That “The Blue Caftan” exists is something of a small miracle.

The film depicts a delicate, sensitive love story between two men in Morocco, a place where such a relationship can land one in prison. Yet it was made in Morocco by Maryam Touzani, a director who lives there, and the government apparently was more than OK with it: The Cannes Film Festival prize winner was the country’s official submission for Academy Awards consideration.

The opening night film at the Arab Film Festival at the Castro Theatre in November, “The Blue Caftan” suggests a society struggling between old ways and modernity, and Halim (Saleh Bakri,“Costa Brava, Lebanon”)is caught in the middle.

Halim is a tailor, and he specializes in making exquisite, handmade caftans — such as one would wear at a wedding or other special occasions — with loving care. The man is a master, and yet this is a fading art form. These days, most caftans are made by machines, so Halim is as old school as they come.

His wife, Mina (Lubna Azabal, great inDenis Villeneuve’s“Incendies”),runs the shop, taking orders, setting schedules and handling the finances. Because there is more work than Halim can handle, they hire a young apprentice, Youssef (Ayoub Missioui).

The couple hasn’t had a great track record with apprentices. For young people, dreaming of becoming a tailor is something like wanting to go into radio instead of, say, podcasting. But the handsome Youssef is surprisingly enthusiastic.

尽管如此,his arrival immediately throws off the dynamic in the shop. Mina is jealous and mistrustful; Halim is quietly attracted to Youssef.

But “The Blue Caftan” doesn’t go where you think it’s going. As is apparent early on in the film, Touzani is actually telling two love stories.

The film’s strength is its empathy and subtle performances. There are many wonderful scenes, from a peek into Morocco’s secret bathhouses to an unexpected night out when Halim and Mina watch a soccer game in a sports bar.

“The Blue Caftan,” like its title garment, has a handmade, lived-in quality, an authenticity that marks Touzani — a former journalist making her second feature — a director to watch.

Reach G. Allen Johnson:ajohnson@sfchronicle.com. Twitter:@BRFilmsAllen