摩洛哥电影制作人 Laïla Marrakchi 前往撒哈拉沙漠旅行之后，在铂尔曼马拉喀什棕榈度假酒店和水疗中心稍作休憩。
Laïla Marrakchi 的第一部剧情片《马洛克》在戛纳电影节首映时，她年仅 30 岁。《马洛克》描绘的是卡萨布兰卡市年轻人的成长。这是那种非常有力地捕捉到一个时刻和一代人的影片，给人立即完全熟悉又完全新鲜的感觉。《马洛克》一上映即令人印象非常深刻，但这位年轻的导演几乎没有时间去享受这项荣誉。她的祖国的一些保守评论家严厉斥责她通过影片展现摩洛哥社会。
不过，争议逐渐消失，这部影片后来成为一部令人叫好又叫座的成功影片。她的第二部剧情片《激情卡斯巴》于 2013 年发布，Laïla Marrakchi 毫无疑问地成为摩洛哥及其它地区最敏感、最有魅力的电影制作人之一。
RK: How did you get the idea you wanted to be a film director?
LM: When I was small, my uncle was a film distributor, and every Sunday he projected 35mm films at his home. My first memories of the movies are of me sitting on the floor by my mother’s knees and next to my aunt. They would cover my eyes with their hands if there was a love scene. My nanny would come in with a tea tray in in the middle of the action and ask, “Do you want tea? With or without sugar?”, and we’d all say, “Shhhhh! Not now!” I saw Hair, Kramer vs. Kramer, American films that weren't necessarily for kids my age.
The one that marked me the most, though, was Gone With the Wind. When I was a bit older I got my movie culture from videos my cousins would record off French television. They would bring back classics by Mankiewicz or Capra. When I was 15 or 16 a new movie theatre opened in Casablanca. We went every Saturday and Sunday. It was a way of travelling. It allowed me to understand the world a little bit.
After I passed my Baccalaureate I decided I wanted to make movies, except that, well, cinema was not considered very serious. But I was lucky to be a girl. I had an older brother and he’s the one who had to do serious studies. There wasn’t all that much pressure for me to undertake serious study – at least not from my parents, or in my family. That gave me the freedom, in a way, to study and do what I wanted. First I wanted to be a photographer, and then I decided that I wanted to make movies.
At 17 or 18 years old I went to cinema school in Paris. When I arrived it was like: this is freedom. I started my career with short films in Morocco. I worked on Franco-Moroccan coproductions. I figured out that being Moroccan and from another culture could give me an advantage – it gave me something to say. For a long time, while I was in Morocco, I had told myself I wanted to be someone else, and finally I understood to what extent my situation, and where I was from, could generate some good stories.
RK: In Morocco some people perceive you as an outsider, maybe because you’ve lived in France, while in the rest of the world you’re regarded as a Moroccan filmmaker. Where do you think you belong?
LM: I feel I’m deeply Moroccan and anchored in my roots. I also feel very Parisian. For a long time I worried about this, thinking, ‘I’m a crossbreed, a bit of this, a bit of that, not too much of anything’. And then I said to myself: ‘Listen, I am what I am’. I don’t carry that burden anymore. What’s annoying is that some Westerners expect me to be an Arab filmmaker and to focus on what is miserable, to have the same approach as the media’s. But I don’t want to get into that. I’ve tried to show something else, from the inside, that’s all. For a long time I have tried to find my place. So where is my place? My place is in my bed! [laughs] My place is everywhere.
RK: Do you like travelling?
LM: I like not being at home. I like what’s impersonal about travelling. Someone I met recently said that hotels are the best of what a country has to offer. It’s always interesting to see a country’s fantasies about itself through its hotels. I pretty much agree with that. Travelling is about moments suspended in time, about not knowing too much. I don’t like the tourist places. I like the moments that are close to solitude, when you sometimes meet people, like in Lost in Translation. I ended up stranded in Skopje in Macedonia once, in winter. It was a bit difficult, but in the end it was pleasant.
这场采访就是在 铂尔曼马拉喀什棕榈度假酒店和水疗中心 进行的。
置身楼下 Ibirapuera Park 那郁郁葱葱的无垠绿色之中，游客们可能会忘记酒店本身 距圣保罗的主要商业和娱乐中心并不远。
酒店内所有房间都能看到胡志明市的美景， 但 Cobalt 屋顶餐厅的景色当属最佳。