Everybody Loves Touda

Cannes Premiere: Composer Flemming Nordkrog creates intimate score for Nabil Ayouchs Everybody Loves Touda as a compassionate counterpart to the films traditional Moroccan music The film will premiere at the Cannes Film Festival on 17 May in the Cannes Première section.

Cannes Premiere: Composer Flemming Nordkrog creates intimate score for Nabil Ayouchs Everybody Loves Touda as a compassionate counterpart to the films traditional Moroccan music

The film will premiere at the Cannes Film Festival on 17 May in the Cannes Première section.

Touda dreams of being a Sheikha, a traditional Moroccan performer empowered by the lyrics of the fierce female poets who came before her. But her songs of resistance, love and emancipation fall on deaf ears with the crowd of rowdy, lustful men who frequent the dingy bars her small town has to offer. She leaves for the bright lights of Casablanca, where she hopes to be recognized as a true artist and secure a better future for her son.

In Everybody Loves Touda director Nabil Ayouch (Casablanca Beats, 2021) portrays the journey of a strong-willed and resourceful woman, akin to some of his best-loved films such as Much Loved (2015) and Razzia (2017).
The film is co-written by filmmaker and actor Maryam Touzani, who is also married to Nabil Ayouch.
Her previous film Le bleu du caftan, co-written and produced by Ayouch, premiered in the Un Certain Regard section in Cannes, where it won the Prix de la Critique Internationale, and made the shortlist for Best International Feature at the Oscars.

Inspired by the Sheikha, Everybody Loves Touda marks the first collaboration between director Nabil Ayouch and composer Flemming Nordkrog.
Of this partnership, Ayouch says: “Everybody Loves Touda is a very musical film, which celebrates a little-known genre: Aïta. I wanted the score to take us elsewhere and act as a real counterpoint to this traditional music.
Everything happened very quickly with Flemming. I listened to his previous music and immediately admired his work. He managed to get to the heart of Touda's character.
With subtlety and depth, he has written intense, penetrating music that takes us intimately into the life of this woman.'

Nordkrog was inspired by the rhythmic breathing of traditional Maroccan singers, which is why he chose to centre his compositions around the bass clarinet.
This woodwind instrument with its characteristically rich, mellow and often ominous sound serves its purpose well, as Flemming uses his score to underline the emotional moments of the story.
Because the main character, Touda, is a Sheikha, traditional Maroccon music is used diegetically in the film. Subtle hints of these songs are noticeable in Nordkrogs score, yet he never lets his intimate and emotive music demand centre stage.

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