French cinema's wave washed over the colonies as well as the metropole, and filmmakers were soon carting their cameras off to remote corners of the empire to record exotic habitats and peoples for display to audiences at home. Colonial staffs and film crews cooperated in making the documentaries, gravitating toward each other as cobearers of the civilizing mission. Narrative fictional film shot on location in the colonies, cinema's other first wave, arrived in 1921 with LAtlantide. Its million-dollar budget, surreal plot, hypnotic Saharan scenery, and intrepid Foreign Legion heroes caused a sensation at its Paris premiere. Filming on location became de rigueur, and the visionary proconsul of Morocco, Marechal Louis-Hubert Lyautey, who founded the protectorate in 1912, put its resources at the disposal of French directors. By providing them with logistical support and schooling them in the realities of Moroccan society and culture, he supported a trend in French film toward authenticity and verisimilitude that gave it an advantage over Hollywood back-lot productions. Quick to see film's potential for capturing the public imagination and promoting his agenda, he sponsored films that encouraged mutual respect between cultures. Lyautey's star waned after he failed to anticipate or cope with the Rif uprising of 1925-26, and cinetma colonial found new sponsors in settler-dominated