravan, promise to take the body to its destiny. But do they really know the way?

In another world, parallel and remote, Shakib is chosen to travel to the mountains where the caravan is. His assignment is clear: he has to help the improvised caravaneers to reach their destination. Shakib also doubts, this is his first mission.


Running time: 96 min.

Colour: Colour

Recording format: 16mm

Original language: Arabic

Production country: Spain · Morocco

Production: Zeitun Films (Spain)

Coproduction: La Prod (Morocco) · Rouge International (France) · Studio Indie (Romania)

Year of production: 2016

With Ahmed Hammoud, Shakib Ben Omar, Said Aagli, Ikram Anzouli, Ahmed El Othemani and Hamid Fardjad.


Director: Oliver Laxe

Scriptwriters: Oliver Laxe e Santiago Fillol

Cinematographer: Mauro Herce

Sound recorder: Amanda Villavieja

Sound designer and mixing: Emilio García

Editor: Cristóbal Fernández

Producer: Felipe Lage Coro

Coproducer: Lamia Chraibi · Michel Merkt · Nadia Turincev · Julie Gayet


Semaine de la Critique. Festival de Cannes (France). Grand Prix

SEFF Festival de Cine Europeo de Sevilla (Spain). Special Jury Award and Best Sound and Editing Special Mention

Cairo International Film Festival (Egypt). Golden Best Movie Golden Pyramid Award and Best Actor Award for Shakib Ben Omar

IFFR International Film Festival Rotterdam (Nederlands)

Mestre Mateo Awards (Spain). Best Director and Best Producing Direction Award

BAFICI Buenos Aires Festival Internacional de Cine Independiente
(Argentina). “Vanguardia y Género” Special Mention

Viennale – Viena International Film Festival (Austria)

NYFF New York Film Festival (USA)

New Horizons International Film Festival (Poland)

Melbourne International Film Festival (Canada)

London BFI Film Festival (UK)

Karlovy Vary International Film Festival (Czech Republic)

Taipei Film Festival (Taiwan). Special Jury Award

Busan International Film Festival (South Korea)

FICUNAM – Festival Internacional de Cine UNAM (Mexico)

Toronto International Film Festival (Canada)

Festival du film et forum international sur les droits humains de Genève (Switzerland). Young Jury Special Mention

Art Film Fest (Slovakia). Best Director Special Mention

Minsk International Film Festival (Belarus). Listapad Silver Award for Art as Phenomenon.

Festival de Zaragoza (Spain). Special Mention

Shanghai International Film Festival (China)

Seminci – Semana Internacional de Cine de Valladolid (Spain)

L’Alternativa, Festival de Cinema Independent de Barcelona (Spain)

Cineuropa Santiago de Compostela (Spain)

AWFF Almería Western Film Festival (Spain). Best Neo-Western, Best Actor and Best Technical-artistic Contribution

FICCI Festival Internacional de Cine de Cartagena de Indias (Colombia)

Festival de Cine de Lima (Peru)

Leeds International Film Festival (UK)

Moscow Film Festival (Russia)

Istambul Film Festival (Turquía)

HKIFF Hong Kong International Film Festival

Director's notes

Where did the inspiration for the film come from?

When you are making a film, you expect to be transformed, to discover things, you want to “travel” on many levels. I lived in the south of Morocco where Saïd Aagli (the character with the green turban in Mimosas) lived. For me, during those years, Saïd was a kind of Dersu Uzala. We travelled quite a lot together.

Your film deals more with faith than religion…

I belong to a generation that has no complexes about religious matters, we make a clear distinction between religion and religious institutions so, we do not have this need to differentiate between faith, religion and spirituality. And this also applies to artistic creation, which is a different kind of religious act. Whether directly or indirectly, the most important filmmakers of all times have made religious films, and I find it strange that today it is not so easy to make these films. We are living in complicated times where everybody avoids talking about tradition, even though avant-garde always did it. There is a lot of scepticism. To face this uncertainty I tried to venture into the essential, whether in the script or in the construction of the images. By doing so Mimosas became an open film that can speak to audiences from different cultures and ideologies. I think it is a positively non-territorialized film. That is why I say that Mimosas is a religious western – knowing that the etymological meaning of the word religion is “to rely”. It is a film of physical and metaphysical adventures. The caravan physically travels across the mountains, but the journey is an inner one as well.

What was your intention using those old taxis crossing the desert?

It is a very archetypal image, so talking about the intentions behind them would deny the power of images and cinema. An aphorism from Cioran accompanied me throughout the creation of Mimosas: “Between the demand to be clear, and the temptation to be obscure, impossible to decide which deserves more respect”. Of course we have the responsibility to be clear with the public but sometimes that responsibility must be taken through some obscurity and unconventionality that might amaze and move the spectator. I think the main question most filmmakers ask themselves, whether consciously or unconsciously, is “How to manifest the ineffable in cinema?” I believe that this can happen in, among others, the form of paradox. In the spiritual geometry of the images of the taxis in Mimosas lies the paradox I aimed for, where this faith is transmitted. I hope those images are an echo of something strange and distant.

Your film is primarily a tale, an epic story where your characters feel the faith and speak directly about it.

That is true. Shakib does it a lot. His condition as an “idiot” legitimates him in the eyes of the sceptics. “You must have faith”, he tells Ahmed when the caravan crosses the gorges of the Atlas mountains looking for a passageway. “If mules can’t make it through the path, then they will fly…”, he adds. For Shakib there is always a solution, even if mad or miraculous. The positive acceptance of problems is a form of faith. But even though his words speak about faith, it is rather his determination, his grace and innocence that transmit an idea, or a feeling of what faith is. The divine is manifested in the form of paradox, but it is mostly through love.

Esta web utiliza cookies propias y de terceros para su correcto funcionamiento y para fines analíticos. Al hacer clic en el botón Aceptar, acepta el uso de estas tecnologías y el procesamiento de sus datos para estos propósitos. Más información