This paper aims to reframe the history of Moroccan anti-colonial cinema, by examining Noureddine Lakhmari’s Le Regard (2005). This landmark movie employs magical realism to endow Moroccan characters with an agency that they lacked due to the traumatic torture they endured during the war of independence. Robert Stam has argued that cinema, “as a technology of representation, is equipped to magically multiply times and spaces” (2005, 13). Le Regard revolves around Albert Tueis, a French photographer who, while organizing a photo exhibition in Paris, realizes that his exhibition is incomplete without the photographs he took of Moroccan prisoners while serving in the French army in 1955-56. Being haunted by memories of torture, especially of resistance fighter Issa Daoudi, he returns back to Morocco fifty years later in search for the photos he left behind. The film uses flashbacks as a narrative device. The flashbacks highlight Lakhmari’s use of magical realism in depicting the cruel treatment of Moroccan prisoners against a surreally calm scenery in the background. As a way of confronting an oppressive reality, the film resorts to surreal forms of agency in an attempt to redress the wrongs done to the victims. It also makes uses of techniques such as the gaze and lighting in order to transform their grim reality, allowing them a form of agency. The film opens magical realist spaces where the Moroccan others can become agents of their destiny. Lakhmari uses photography as a form of semiotic empowerment, thereby capturing different forms of agency through the photograph. Frederic Jameson's critical approach to magical realism in studying film images draws on the same methods used by visual art critics, while Ann Bowers examines how the narrative is informed by visual elements in magical realism. Lakhmari’s film resorts not only to visual elements such as photography but also to different forms of communication through the magical powers of gazing, thus intervening into the objectifying discourse of colonialism and the non-dialogic aspect of empire. Le Regard’s greatest accomplishment lies in its representation of the Moroccan other’s agency through multiple forms of magical powers in the struggle over access to signification. While drawing on the work of critics who have studied films in magic realist terms such as Fredric Jameson (1986), Ann Bowers (2004) and Robert Stam (2005), my analysis of Le Regard explores forms of agency and communication which critics of realist magical films have not addressed before.