In several discussions focusing on two of Tazi’s films (Badis, 1988 and Looking for My Wife’s Husband, 1993), Tazi and I examine the “neo-realist” conditions under which he and many Third World filmmakers work (non-professional actors, inexpensive equipment, poorly trained technicians, etc.). We look at the situations he faced and some ethical issues that arose in filming Badis in a small rural community that had no experience of cinema. We also discuss how women are portrayed in his films, a very controversial scene in Badis, his approach to narrative, and the importance he gives to the “symbolic.”