The 90s began with a production high and there was no indication that the reorganization would bring disastrous Algerian cinema to its knees. A few clear exceptions, the characteristic The most flagrant that emerges from this new decade is its continuity with the 1980s. In several cases, the works of the 90s are higher than those previously produced, but the effect again, the unexpected absence from the production of most established filmmakers.
The exceptions are among the key works of the decade. Established filmmakers and experienced filmmakers Television (Chouikh, Allouache Hadjadj, and Bouguermouh Meddour) made great efforts to overcome both lower production subsidies and real physical threat of fundamentalist violence. Together they realized a series of excellent films about the contemporary situation, exploring both the present and the causes of poverty today ( Youcef and Bab el-Oued City ), as well as telling fables and allegories on the honor, violence and identity, questioning the tradition that seem to have little protection against the chaos ( Machaho , Hill missed La Baya Mountain, Desert and L'Arche ).
In terms of personalities, we experienced a real revival of what was becoming an aging generation, but very few of these newcomers gave the filmmaking of the era a fresh voice and authentic. Malik Lakhdar Hamina (with Fall - October in Algiers) and Hafsa Zinai-Koudil (with The Demon in the feminine), one Algerian woman to have completed the course films throughout the decade, each produced the first feature film fiction that could pave the way for others, which was unfortunately not the case.
The exceptions are among the key works of the decade. Established filmmakers and experienced filmmakers Television (Chouikh, Allouache Hadjadj, and Bouguermouh Meddour) made great efforts to overcome both lower production subsidies and real physical threat of fundamentalist violence. Together they realized a series of excellent films about the contemporary situation, exploring both the present and the causes of poverty today ( Youcef and Bab el-Oued City ), as well as telling fables and allegories on the honor, violence and identity, questioning the tradition that seem to have little protection against the chaos ( Machaho , Hill missed La Baya Mountain, Desert and L'Arche ).
In terms of personalities, we experienced a real revival of what was becoming an aging generation, but very few of these newcomers gave the filmmaking of the era a fresh voice and authentic. Malik Lakhdar Hamina (with Fall - October in Algiers) and Hafsa Zinai-Koudil (with The Demon in the feminine), one Algerian woman to have completed the course films throughout the decade, each produced the first feature film fiction that could pave the way for others, which was unfortunately not the case.
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