THE OGRESS OF FEZ.
LOGLINE
Within the confines of a colonial brothel in 1930s Morocco, Oum El Hassen, a madame turned serial killer, navigates a delicate path of power and complicity. As the fragile order of her world crumbles, she must confront the cost of survival in a system that both sustains and consumes her.
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ABOUT THIS SPACE
This development journal will chart the development of The Ogress of Fez from its early genesis through to (hopefully) completion. It’s a way for me to organise my thoughts during research, but it also aims to lift the curtain on the filmmaking process. Having entered the industry without the advantage of familial or personal connections, I recognise the value of demystifying it. By sharing insights into the craft, I hope to extend the ladder to others on a similar path, showing that screenwriting and directing are not the preserve of an elite few.
FILM LABS
Doha Film Institute Hezayah Screenwriting Lab (2024)
Screen South Feature Development Lab (2024)
Doha Film Institute Producer’s Lab (2023)
The Corrupting Nature of Power.
Writing The Ogress of Fez has forced me to think carefully about how power operates, how it corrupts.
Thoughts on Prostitute (1980).
I came across Prostitute (1980) while looking for films that blur the boundary between documentary and narrative cinema, and I’m glad I did.
The Layers of Power in Oum El Hassen's Story.
As I continue writing The Ogress of Fez, the theme of power remains central.
DFI Hezayah Screenwriting Lab.
It’s been more than a few weeks since the first DFI Hezayah Screenwriting Lab session in late July, and the next one starts on 20th September.
Reflections on Structure.
Reflecting on my learnings from the Screen South Feature Development Lab I’ve been attending the last 5 weeks, I've come to appreciate the importance of structure in screenplay writing, while also reaffirming my commitment to authenticity and the idiosyncratic storytelling styles in cinema that I find myself drawn to.
Ethics in Storytelling.
Over the weekend at a Screen South Feature Development Lab I attended, we grappled with a key issue that is central to the integrity of narrative work: Who is best placed to tell certain stories?
Writing the Unwritten.
At the end of last week, I submitted my 26-page draft screenplay and creative treatment to the DFI Hezayah Screenwriting Lab.
Unearthing Hidden Histories.
Reading as much as I can about the 'quartier reservé' in Morocco and the broader Maghreb region is both necessary and overwhelming.
Personal Reflections.
Writing this screenplay for The Ogress of Fez is turning out to be a tougher challenge than I first thought.
Excavating the Past.
I'm starting the process of developing The Ogress of Fez, and I've decided to keep a detailed record of this journey through my blog.