It’s 1999 in Casablanca, King Hassan II is on his deathbed and the chaotic city seems about to explode. Witness to all kinds of bizarre scenes—ranging from absurd to slapstick to extremely sadistic—Mikhi (Salah Ben Salah) remains impassive, mute, verging on lethargic. When not busy wordlessly attaching Denver boots downtown, he helps Naima (Nadia Nizai), the paraplegic wife of the hardline police chief Daoud (Ismail Aboul Kanater), who got him his job. One day, Mikhi comes across Rita (Hanane zoudhi), a young woman dressed like a trashy bride and chained up in a car. It’s love at first sight, and he’s prepared to do anything to stay by her side. When the girl’s four freakishly costumed, thieving brothers steal her away from him, he comes up with a dangerous scheme to get what he wants. By turns hilarious and sordid and almost always over-the-top, the apocalyptic world of The End is at times reminiscent of A Clockwork Orange. Young Moroccan director Hicham Lasri films his city in black-and- white, his pervasive camera always on the lookout for ways to provoke. The out-there result is violent, sensual and politically incorrect. With the support of Acid