Mustapha Saha, sociologist, painter and photographer, has a gift that makes him a rare witness, that of bringing out from his memory the figures that marked the course of events at one time. He does not care about the field of intervention of these women and men who have stamped with their claws the moment they lived, and he does not care about the size and density of the imprint they left. All it takes is for him to find the traces in his hard disk, whether his path, by design or by accident, crossed theirs. From his pen, his paintbrush or the darkroom of his studio, sometimes all at once, a story, a painting or a photo emerges, whose incandescence projects the experience in fire and flame of the researcher, writer, chronicler and artist. This week, Mustapha Saha set his sights on Ahmed Bouanani, “memorialist of a cinema without memory“, as a Moroccan journalist once said of him.  Director, screenwriter and editor, but also writer and cartoonist, Ahmed Bouanani is a pioneer of Moroccan cinema who is for Noureddine Saïl “a living being, biting life to the core, but in his own way, that is to say, solitary, surrounded by few friends, choosing, capable of mad love for his friends and absolutely no resentment, but so creative, so powerful in his readings, so powerful in the discussions we could have …”.

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