FOUAD IS NOT A CRIMINAL: HOME, is a work-in-progress by Moroccan artist Ziad Naitaddi. This project delves into the life of Fouad, a figure who is an informal arthouse film distributor, and DVD’s provider alongside being a friend to Ziad but, in the eyes of international law, a criminal.
“In Morocco, the purchase of pirated DVDs of international film productions that were previously inaccessible due to strict censorship is a common practice. (...) The only way for Fouad to provide for his family is through pirated arthouse films,” – Ziad Naitaddi.
Ziad’s work is a nuanced exploration of how an art form can transform lives for the better yet, due to the confines of the law, can vilify those who champion it. Through a compelling blend of archival images, zoomed-in screenshots from films, and contemporary portraits of Fouad, we are drawn into a layered narrative. The juxtaposition of theatrical, grainy black-and-white imagery with stills of Fouad—seated indoors or surrounded by DVDs—evokes a palpable sense of urgency and uncertainty. This mirrors not only Fouad’s precarious situation but also the fragile state of the independent film industry in Morocco.
The project raises critical questions about ownership, adding yet another layer of complexity to an already intricate subject. Ziad reflects:
“Filming the film makes me the owner of the film? The filmmaker of the original scene is the only owner? An owner is also a person who will draw a story, a statement, and a narrative...”
These questions probe both the moral and legal dilemmas Fouad faces, compelling us, the viewers, to interrogate whether it is just to criminalise someone whose work fosters artistic growth and education. Fouad’s own words underline this predicament:
“In our state, I am considered a criminal. I do things that violate the laws. It does not consider that I am helping the students of film schools in Morocco to benefit and that I am helping them to complete their doctoral research. No, it sees me as a criminal, a pirate.”
Ziad’s use of archival images plays a crucial role in humanising Fouad. These visuals allow us to see him not merely as a figure in conflict with the law but as a man deeply passionate about his craft. The juxtaposition of archival footage with current stills highlights that this is far more than a profit-driven endeavour; it is Fouad’s life’s mission. With all these considerations in mind, the question lingers: can we truly regard Fouad as a criminal?
Ziad Naitaddi is a self-taught artist based in Salé, Morocco. He participated in Printed Visions: A Photobook Workshop for African Photographers, which ran throughout November and December 2024. The workshop was a collaboration between No! Wahala Magazine and Artphilein. Find out more about Ziad’s work here.
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