There’s not one reason why a young boy can turn into a suicide bomber. There are many of them.
—Nabil Ayouch, director of Horses of God, in a 2014 interview with Dan Lybarger
In 2003, just a couple of years after the Twin Towers attack, twelve suicide bombers blew up multiple targets in Casablanca. The bombers were all young men recruited from the slums of Sidi Moumen. These attacks did not cause much of a ripple in the western press—Muslims killing Muslims doesn’t inspire the kind of outrage that sells papers or grabs cable news channel eyeballs in the U.S.—but it was shocking event in the Arab world. It’s the inspiration for Horses of God, a fictional story rooted in the real life experiences of hundreds of thousands boys and men in the Arab world.
Four boys kick around a soccer ball in the dusty streets and desolate empty lots of Sidi Moumen, an immense, impoverished shantytown on the outskirts of Casablanca. They’re kids like any other, paling around in wild packs of ragamuffin gangs and playing makeshift soccer games that have a tendency to end in scrappy brawls, but their horizons are limited by their circumstances. The bird’s eye view of the camera reveals the startling proximity of this desperate slum with the cosmopolitan cultural capital of Morocco—and of North Africa at large—but from the vantage point of these boys in the garbage-strewn streets it could be on another planet. Their dreams of a better life come not from experience but television, where they have the choice of European football matches and mom’s glamorous soap opera fantasies. The realities of survival are much less romantic.