Ettarfa

Rayan, a young French boxer of Algerian origin, loses his mother. As tradition dictates, he must accompany his remains to his native country. There, he meets his family for the first time, managed in a patriarchal manner by his uncle. Through the discussions, Rayan understands that there is a serious family conflict. For him, a new fight begins.

The feature film “The seven ramparts of the citadel”, a fiction recounting the conflict between an Algerian family expropriated from its land and a bloodthirsty settler; by director Ahmed Rachedi. Adapted from the eponymous novel by Mohamed Maarafia, the film, whose plot begins in 1954, tells the story of two characters, Thebti and Lucien, “the fellaga and the colonist”, a story of crossed destinies. “After having engaged in a fight to the death, after having both traveled a long path of embers, (they) finally find themselves face to face and above all each face to themselves”.

"Djazaïrouna", produced by the cinema service of the Provisional Government of the Algerian Republic (GPRA), is a montage film intended to inform the international community at the UN in 1959 on the objectives pursued by the Algerian resistance during the war of 'Algeria. Independence in Algeria (1954-1962). In 1959, Djamel-Eddine Chanderli and Mohammed Lakdar-Hamina produced Djazaïrouna (Our Algeria) from images taken by René Vautier and Doctor Pierre Chaulet. This film, completed a little later and will result in the film “The Voice of the People”. This documentary on the history of Algeria through a montage of current events, traces the political and military actions of the A.L.N, the demonstrations of December 1960, and the attack on a fortified French base on the border between Algeria and Tunisia.

In the city of Guelma, which was once called Heliopolis in ancient times, the daily life of an Algerian family takes its usual course. But on May 8, 1945, the day the end of World War II was announced, demonstrations by the Algerian people against the French colonial power and for the country's independence took place, which were bloodily suppressed by the French army and French settler militias. The event went down in history as the Sétif and Guelma massacre.

Makhlouf Bombardier, unusual, decides to be elected mayor of a dechra (village). So he surrounds himself with trusted partners to organize a great campaign for his election. Bombardier became the mayor of the village and is organizing an international film festival to compete at the Carthage festival. In his action, he is pursued by the Court of Auditors for embezzlement. So, his ultimate goal is to become the president.

عائلة كي الناس

A simple case of a car accident in the city of Oran turns into a real criminal investigation led by Inspector Tahar and his sidekick the apprentice.

Tracing the struggle of the Algerian Front de Liberation Nationale to gain freedom from French colonial rule as seen through the eyes of Ali from his start as a petty thief to his rise to prominence in the organisation and capture by the French in 1957. The film traces the rebels' struggle and the increasingly extreme measures taken by the French government to quell the revolt.

“In Algeria, we are restoring order, what we mean by French order,” declared Michel Debré, Prime Minister, under the presidency of Charles De Gaulle, in April 1956. It was, of course, order colonial in defiance of the republican order, in Algeria as in Paris where, on October 17, 1961, Algerians flocking from suburban slums were massacred by the police of prefect Maurice Papon, while they were peacefully marching for the independence of their country. On October 17, 2001, a commemorative plaque was placed in Paris on the Saint-Michel bridge: "In memory of the many Algerians killed during the bloody repression of the peaceful demonstration of October 17, 1961." A surge of racial hatred, less than 20 years after the roundup of the Jews in July 1942. An Algerian, victim of this roundup, told us, holding back his tears, "I still have nightmares."

In this documentary, Marie-Claire Rubinstein reveals to us, through the testimonies of the inhabitants who live there, the architectural achievements of the French urban planner Fernand Pouillon in Algiers. In particular the vast complexes of hundreds of social housing units, including the most famous Diar E Saâd (1953), Diar El Mahçoul (1954) and Climat de France (1957). The historical context, during the war of independence is related by the historian Benjamin Stora and Nadir Boumaza. This documentary also evokes the personality of Fernand Pouillon in a post-colonial context.

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.

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.

Cheikh El-Hasnaoui is an Algerian singer who left his country in 1937 without ever setting foot there again. Between 1939 and 1968 he composed most of his repertoire in France. For many years the Algerian cafes of Paris were the stages of his shows. With a handful of artists of his generation, he laid the foundations of modern Algerian song. A fervent defender of women's rights, he claims, as a pioneer, the fight for identity for a plural Algeria. At the end of the Sixties, he ended his artistic career. On July 6, 2002 he died in Saint-Pierre de la Réunion, where he is buried to this day. This 80-minute documentary follows in the footsteps of this extraordinary character. From Kabylia to Saint-Pierre de a Réunion via the Casbah of Algiers and the belly of Paris.

Portrait of the Algerian singer and composer Kamal Hamadi (husband of the singer Noura). Performer, musician, conductor, lyricist, author and composer, he is considered today as the witness par excellence of Algerian artistic action of the 20th century. The film received the Golden Olivier for best documentary 2010 at the Tizi-Ouzou Amazigh Film Festival in Algeria.

In Algeria, pottery is different from one region to another, the result of the various influences it has undergone throughout history. If the manufacturing steps are substantially the same, the result is far from identical. In Kabylia, for example, the pottery, decorated with patterns, is red in color. In the south of Adrar, there are objects with rather original shapes and black in color. The pottery of the Nementcha Mountains is fashioned in clay with pink tones and decorated with brown designs. Originally, objects were made in families and exchanged between neighbours...

Parisian authorities clash with the Front de Libération Nationale (FLN) in director Alain Tasma’s recounting of one of the darkest moments of the Algerian War of Independence. As the war wound to a close and violence persisted in the streets of Paris, the FLN and its supporters adopted the tactic of murdering French policemen in hopes of forcing a withdrawal. When French law enforcement retaliated by brutalizing Algerians and imposing a strict curfew, the FLN organizes a peaceful demonstration that drew over 11,000 supporters, resulting in an order from the Paris police chief to take brutal countermeasures. Told through the eyes of both French policemen as well as Algerian protestors, Tasma’s film attempts to get to the root of the tragedy by presenting both sides of the story.

1516, Legend has it that the king of Algiers had a wife named Zaphira. When the pirate Aroudj Barbarossa arrives to liberate the city from the Spaniards, he is determined to conquer Zaphira as well as the kingdom itself. But is Zaphira willing to let him, or is she plotting for herself?

The SAS (Section Administrative Spécialisée) were created in 1956 by the French army during the Algerian war to pacify "the natives". During the day, the SAS were used as treatment centres and at night as torture centres, in order to crush the Algerian resistance. The SAS were inhabited by French soldiers and auxiliaries (harkis, goumiers) and their families. At independence in 1962, a few families of auxiliaries stayed on; the vacant buildings were occupied by families of martyrs awaiting the better days promised by the new Algeria. 46 years later, the SAS at Laperrine, in the Bouira region, still exists, a unique place inhabited by people who have taken refuge there. They have been joined by farmers fleeing the terrorism of the 90s. They all live as best they can in a place they did not choose, suffering the consequences of war.

It is the evocation of a life as brief as it is dense. An encounter with a dazzling thought, that of Frantz Fanon, a psychiatrist of West Indian origin, who will reflect on the alienation of black people. It is the evocation of a man of reflection who refuses to close his eyes, of the man of action who devoted himself body and soul to the liberation struggle of the Algerian people and who will become, through his political commitment, his fight, and his writings, one of the figures of the anti-colonialist struggle. Before being killed at the age of 36 by leukemia, on December 6, 1961. His body was buried by Chadli Bendjedid, who later became Algerian president, in Algeria, at the Chouhadas cemetery (cemetery of war martyrs ). With him, three of his works are buried: “Black Skin, White Masks”, “L’An V De La Révolution Algérien” and “The Wretched of the Earth”.

Jacqueline Gozlan - who left Algeria with her parents in 1961 - nostalgically retraces the history of the Algiers Cinematheque, inseparable from that of the country's Independence, through film extracts and numerous testimonies; notably that of one of its creators, Jean-Michel Arnold, but also of filmmakers such as Merzak Allouache and critics such as Jean Douchet. A place of life for Algerians, the Cinémathèque was the hub of African cinemas. Created in 1965 by Ahmed Hocine, Mahieddine Moussaoui and Jean-Michel Arnold, the Cinémathèque benefited from the excitement of Independence. The Cinematheque becomes a meeting place for Algiers society, future filmmakers find their best school there. In 1969, the Algiers Pan-African Festival brought together all African filmmakers, and from 1970, Boudjemâa Kareche developed a collection of Arab and African films.