French Montana Chronicles Mom’s Sacrifice after Emigrating from Morocco in Doc Film ‘for Khadija’

French Montana arrives at the BET Awards on Sunday, June 26, 2022, at the Microsoft Theater in Los Angeles. (AP)
French Montana arrives at the BET Awards on Sunday, June 26, 2022, at the Microsoft Theater in Los Angeles. (AP)
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French Montana Chronicles Mom’s Sacrifice after Emigrating from Morocco in Doc Film ‘for Khadija’

French Montana arrives at the BET Awards on Sunday, June 26, 2022, at the Microsoft Theater in Los Angeles. (AP)
French Montana arrives at the BET Awards on Sunday, June 26, 2022, at the Microsoft Theater in Los Angeles. (AP)

If French Montana’s father never abandoned him as a teenager, the rapper believes he would not have grown into a popular figure who has earned three Grammy nominations.

Montana and his family left Morocco more than two decades ago in hopes of a better life in the US, but when times got tough, his father returned to their native country. Montana turned to New York City’s street life in the South Bronx for manly guidance while his mother served as the faithful backbone. It was his mother’s sacrifice to raise her sons as a single parent that inspired him to become a better man.

The “Pop That’’ rapper is telling that story in the documentary film “For Khadija,” a project named after his mother that recently premiered at the Tribeca Film Festival. The project touches on his rise as a successful recording artist and the plight of his single immigrant mother raising three sons.

“This is a story about the grind, the losses and the sacrifices,” said Montana about the documentary, which is executive produced by Drake and Sean “Diddy” Combs.

“That father figure left, and I had no guidance, so the streets became my father,” Montana said. “But my father didn’t’ have the right guidance himself. I think Allah moved him out of my life, because he had his own destiny for me. I’m sure (my father) wanted me to do a lot of things that he sees in his eyes. But I feel like when he left, French Montana took over.”

Montana’s music career includes several hits, including “Unforgettable” featuring Swae Lee. The Moroccan-born rapper earned his Grammy nominations through his songwriting endeavors on Kanye West’s “All Day” and being featured on “All the Way Up” with Fat Joe, Remy Ma and Infared. He’s also been actively fighting for global healthcare efforts in Uganda as a Global Citizen rap ambassador.

Montana feels no bitterness toward his father for leaving them during their stressful circumstances. His father wanted to return to Morocco for good after a couple opportunities didn’t pan out, but his mother was against taking the family back. She believed there were better opportunities in the United States.

“I ... respect the move he made, than if he would’ve stayed with us and we all suffered in New York,” he said. “I’m happy that he found his peace. If he stayed, I would have never been French Montana. Why would I be mad at him? That was the best thing he ever did for me as a man. He left me and I became a man. That’s how it’s supposed to be. The right way.”

With his mother having no work experience and unable to speak English, Montana said his father thought they would only last maybe a year or two before they too would return to Morocco. Instead, their time in America ultimately lasted 25 years.

In the documentary, Montana said he and his mother shared a heartfelt moment – which symbolized how her enduring faith helped them overcome a plethora of financial obstacles while she worked multiple jobs and prayed daily.

“When you see my mother kiss me on the forehead, it was us sacrificing, us going through the trials and tribulations,” he said. “It was really making the impossible come true. It was a miracle. It was no support except for the man upstairs.”

Director Mandon Lovett said he first became intrigued about Montana’s story after reading a 2012 article about him traveling to Morocco and seeing his father for the first time since the elder man left New York. Lovett was compelled by Montana’s story and wanted to one day work with him.

That moment came in 2017 when Montana took a trip to Morocco to film a music video for his song “Famous.” Through mutual acquaintances, the director was able to tag along and create a short sizzle reel.

After viewing all the material, Lovett said the story was strong enough to turn into a full-length project.

“From Morocco to New York, this story spans the globe,” said Lovett, who mentioned that Montana’s father has photos of all his sons through his apartment. “It’s a big, broad story. As French and I got to know each other, it took an even more of a turn which turned into a story that paid homage to his mother.”

Montana said naming the documentary after his mother was an easy decision after seeing Lovett’s finished product. The rapper said no accomplishment in his music career was greater than seeing his mother return to Morocco and hug her sister who she hadn’t seen in more than two decades.

“When we watched the film, I said to myself ‘This is bigger than me,’” he said. “When my mother hugged my aunt at the end, it was just a full circle moment. I came back to Morocco before my mother did. But the real warrior here, and the real struggle was her.”



China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
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China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)

Chinese director Jia Zhangke's ambitious latest, which utilizes footage shot across two decades, offered a peek into the evolving nature of cinema as it unspooled at this year's Busan International Film Festival.

"Caught by the Tides" combines a story of elusive love with a panoramic portrayal of recent Chinese history using everything from low-resolution digital camera footage to a scene enhanced with cutting-edge AI technology.

And while it explores the meaning of the past, the film's creation emphasized innovation.

Jia assembled and recontextualized footage shot over more than 20 years, including unused scenes from previous films, newly filmed sequences, and random images he captured during his travels -- blending documentary and fiction.

The result, with a format reminiscent of Richard Linklater's 2014 film "Boyhood", creates a vivid record of time passing, particularly through lead actress Zhao Tao, Jia's long-time collaborator and wife in real life.

As she goes on a fruitless search for a lost love, audiences witness her age before their eyes.

The film also uses images related to key events that have shaped contemporary China, such as the successful bid for the 2008 Olympics and the construction of the Three Gorges Dam, which resulted in often overlooked suffering for those displaced by the project.

"After Covid, I felt that one era had ended and a new one was emerging," Jia told reporters in Busan when asked what motivated him to create "Caught by the Tides".

"With the rapid advancements in technology, including science, the Internet, and AI, people's lifestyles have also shifted. I realized that during this period of change, it was important to process the (accumulated) footage I had previously filmed."

Actress Zhao described the film as a "truly precious gift."

"It has allowed me to document my 20s, 30s, and 40s through the medium of film, while also expressing the lives and struggles of many women through the character," she told reporters.

The film played over the weekend as part of BIFF's gala presentation section.

- Covid, cinema and AI -

Jia's feature debut, "Xiao Wu", earned the director BIFF's New Current Award for emerging filmmakers in 1998, when he was just 28.

"It's not an exaggeration to say that my life as a filmmaker started in Busan," Jia said, adding he had missed the South Korean port city since his last visit.

He has since won the top prize at the Venice Film Festival for "Still Life" (2006), among other prestigious awards, establishing himself as one of the most important Chinese filmmakers of his generation.

"Jia stood out as someone who is obviously talented. He was, above all else, original," Kim Dong-ho, the 87-year-old BIFF founder, told AFP of the Chinese filmmaker's younger years.

Now 54, Jia has brought his latest film to Busan at a pivotal moment of change for the festival.

BIFF's opening night featured a streaming title for the first time in its history, and it hosted a day-long conference just on the theme of AI in content production.

At the festival's main venue, giant posters of Netflix's latest streaming projects underlined the shift -- including its opening film "Uprising," positioned next to a festival gift store that ironically proclaimed: "Theater is Not Dead."

Jia's film, by its end, reflects and evokes these changes and what may lie ahead, showing its characters queuing for PCR tests and wearing masks during the Covid pandemic, an era that contributed to the rise of streaming platforms worldwide.

One scene was modified using AI technology, changing the film that the protagonist watches to create a stronger link to an element introduced later in the story -- robots.

When reflecting on his some 26 years in film, Jia said: "It feels like I've been drifting in an endless ocean."

But "completing each film made me feel like I stood tall, having overcome the waves."