October 1993 saw a new radical reorganization of the Algerian film industry: the production was privatized, was attributed to developers three years of salary and are invited to start their own companies [1] . The CAAIC continued to offer support to production and manage a new system that allows filmmakers to receive state assistance for specific projects submitted for approval, based on their scripts, commission of which was First chaired by writer Rachid Mimouni. This reorganization, coinciding with major political upheaval, serious threat to the Algerian film. But it was worse in 1998 when the government suppressed the CAAIC, ENPA (the body television production) and NAFA (news agency), without specifying whether new structures are planned. Four feature films- Meriem of Fettar, The Neighbor of Bendeddouche, Mimouna of Mazif Howl and the new director-Abderrahim Laloui remained unfinished. The only Voisine finally released in 2002. The 217 employees of CAAIC - backbone of the Algerian film industry - found themselves unemployed. A report of this period indicates that the number of entries had increased from nine million in 1980 to only five hundred thousand in 1992, while the number of cinemas (most of converted video room) was increased from 458 at Independence in 1999 to only twelve [2] . The new privatization combined with the growing political unrest and waves of mass killing, Algerian cinema seriously cut its links with the outside world. In 1995-1999, only five feature films Algerian were distributed abroad, and many filmmakers, actors and technicians were forced into exile.
Previously, the reforms of 1987 had seemed to encourage the production of Algeria, while 19 films were released in 1990-1993, an average of almost five films per year. In the early 90s, appeared the new films from several directors of the 80 confirmed, whereas the ENPA co-producing two feature films. neon Children (1990), was directed by Brahim Tsaki in France, after filming two feature films in Algeria. The Cry of Men (1990), Okasha Touita new film, describes the friendship of two police officers, one black foot, the other Arab-who find themselves on opposite sides during the conflict ever more violent between the FLN and France, in 1959 in Mostaganem. Mahmoud Zemmouri, who also began his career in France, made his third feature , From Hollywood to Tamanrasset (1990): Another satirical fiction that deals this time of fun alienating influence of foreign television on the community Algerian rural in which the director was born and raised. The only long- film directed by Sid Ali Fettar in the 90s, Forbidden Love (1993), located in 1955, tells the love condemned Azzedine, a young Algerian student, and Francine, a young girl born in Algiers. Everywhere else, this film would have looked conventional, but in Algeria, on the contrary, it represents a move away from the dominant social and political tendency.
also was seen reappearing some veterans of the 70s. The new leader of ENPA, Mohamed Lamine Merbah, produced a film in 16mm, Radhia (1992), the story of a divided family. Jafar Damardji, whose first film in 1972, finally completed in a second Errances , also known as the ash Earth (1993), based on the voyages of European exploration, Isabelle Eberhardt. Another exceptional creation by a veteran Lotus Flower, directed by Amar Laskri, head of CAAIC from 1996.
This co-production between Algeria and Vietnam, full of ambition (co-directed with Tran Dac) which accounted for much Laskri 90s, highlights some of the impacts the least suspicion of occupation and colonial wars through The history of a Vietnamese journalist, Houria, who arrived in Algiers to seek his Algerian father. He had been sent to Vietnam in the '40s, to be part of the French expeditionary forces. There, he supported the Vietnamese involved (for which the mother was also active Houria) because of the French massacres in his country, before returning to Algeria to attend the last event of the liberation struggle.
A new generation was born with the debut film of the son of Mohamed Lakhdar Hamina, Malik Lakhdar Hamina (b. 1962): Fall-October in Algiers (1991). This is the vivid and colorful portrait of a family caught in the turmoil of October 1988, while young Algerians took to the streets and find themselves faced with inexperienced soldiers and panic. This movie tone very free so disturbing, was not circulated in Algeria, the only existing 35mm print that is abroad [3] . Other films from the early 90s, are those of the journalist Said Ould Khelifa including White Shadows (1991), in which Yousef, a young man who disappeared two days ago, is actively sought by one of his close friends. Banallal Rashid (born 1946) became a director after being an editor, turned ouled Ya (1993), which recalls especially the works of the 1960s and early 1970s, with the history of events seen in July 1962 through the eyes of children growing up in Algiers divided by the struggle: on one hand the settlers, on the other Algerians.
BA FALL October in Algiers Fran
sent Lakhdar-Hamina . - Short film, documentary and trailer.
Among those who realized their first theatrical films in the 90s, many people from television, often with considerable experience. The old RTA was restructured in 1987 to become the ENTV and ENPA. Mohamed Hilmi (born 1931), director confirmed, wrote and directed El Ouelf Essaib (1990), in which a composer and his friends lead a hectic and eventful life in a comedy about everyday life. Other confirmed director, Haj Rahim realized Portrait (1994), the story of a taxi driver and his family in a district of Algiers. Benamar Bakhti (b. 1941) realized this huge popular success has been The Underground (1991), the story of Si Abdallah, a resourceful man who supports his large family by working illegally as a taxi driver, with a backdrop, a painting and comic living in the city of Algiers. Rabah Bouberras (born 1950), who, like Bhakti, had produced many films for the RTA, realized Sahara Blues (1991), the story of a woman who reported on its past and present during a trip to southern Algeria with her son and her second husband, intimate film that n'eu unsuccessful public. The novelist-Hafsa Zinai Koudil (born 1951) has also received support from ENPA to realize The Demon feminine (1993), but his film, challenged, resulting in conflicts with producers. This is a woman whose husband is convinced she is possessed by the devil: he left to charlatans who tortured under the pretext of exorcising. In 1995, she said the daily Le Monde: " I made a film in a state of terror. I suffered many defections among the technicians. Even when we were filming in the studio, under the protection of the police, we were scared and the players lacked concentration. The actress who was to play the mother received threats and was arrested after the first days of filming. I replaced somehow. Also, in the film, the son air barely younger than his mother. I was thinking more security team to have fun in creativity. Work under such circumstances leave little room for the artist . "
upheavals within the film industry settled and chaos in society as Islamic fundamentalists opposed to politicians, intellectuals and foreigners, are reflected in many films of the 1993-1994. In the second film Rachid Mohamed Belhadj, Touchia (1993) a woman trapped in her apartment in 1991 by protesters supporters of the Islamic republic, remembers having had a similar disillusionment, when the dreams of independence of the child she was in the 50s have violently clashed with the reality brutal rape and death of his best friend. The film Mahmoud Zemmouri The honor of the tribe (1993), looks bleak - and often grotesque, the impact was on the 25-year rule of the FLN and reflects the confusion of the Algeria in the early '90s: It starts as an apologia for the Islamic new vitality for change, but ends with a box that contradicts the entire logic of the story: " Djamel and his friends have now shown their true faces. People die every day in Algeria . "In the film
Mohamed Chouikh, Youcef, the legend of the seventh frame (1993), an amnesiac travels the country and trying to understand, but fails to find in contemporary Algeria none of the ideals for which he and his colleagues had fought during the Liberation War, this film he extends this he start with Citadel (1998), a wave of movie where the story is parable, borrowing from multiple sources. The most accurate description of the situation in Algeria in the early 1990s is perhaps Bab el-Oued City (1994), Merzak Allouache. This brings us back in the district of Algiers, which had formed part of Gatlato Omar, a neighborhood now totally transformed by violence and force of fundamentalism. Through a plot woven around the disappearance of the loudspeaker of the mosque, he evokes the young unemployed who are in the rigor of the new Islamic leadership behaviors to follow, and young women who feel stifled in this new environment. The film is a major painting of contemporary Algeria. In his study of what he calls "invisible war" in Algeria in the 1990 Benjamin Stora draws attention to the importance of the few films about contemporary society: "What strikes primarily with a few movies at a time when gray is the will to survive. As if the filmmakers had decided to go together to meet a world which, apparently, do most awaited " [4] .
By 1995, the Algerian film production has fallen by one or two movies a year, most of them co-productions exploring the strengths and contradictions of tradition. They are moving away from urban areas, and narratives give way to realistic fables and allegories. in the Ark of the Desert (1996), Mohamed Chouikh shows an isolated community of desert exploring and questioning the validity of its values and traditions.
For many other filmmakers, the only choice was exile. Merzak Allouache produced two feature films in France: Hi cousin! (1996), which recounts the adventures of Alilo, a young Algerian in which his cousin very Frenchified "beur" second generation, Mok, discover the Parisian life. In Algiers-Beirut , for the record (1998) Laurence, French protagonist, returns to Beirut that left child. There she found that she had experienced before Rachid Algiers. They fall in love with each other, and she tries to persuade him to take refuge in France. He refused and returned to Algiers, to find death. Mahmoud Zemmouri realized a musical, France, 100% Arabica , the film combines the satiric portrait of a poor district of Paris to the music rai Khaled and Cheb Mami.
[1] Oral Testimony of Liazid Khodja, on the sidelines projection of Si Mohand or M'hand at Cinema Le France, Saint-Etienne in February 2007
[2] Jacques Mandelbaum, "Algiers is reborn in film," Le Monde (Paris, October 17, 2000) : p.16.
[3] In It turns Algiers documentary Salim Aggar,, 2007.
[4] Benjamin Stora, The Invisible War: Algeria 90s, Paris: Presses de Sciences Po, 2001. p.90.
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