Algerian cinema continues to be virtually nonexistent, with no sign of recovery of production or distribution structures. The Voisine (2002) of Ghaouti Bendeddouche, one of the films left unfinished when the bodies production closed in 1998, was finally completed. Nagüeles Belouad turned eight weeks in Algeria a study of suffering polygamy women living in Algeria in the 90s, called the attention of women (2000) there also turn Father. Both films have been distributed in Algeria, it seems that Father was recently released on Algerian television. The Other World (2001) by Merzak Allouache, marks the return after 7 year absence, the director. This is the story of a painful back Yasmine a young woman born in France and speaks no Arabic, left for Algeria in search of her lover Algeria Rachid; that disappeared during an ambush. The winding action, ends with an absurd killing. For security reasons, much of the filming took place in the Algerian desert, an area more secure. The shooting of this film is an important event, but the film itself does not generate little interest. It will make a quiet exit in Algeria. Mehdi Charef, director of immigration from turning on him Keltoum The Girl (2002), the film also recounts the story of a young woman giving up the security of Europe to go to Algeria at the search of his mother who believes she was abandoned. The film was shot in Tunisia as a significant number of films and TV movies that are set in Algeria, but for security reasons could not be turned.
The Other World
Rachida (2002), first film by Yamina Bachir-Chouikh (b. 1954 and wife Mohamed Chouikh), was most impressive; In Algiers, during the years of terror, Rachida, a young teacher, went to work without wearing her veil. She was violently taken to task by a band of terrorists, is located in one of his former students, Sofiane. They ask him to place a bomb in his school, but she refuses to comply. They then pull him over and left for dead. She survives and takes refuge with his mother in a small village. She believes could flee the violence of terrorists but again violence rages and decimated the village. With a strong relay media: newspapers, tapes ads on the only television channel in Algeria, the film has a great public success. It marks the return of Algerian cinema and accompanying The hopes raised by the policy of civil concord of President Bouteflika recently elected (1999). Critics blame him, however his lack of realism.
Rachida
Year of Algeria in France (2003) sees the funding of a dozen feature film which will be barely half the day ... With the back of oil prices and a fragile return to peace, a new desire to create movies in Algeria is emerging. In 2003 and 2004 are put in place new structures, including Centre National du Cinema.
With the exception of Sun Killed Bahloul (2004), chronicling the life of poet Jean Senac, and Si Mohand or M'Hand Liazid Khodja all of Algerian films of this new decade, reflects, examines, violence that the country is seized in the early 1990s and its traumas. Tea Ania (2004) and Viva Algeria (2004) are two prominent examples. The first, directed by journalist and playwright Said Ould Khelifa, tells of a singular walks novelist forced to shut himself in his home by fear of reprisals terrorists. Here, no physical attacks or political speeches. The resonances of a murderous past are distinguished by a voluntary solitude, reflecting a frenzy of madness and discreet. The hero refuses any communication with the outside light in this company the cause of his torment. Hope fallen stranglehold on acute paranoia, the writer is hanging by a thread, one that connects it to his next-door neighbor, a certain Ania, a symbol of hope as you want. Ould Khelifa, through his character, questioned the tear. Before him, Algerian cinema was moving towards a representation facts, now is the time to allegory and reproduction of grief and its consequences in order to draw a picture of the Algerian trauma. The author presents an artist who can only be expressed by words. It must continue its search for the sublime even if he has suffered a major earthquake within. The art must not retreat, this is the conclusion of the filmmaker. This film copyright was not distributed in Algeria but known abroad as a broadcast network rooms arthouse French and festival. Viva Algeria second film Nadire Moknèche is without doubt side Bled Number One the film's most striking characteristic of this new decade, wanting more popular than Tea Ania having recourse to that effect Biyouna actress very popular in Algeria, this film wants it without a glance concession on the Algiers post-terrorism. Goucem, 27, works in the shop of a photographer. His mother, Papicha (Biyouna), drags his fifty years and his memories collided cabaret dancer. Under the pressure of terrorism, they had to leave their city to the suburbs of Algiers to take refuge in a downtown hotel. Goucem there he meets Fifi, a young prostitute. Viva Algeria takes its title from a famous slogan of the Algerian stages, mixing French (Algeria) Arabic (El Djazair) but the film suffers from not having been shot in the local language. The use of French creates a mismatch with the realist film. Which earned him strong criticism in Algeria. It should be noted that this, like all the films made in recent years a co-production, namely France and Belgium. However Nadire Moknèche denies having been subjected to any pressure on the non-use of language Algerian dialect. This question of why he had not "turned this young language" aldjérienne ", asked in an interview by historian Benjamin Stora [1] , Nadir Moknèche initially wanted to recall" I am the first to want to hear my native language, especially since this language is called default Arabic, but is also far from Arabic than Italian from Latin, is censored on television and Radio Eta t ". But at the difficulties of casting with most young actors from the Algerian school and "ridiculous" to want to talk Lubna Azabal in his language, namely Arabic, Moroccan filmmaker has not hesitated to decide. " Algeria is the second largest French-speaking world by the number of minority staff, says Nadir Moknèche, much of its literature is written in French, so it is not an illegitimate Algerian filmmaker decides to use French to speak .
Tea Ania
Viva Algeria
Nevertheless, it seems obvious that the films co-produced with French-speaking countries have an obligation to be run in French, the third film Nadire Moknèche, working with the same producers as for his previous film was shot entirely in French; shot in Algiers during the summer of 2006, Paloma Delight is again directed Biyouna in the role of a gang leader who is not cold in the eyes . These films are considered by critics Algeria (if it exists ...) as being intended for public view. Films whose financing is fully turned on Algerians in their dialect, in the case of El Manara (2004) by Belkacem Hadjadj, Douar de Femmes (2006) Mohamed Chouikh. Through a story of friendship caught in the spiral of crisis El Manara attempts to illuminate the contradictions and anachronisms of a society that is rooted in its time and tied to his beliefs and traditions. Hence the reference to the legacy of tolerance symbolized by the ritual El Manara (Lighthouse), which each year celebrates the birth of the Prophet in the city Cherchell. A popular festival deemed heretical by fundamentalists. Constantly on the thread of the documentary, with characters of all shades, the image of a society riddled with contradictory currents, El Manara participates in its own way the duty of remembrance and mourning to be accomplished. Proposed for several months during special sessions, the film has regularly proved that the debate was possible and necessary. With a small budget of 35 million dinars (350,000 euros) El Manara , one of the few films Algerian initiative of the last five years, was shot in DV [2] . With
Morituri, his fourth feature film shot during the summer of 2004 in Algiers, Okasha Touita brings to the screen the adventures of the famous Commissioner Llob success created by writer Yasmina Khadra. At the heart of years of terrorism in Algeria, while investigating the missing daughter of a former egg plan, Brahim Llob is featured on the trail of a terrorist group responsible for eliminating intellectuals. During its investigations, on the sidelines of a financial scandal involving senior officials, the Commissioner finds itself at the center of a plot.
the image of Algerian literature born during the years of terrorism and called the literature of emergency, we can talk of a cinema of urgency. The aesthetic issues have deserted the field of creation to make way for an effective narrative, narrative. Submitted economically co-production of this film often loses its authenticity using the French language, exiling the scene of action in the secure areas of the country and using foreign performers. These films appear to the public as Algeria for export and therefore turns away.
The official state despite its withdrawal continues to be the main provider of funds through a cyclical policy, and like the Year of Algeria in France, the new event called "capital of Algiers Arab culture "funds for the year 2007 the completion of 22 films feature films, 44 documentaries and 11 films and will return the camera to veterans such as Ahmed and Mohamed Rachedi Lakhdar-Hamina ...
[1] http://www.planet-dz.com/ _En-Cours/JANVIER04/vivalalgerie.htm
[2] http://www.algeriades.com/news/previews/article1576.htm
The Other World
Rachida (2002), first film by Yamina Bachir-Chouikh (b. 1954 and wife Mohamed Chouikh), was most impressive; In Algiers, during the years of terror, Rachida, a young teacher, went to work without wearing her veil. She was violently taken to task by a band of terrorists, is located in one of his former students, Sofiane. They ask him to place a bomb in his school, but she refuses to comply. They then pull him over and left for dead. She survives and takes refuge with his mother in a small village. She believes could flee the violence of terrorists but again violence rages and decimated the village. With a strong relay media: newspapers, tapes ads on the only television channel in Algeria, the film has a great public success. It marks the return of Algerian cinema and accompanying The hopes raised by the policy of civil concord of President Bouteflika recently elected (1999). Critics blame him, however his lack of realism.
Rachida
Year of Algeria in France (2003) sees the funding of a dozen feature film which will be barely half the day ... With the back of oil prices and a fragile return to peace, a new desire to create movies in Algeria is emerging. In 2003 and 2004 are put in place new structures, including Centre National du Cinema.
With the exception of Sun Killed Bahloul (2004), chronicling the life of poet Jean Senac, and Si Mohand or M'Hand Liazid Khodja all of Algerian films of this new decade, reflects, examines, violence that the country is seized in the early 1990s and its traumas. Tea Ania (2004) and Viva Algeria (2004) are two prominent examples. The first, directed by journalist and playwright Said Ould Khelifa, tells of a singular walks novelist forced to shut himself in his home by fear of reprisals terrorists. Here, no physical attacks or political speeches. The resonances of a murderous past are distinguished by a voluntary solitude, reflecting a frenzy of madness and discreet. The hero refuses any communication with the outside light in this company the cause of his torment. Hope fallen stranglehold on acute paranoia, the writer is hanging by a thread, one that connects it to his next-door neighbor, a certain Ania, a symbol of hope as you want. Ould Khelifa, through his character, questioned the tear. Before him, Algerian cinema was moving towards a representation facts, now is the time to allegory and reproduction of grief and its consequences in order to draw a picture of the Algerian trauma. The author presents an artist who can only be expressed by words. It must continue its search for the sublime even if he has suffered a major earthquake within. The art must not retreat, this is the conclusion of the filmmaker. This film copyright was not distributed in Algeria but known abroad as a broadcast network rooms arthouse French and festival. Viva Algeria second film Nadire Moknèche is without doubt side Bled Number One the film's most striking characteristic of this new decade, wanting more popular than Tea Ania having recourse to that effect Biyouna actress very popular in Algeria, this film wants it without a glance concession on the Algiers post-terrorism. Goucem, 27, works in the shop of a photographer. His mother, Papicha (Biyouna), drags his fifty years and his memories collided cabaret dancer. Under the pressure of terrorism, they had to leave their city to the suburbs of Algiers to take refuge in a downtown hotel. Goucem there he meets Fifi, a young prostitute. Viva Algeria takes its title from a famous slogan of the Algerian stages, mixing French (Algeria) Arabic (El Djazair) but the film suffers from not having been shot in the local language. The use of French creates a mismatch with the realist film. Which earned him strong criticism in Algeria. It should be noted that this, like all the films made in recent years a co-production, namely France and Belgium. However Nadire Moknèche denies having been subjected to any pressure on the non-use of language Algerian dialect. This question of why he had not "turned this young language" aldjérienne ", asked in an interview by historian Benjamin Stora [1] , Nadir Moknèche initially wanted to recall" I am the first to want to hear my native language, especially since this language is called default Arabic, but is also far from Arabic than Italian from Latin, is censored on television and Radio Eta t ". But at the difficulties of casting with most young actors from the Algerian school and "ridiculous" to want to talk Lubna Azabal in his language, namely Arabic, Moroccan filmmaker has not hesitated to decide. " Algeria is the second largest French-speaking world by the number of minority staff, says Nadir Moknèche, much of its literature is written in French, so it is not an illegitimate Algerian filmmaker decides to use French to speak .
Tea Ania
Viva Algeria
Nevertheless, it seems obvious that the films co-produced with French-speaking countries have an obligation to be run in French, the third film Nadire Moknèche, working with the same producers as for his previous film was shot entirely in French; shot in Algiers during the summer of 2006, Paloma Delight is again directed Biyouna in the role of a gang leader who is not cold in the eyes . These films are considered by critics Algeria (if it exists ...) as being intended for public view. Films whose financing is fully turned on Algerians in their dialect, in the case of El Manara (2004) by Belkacem Hadjadj, Douar de Femmes (2006) Mohamed Chouikh. Through a story of friendship caught in the spiral of crisis El Manara attempts to illuminate the contradictions and anachronisms of a society that is rooted in its time and tied to his beliefs and traditions. Hence the reference to the legacy of tolerance symbolized by the ritual El Manara (Lighthouse), which each year celebrates the birth of the Prophet in the city Cherchell. A popular festival deemed heretical by fundamentalists. Constantly on the thread of the documentary, with characters of all shades, the image of a society riddled with contradictory currents, El Manara participates in its own way the duty of remembrance and mourning to be accomplished. Proposed for several months during special sessions, the film has regularly proved that the debate was possible and necessary. With a small budget of 35 million dinars (350,000 euros) El Manara , one of the few films Algerian initiative of the last five years, was shot in DV [2] . With
Morituri, his fourth feature film shot during the summer of 2004 in Algiers, Okasha Touita brings to the screen the adventures of the famous Commissioner Llob success created by writer Yasmina Khadra. At the heart of years of terrorism in Algeria, while investigating the missing daughter of a former egg plan, Brahim Llob is featured on the trail of a terrorist group responsible for eliminating intellectuals. During its investigations, on the sidelines of a financial scandal involving senior officials, the Commissioner finds itself at the center of a plot.
the image of Algerian literature born during the years of terrorism and called the literature of emergency, we can talk of a cinema of urgency. The aesthetic issues have deserted the field of creation to make way for an effective narrative, narrative. Submitted economically co-production of this film often loses its authenticity using the French language, exiling the scene of action in the secure areas of the country and using foreign performers. These films appear to the public as Algeria for export and therefore turns away.
The official state despite its withdrawal continues to be the main provider of funds through a cyclical policy, and like the Year of Algeria in France, the new event called "capital of Algiers Arab culture "funds for the year 2007 the completion of 22 films feature films, 44 documentaries and 11 films and will return the camera to veterans such as Ahmed and Mohamed Rachedi Lakhdar-Hamina ...
[1] http://www.planet-dz.com/ _En-Cours/JANVIER04/vivalalgerie.htm
[2] http://www.algeriades.com/news/previews/article1576.htm
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