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Festival panafricain d'Alger is a documentary by William Klein of the music and dance festival held 40 years ago in the streets and in venues all across Algiers. Klein follows the preparations, the rehearsals, the concerts… He blends images of interviews made to writers and advocates of the freedom movements with stock images, thus allowing him to touch on such matters as colonialism, neocolonialism, colonial exploitation, the struggles and battles of the revolutionary movements for Independence.
By meeting his former comrades in combat, the film follows the journey of Yves Mathieu, anti-colonialist in Black Africa then lawyer for the FLN. When Algeria became independent, he drafted the Decrees of March on vacant property and self-management, promulgated in 1963 by Ahmed Ben Bella. Yves Mathieu's life is punctuated by his commitments in an Algeria that was then called "The Lighthouse of the Third World". The director, who is his daughter, returns to the conditions of his death in 1966.
Alone in a small white house on the edge of national road 1, the Trans-Saharan road, which connects Algiers to Tamanrasset crossing the immensity of the desert, Malika, 74, one day opened her door to the director Hassen Ferhani, who came there to scout with his friend Chawki Amari, journalist at El Watan and author of the story Nationale 1 which relates his journey on this north-south axis of more than 2000 km. The Malika of Amari's novel, which Ferhani admits to having first perceived as a "literary fantasy", suddenly takes on an unsuspected human depth in this environment naturally hostile to man. She lends herself to the film project as she welcomes her clients, with an economy of gestures and words, an impression reinforced by the mystery that surrounds her and the rare elements of her biography which suggest that she is not from the region, that she left the fertile north of Algeria to settle in the desert where she lives with a dog and a cat.
This film looks back at Algeria's past, covering its fight for independence and its subsequent fight against itself, being one of the few films to capture civil war Algeria and its inhabitants on camera. The filmmakers talk to politicians from both sides, past revolutionaries, and most importantly civilians, whose lives were torn apart by the conflict.
A synaesthetic portrait made between French Polynesia and Brittany, Color-blind follows the restless ghost of Gauguin in excavating the colonial legacy of a post-postcolonial present.
On August 5, 1928, after 2 hours and 32 minutes of racing, the 71st rooster wearing the bib entered the Olympic stadium in Amsterdam. Ahmed El Ouafi Bouguéra wins the gold medal and becomes the first Olympic champion from the African continent. He achieved his feat under the tricolor flag. The start of his real marathon is underway. The history of sport extends to the history of Algeria and France. This documentary retraces the different stages of the life of this great champion, not only the history of sport but also the great story. Archival photographs and interviews mingle with the painted paintings. The series thus once again gives voice to this forgotten hero, one of the great heroes of immigration who defended France for more than a century.
A film poem in four parts following the first four days after Algeria's independence in 1962. Footage of the nationwide celebrations is intercut with footage shot among the fighters of the Algerian Army of National Liberation, refugees exiled to the mountains of Tunisia and Morocco, and ordinary people from the towns and villages of Algeria.
In the heart of the Camargue region, in the south of France, Jawad and Belka find freedom in their love of Camargue races. For these young Maghrebi men, the event is more than a simple tradition. Facing off with a bull is an opportunity to establish their place in the arena—and in French society. But at what cost?
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These are the first images shot in the ALN maquis, camera in hand, at the end of 1956 and in 1957. These war images taken in the Aurès-Nementchas are intended to be the basis of a dialogue between French and Algerians for peace in Algeria, by demonstrating the existence of an armed organization close to the people. Three versions of Algeria in Flames are produced: French, German and Arabic. From the end of the editing, the film circulates without any cuts throughout the world, except in France where the first screening takes place in the occupied Sorbonne in 1968. Certain images of the film have circulated and are found in films, in particular Algerian films. Because of the excitement caused by this film, he was forced to go into hiding for 25 months. After the declaration of independence, he founded the first Algerian Audiovisual Center.
Fayçal Hammoum recounts the 2014 presidential election through non-voting inhabitants of Algiers who, like him, are in their thirties. Be it Bilel, a grocer by default exposed to his customers’ political babbling, or the more politically-charged comments of Younes, a militant FM radio journalist opposed to President Bouteflika’s fourth term, the variety of conversational scenes in no way changes the determination not to vote for an old man who has been invisible for almost two years. The rappers Omar and Brahim are as bereft of hope and voter’s cards as the Tellek webradio DJ, since “the match is fixed”. Moving away from his focus on this subject to film their daily life, the filmmaker draws the portrait of a generation who, as Bilal says with poignant simplicity, “just wants to live
Structured as a labyrinth-like game and inspired by Jorge Luis Borges, Aleph is a travelogue of experience, a dreamer's journey through the lives, experiences, stories and musings of protagonists spanning ten countries and five continents.
Mohamed Iguerbouchène was born on February 7, 1907 in Aït-Ouchen in Algeria. He left for England in 1923 where he studied music and harmony. Subsequently, he went to Vienna, Austria, to learn piano techniques where he won 1st prize in harmony and piano. Mohamed Iguerbouchen became a composer, he composed four symphonies and several film scores including the famous “Pépé le Moko” (1937) with Jean Gabin. Mohamed Iguerbouchène bowed out on August 21, 1966 following a long illness.
“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.
Raï Story is a musical journey in search of the Raï legend, Cheikha Remitti, in Oran, Algeria, where the Raï musical tradition began. In 1923, the first Raï singers performed behind screens during ceremonies to protect their identity. It was only when the music of singer Cheikha Remitti began to gain popularity among the general public that Raï music was made public, in the 1940s. Cheikha Remitti, who lives between Paris and Oran, is nowhere to be found, the filmmakers then decide to meet producers, musicians, singers like Cheba Dalila or Cheba Djenet, for whom Remitti created a wake. The opportunity, through these unique stories, illustrated with archive images, to retrace the important place of women in this musical tradition and the transformation of Raï music from the 1960s to 2000.
Between 1954-1962, one hundred to three hundred young French people refused to participate in the Algerian war. These rebels, soldiers or conscripts were non-violent or anti-colonialists. Some took refuge in Switzerland where Swiss citizens came to their aid, while in France they were condemned as traitors to the country. In 1962, a few months after Independence, Villi Hermann went to a region devastated by war near the Algerian-Moroccan border, to help rebuild a school. In 2016 he returned to Algeria and reunited with his former students. He also met French refractories, now living in France or Switzerland.
Beginning with a promotional reel encouraging farming investments in Algeria and ending with the secret 1950s nuclear tests that France conducted using Algerian prisoners, How Much I Love You appropriates archival footage produced by the French colonial powers in Algeria. Meddour’s approach is disarmingly simple and yet awe-inspiring—his caustic undoing of colonial discourse is underscored by a liberating release of humor.
Docufiction about Mouloud Feraoun, an author who upholds the great values of the Universal Man. It is in the name of man that Feraoun stands up against injustice. It is in the name of man that he is tormented by war. Feraoun is a solitary creator who suffers to the point of wishing for liberating madness. It is through his work that the portrait of a humble and discreet author, a talented writer and convictions emerges. Most of the time, I let him talk about himself in simple and fair words. I compile his moments of hope, worry, dreams and fears. During all my research, a generous and good Mouloud Feraoun stood out to me who did not hesitate to expose an inhuman and shameful colonial system. His clear and straightforward voice echoes the cry of a people from whom he has never separated.
Born on March 25, 1840, Gustave Guillaumet discovered Algeria by chance when he was about to embark for Italy. Over the course of his ten or eleven trips and extended stays, he established a familiarity with this space. Traveling through the different regions from north to south, he never ceases to note the differences. He is also the first artist, apart from Delacroix's Women of Algiers, to penetrate into female interiors and reveal the reality, far removed from the harem fantasies that reigned in his time. Fascinated by the country, its deserts and its inhabitants , going so far as to live like the Algerians, Gustave Guillaumet devoted his life and his painting to this country, breaking with the colorful and exotic representations of the time. The painting The Famine in Algeria, restored thanks to exceptional fundraising, was dictated by the events of the years 1865-1868, and well illustrates his knowledge of the country, in a manner that is at once demanding, sensitive and serious.
