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# Bouchra brings a coyote filmmaker to MUBI
- URL: https://www.killscreen.com/bouchra-brings-a-coyote-filmmaker-to-mubi/
- Published: 2026-10-01T18:57:23.000Z
- Updated: 2026-10-01T18:57:22.000Z
- Description: Meriem Bennani and Orian Barki's animated feature moves between New York and Casablanca in near-photoreal rooms — streaming now.
- Author: Kill Screen Staff
- Tags: MUBI, animation, Meriem Bennani, Orian Barki, Film, Documentary

Bouchra is a Moroccan filmmaker in New York, writing an autobiographical film that keeps folding back into the life it is drawn from. Bouchra is also a coyote, in a city of anthropomorphic animals rendered in nearly photoreal rooms and streets. Meriem Bennani and Orian Barki's feature *Bouchra* has been [streaming on MUBI](https://mubi.com/en/us/films/bouchra?ref=killscreen.com) since September 12.

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**2 Lizards*: Episode 1 (2020), the series **Bouchra* grew from — silent here; the full episode with sound is [on Artforum’s Vimeo](https://vimeo.com/398657270?ref=killscreen.com).

The film's dialogue comes from real phone calls and letters, with characters voiced by the directors' friends and family playing versions of themselves — documentary raw material wearing an animated body. Across 83 minutes, the film moves between New York and Casablanca, between the character's everyday releases and a mother's unresolved feelings about the character's queerness. It landed its U.S. premiere [in Currents at the 63rd New York Film Festival](https://www.filmlinc.org/nyff2025/films/bouchra/?ref=killscreen.com).

*Bouchra* grew out of *2 Lizards*, the series Bennani and Barki released serially on Instagram in the first weeks of lockdown in 2020—two computer-generated lizards moving through an emptied New York, swiftly picked up and published by Artforum. What was a coping mechanism at reel length is now a feature-length grammar: rig a body, render a city, and let real voices drive it.

Bennani's practice runs on the same toolchain as any studio shipping a AAA open world—3D animation, avatar-driven character work, photoreal environments — pointed at diaspora, family, and memory instead of traversal. Machinima logic without the game underneath: the avatar turns out to be autofiction, because everyone involved is already playing a version of themselves.

Animation made with game tools, cinema made from avatars — Killscreen watches that border so you don’t have to. The free newsletter delivers it.

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