Fort Du Conquet Destruction of the Vautier Archives

The highly anticipated follow-up to their critically acclaimed VIDEO NASTIES: MORAL PANIC, CENSORSHIP & VIDEOTAPE documentary, director Jake West and producer Marc Morris continue uncovering the shocking story of home entertainment post the 1984 Video Recordings Act. A time when Britain plunged into a new Dark Age of the most restrictive censorship, where the horror movie became the bloody eviscerated victim of continuing dread created by self-aggrandizing moral guardians. With passionate and entertaining interviews from the people who lived through it and more jaw dropping archive footage, get ready to reflect and rejoice the passing of a landmark era.

Pierre Clément, student and photographer of René Vauthier, first accompanied him to Tunisia to make a film on the country's independence in 1957. Destiny led him to Algeria and his presence in February 1958 at the Tunisian-Algerian border changed his life. . Forever. He took his camera and photographed the attacks on Sakia Sidi Youssef before committing himself body and soul to the Algerian cause. Shortly after, he directed the film “Algerian Refugees” before being arrested, tortured and imprisoned, while his third film, “The National Liberation Army in Almaki”, was not finished. Abdel Nour Zahzah, a director who commemorates Pierre Clément, the director who risked his life, the brother of the Algerian resistance, who disappeared in 2007.

Who was Frantz Fanon, the author of Wretched of the Earth and Black Skin, White Masks, this Pan-African thinker and psychiatrist engaged in anti-colonialist struggles? Born in Martinique, Frantz Fanon was not yet 20 years old when he landed, weapons in hand, on the beaches of Provence in August 1944 with thousands of soldiers from "Free France", most of whom had come from Africa, to free the country from Nazi occupation. He became a psychiatrist and ten years later joined the Algerians in their fight for independence. Died at the age of 36, he left behind a major work on the relationships of domination between the colonized and the colonizers, on the roots of racism and the emergence of a thought of a Third World in search of freedom. 60 years after his death, the film follows in the footsteps of Frantz Fanon, alongside those who knew him, to rediscover this exceptional man.

At the beginning of the 1960s, in Salisbury (now Harare), in Southern Rhodesia (now Zimbabwe), the government of Ian Smith hanged three black revolutionaries who had nevertheless been pardoned by the Queen of England. René Vautier, with ZAPU (Zimbabwe African Party for Unity), denounces this killing. Expelled by the Rhodesian police (informed by the French secret services), the filmmaker shoots a film in Algeria in the form of an indictment against colonial savagery. The film was first banned in France, then authorized in 1965.

Frantz Fanon alone embodies all the issues of French colonial history. Martinican resistance fighter, he enlisted, like millions of colonial soldiers, in the Free Army out of loyalty to France and the idea of freedom that it embodies for him. A writer, he participated in the bubbling life of Saint-Germain with Césaire, Senghor and Sartre, debating tirelessly on the destiny of colonized peoples. As a doctor, he revolutionized the practice of psychiatry, seeking in the relations of domination of colonial societies the foundations of the pathologies of his patients in Blida. Activist, he brings together through his action and his history of him, the anger of peoples crushed by centuries of colonial oppression. But beyond this exceptional journey which makes sensitive the permanence of French colonialism in the Lesser Antilles at the gates of the Algerian desert, he leaves an incomparable body of work which has made him today one of the most studied French authors across the Atlantic.

Die weiße Gefahr

Cheikh Djemaï looks back on the genesis of Gillo Pontecorvo’s feature film, The Battle of Algiers (1965). Through archive images, extracts from the film and interviews with personalities, the filmmaker retraces the journey of a major work - from the events of the Algiers Casbah (1956-1957) to the presentation of the Lion of 'Or causing the anger of the French delegation in Venice - which left its mark as much in the history of cinema as in that of Algeria.

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.

In the late sixties, Spanish cinema began to produce a huge amount of horror genre films: international markets were opened, the production was continuous, a small star-system was created, as well as a solid group of specialized directors. Although foreign trends were imitated, Spanish horror offered a particular approach to sex, blood and violence. It was an extremely unusual artistic movement in Franco's Spain.

In late eighties, in Ceausescu's Romania, a black market VHS bootlegger and a courageous female translator brought the magic of Western films to the Romanian people and sowed the seeds of a revolution.

A documentary road movie with René Vautier In the aftermath of Algeria's independence, René Vautier, a militant filmmaker, considered "the dad" of Algerian cinema, set up the cine-pops. We recreate with him the device of itinerant projections and we travel the country in ciné-bus (Algiers, Béjaïa, Tizi Ouzou, Tébessa) to hear the voices of the spectators on the political situation, youth and living conditions of men and Of women today.

“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.

"I often say sociology is a martial art, a means of self-defence. Basically, you use it to defend yourself, without having the right to use it for unfair attacks." (Pierre Bourdieu) The world has witnesses who speak out loud what others keep to themselves. They are neither gurus, nor masters, but those who consider that the city and the world can be thought out. The sociologist, Pierre Bourdieu is one such witness." Over a three- year period, Pierre Carles' camera followed him through different situations: a short conversation with Günter Grass, a lively conference with the inhabitants of a working-class suburb, his relations with his students and colleagues and his plea that sociology be part of the life of the city. His thinking has a sort of familiarity, which means it is always within our reach. It is the thinking of a French intellectual who has chosen to think his times.

Many times during his presidency, Lyndon B. Johnson said that ultimate victory in the Vietnam War depended upon the U.S. military winning the "hearts and minds" of the Vietnamese people. Filmmaker Peter Davis uses Johnson's phrase in an ironic context in this anti-war documentary, filmed and released while the Vietnam War was still under way, juxtaposing interviews with military figures like U.S. Army Chief of Staff William C. Westmoreland with shocking scenes of violence and brutality.

René Vautier, le rebelle

René Vautier, le maquisard à la caméra

Abdelkader ibn Muhieddine (Arabic: عبد القادر بن محي الدين (ʿAbd al-Qādir ibn Muḥyiddīn), also known as Emir Abdelkader, or Abdelkader El Djezairi (Abdelkader the Algerian), born September 6, 1808 in El Guettana, in the regency of Algiers, and died on May 26, 1883 in Damascus, then in the Ottoman Empire and in present-day Syria, is an Algerian emir, religious and military leader. Barely 20 years old, he federates the tribes and led a struggle against the conquest of Algeria by France in the middle of the 19th century.After his surrender, he was held captive in France before going into exile in Syria where he devoted himself to poetry and established great relations friendship with Paris, which showered him with honors after having intervened in favor of the persecuted Christians in Syria, he intervened by force to protect the Christian families who came to take refuge in large numbers in the Algerian district. of certain death.

Kirby Dick's provocative documentary investigates the secretive and inconsistent process by which the Motion Picture Association of America rates films, revealing the organization's underhanded efforts to control culture. Dick questions whether certain studios get preferential treatment and exposes the discrepancies in how the MPAA views sex and violence.

In 1967, Visconti came to Algiers for the filming of The Stranger with Mastroianni and Anna Karina. Camus, during his lifetime, had always refused to allow one of his novels to be brought to the screen. His family made another decision. The filming of the film was experienced in Algiers, like a posthumous return of the writer to Algiers. During filming, a young filmmaker specializing in documentaries Gérard Patris attempts a report on the impact of the filming of The Stranger on the Algerians. Interspersed with sequences from the shooting of Visconti's film, he films Poncet, Maisonseul, Bénisti and Sénac, friends of Camus, in full discussions to situate Camus and his work in a sociological and historical context. “The idea is for us to show people, others, ourselves as if they could all be Meursault, or at least the witnesses concerned to his drama.”

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.