Khalid Benchegra

A squad of the Jiaolong Commando Unit - Sea Dragon, a spec ops team of the Chinese Navy, carries out a hostage rescue operation in the nation of Yewaire, on the Arabian Peninsula, and fiercely fights against local rebel groups and Zaka, a terrorist organization.

The Gospel of Matthew was the most popular Gospel in the early Christian centuries. Written for a Christian community as it begins to separate from the Jewish world, Matthew's Gospel goes to great lengths to show that, as the Messiah, Jesus is the fulfillment of the Old Testament prophecies referring to God's Saviour. Narrated in the NIV version by leading British actor Stephen Tompkinson and in the KJV by David Threlfall - featuring specially constructed sets and the authentic countryside of Morocco - it immerses the viewer in the world of first-century Palestine.

Shattered by the loss of her child, Nyla Jayde, a brilliant criminal defense attorney, takes on a case involving a 14th century Moroccan legend, a vengeful spirit named Kandisha.

Faîza and Hnia, two girls from a Casablanca shantytown dream of acting; one becomes a star, the other her assistant, until a childhood friend's return stirs rivalry, secrets, and the price of ambition.

Moroccan filmmaker Narjiss Nejjar makes her feature debut with the drama Cry No More. Former prostitute Mina (Raouia) is released from prison after a 25-year sentence. Bus driver Fahd (Khalid Benchegra) returns her to the isolated Berber village of prostitutes. Because the only men allowed in are customers, Fahd pretends to be Mina's son. Fahd falls for Mina's angry daughter, Hala (Siham Assif), who wants to stop the village curse. Hala has a daughter of her own, Zinba Rafiqua Belhaj, who's about to undergo a traditional loss-of-virginity ritual. As she forms a plan to stop the sex work-cycle, Mina doesn't let Hala know her real identity, although the village elders in the mountain cliffs remember her. Cry No More was shown during the Director's Fortnight at the 2003 Cannes Film Festival.

Le Regard is Nour-Eddine Lakhmari's first film. It is a film about abuse of power, guilt, and redemption. In Le Regard, 70-year-old French photographer Albert Tueis finds himself confronted with his past. As he prepares for an exhibition that will bring together all the works from his photographic career, he remembers the photos he took at the age of 19. A soldier during Morocco's war of independence, the young Albert was a photographer for the French army. The photos he took at the time were never published. One thing is clear: without these photos, the retrospective of his career will not be complete. Albert Tuies decides to return to Morocco to find the negatives he buried there. But he finds himself confronted with a new Morocco. And as he encounters the present and the rivalries and difficulties it hides, increasingly powerful and brutal images from the past resurface.

Hamid is a former volunteer who participated in the 1982 Lebanon War and returns from there with disappointment. He becomes homeless in the city of Casablanca. He resorts to theft and addiction to combat his homelessness and physical disability. His only dream in life is to bring his symphony into existence, so he asks the help from his homeless friends for that.

The film tells a story speaks of "Yusuf ", a plumbing Man, who is exposed to many pranks by his friends.

Mona, a young Parisienne, learns that her real father is Moroccan. The only traces of his existence are a name, Mahmoud Saber, a black-and-white photo and a love letter to her mother. She decides to set off for Morocco in search of this man, whose existence turns out to be enigmatic, on a journey that takes her from Casablanca to Essaouira and turns into a journey of discovery.

Moulay Driss, a cultured and quick-witted man, silently dedicates an unlimited love to his cousin, the beautiful Yacout. He is forbidden to confess his love for fear of displeasing him because of his hunchback and his one-eyed eye. As Moulay Driss can not even hope to seduce Yacout, he decides to help Moulay Ali, his best friend, to conquer her. Moulay Driss begins writing fiery letters to Yacout on behalf of Ali. At times, hidden behind a tree, he recites them himself to a subjugated Yacut. Yacout, who really falls in love with Moulay Driss's words, believes he loves Moulay Ali.