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Where I come from, homosexuals allegedly do not exist, which is a horrible thing to live with and to accept.
I had no other choice but to accept this non-existence. And anyway, they're not." He "can't live in Morocco," he says, because his "entire neighborhood wanted to rape me.
Perhaps the reason I write is because I want to know the answer to that question." For most of his childhood, according to the New York Times, "he hid his sexuality as best he could, but his effeminate demeanor brought mockery and abuse, although it would later become a source of artistic inspiration." When he was 11, a mob of men gathered outside his family's home and shouted for him to come out to be raped. For me that was the best way to be confronted with the language, to have a relationship with it without any mediation or intercession.
The power structures within the family were a mirror of the dictatorship Morocco was living under at that time. But my brother, the absolute monarch of our family, did nothing. I was never the same Abdellah Taïa after that night ... I cut all ties with the children in the neighborhood. I kept myself in check: no more feminine gestures, no more honeyed voice, no more hanging around women. There was already the idea of transgression through television happening in my house with my sisters.
Since 2003, this intelligent, romantic, wonderful man is my only hero.
He is far from perfect but his battle, which he refuses to give up on, touches me deeply. Another reviewer, however, called the film "disciplined and poetic," praising Taïa for managing "to regard his own story with relative objectivity" and concluding that the film "avoids the usual pitfalls of political cinema, precisely because Taïa is able to remain focused on particulars, the overwhelming feel of things." A reviewer for the Atlantic wrote that at a Venice Film Festival "notable for the prevalence of works grappling with global and societal woes, perhaps no film has blended the personal and the political as strikingly as Abdellah Taïa's L'Armée du salut (Salvation Army)." "Before shooting," Taïa has noted, he submitted the screenplay of his film "in its original form to the authorities at the National Centre for Moroccan Cinema....
As a young boy, he touched a high-voltage power generator and was unconscious and presumed dead for an hour. In 2010 he said: "I still have some of the electricity I got that day. In my head, I connected that to homosexuality." Taïa said in 2010 that "It was clear to me that eventually I had to get to Paris, because this was the city of Isabelle Adjani.... The target was to go there to be free as a homosexual, but at the same time to achieve these dreams–to write movies and books, and to dream big, if I may say that."realized that my French was really poor.
I was somewhere during that 'dead time,' but where, I don't know. To master it, I decided to write my diary in French.