Dead the Long Night

Pépé le Moko, one of France's most wanted criminals, hides out in the Casbah section of Algiers. He knows police will be waiting for him if he tries to leave the city. When Pépé meets Gaby, a gorgeous woman from Paris who is lost in the Casbah, he falls for her.

Resistance leader Omar Mukhtar opposes Italian colonization before World War II. The brutal guerrilla war against Italian General Rodolfo Graziani and the Fascist forces of Benito Mussolini highlights the struggle for Libyan independence and the harsh tactics utilised by the colonisers.

In 1964, Algeria, just two years after the end of the war of independence, found itself catapulted into new contradictions, a still rural territory which responded to the modernity brought by the revolution. Filmed during the winter of 1964-1965 by the young director Ennio Lorenzini, it is the first international Algerian production which paints a rare portrait in color of a multifaceted nation, far from the simplistic vision created by the press and the French army. Produced by Casbah Film, Les Mains Libres (initially titled Tronc De Figuier) bears witness to the stigmata of colonization and the future of free Algeria throughout the Algerian territory and reveals the richness of its landscapes and the diversity of its traditions . The documentary, using the aesthetics of militant cinema of the time, is made up of four scenes: Sea and Desert, The Struggle, The Earth, Freedom.

Made just three years after the end of the French-Algerian War (1954-1962), Gillo Pontecorvo's The Battle Of Algiers instantly ignited discussions of this complex historical period. Using the film as a point of reference, this 2004 documentary attempts to reconstruct the Algerian experience of the battle for independence.

Néfissa, a student in Algiers, returns to her village in the south in the summer. Her father wants her to marry the mayor but she wants to continue her studies. Confronting her father and the opinion of the villagers who do not understand her, she decides to flee to Algiers. The shepherd Rabah discovering her wounded and lost in the mountains, has her treated by her mother. In contact with Nefissa, Rabat becomes aware of his exploited condition and discovers the possibilities offered to him by the cooperatives of the agrarian revolution. The two young people will go through the decisive stage together which will allow them to escape obscurantism and exploitation. Based on the novel "Le vent du sud" by Abdelhamid Benahouga

In Algiers in 1993, while the civil war is starting, Mrs Osmane's tenants have to endure her bad temper. Her husband left her and the fear to lose her respectability haunt her. The former member of the Resistance during the Independence War persists in controlling the slightest moves of the households rather than struggle against her own frustrations. Learning her daughter is in love, the possibility of finding herself alone will push her to the limit: The symbolical Mrs Osmane "harem" is about to collapse.

The film is about an unemployed banker, Henri Verdoux, and his sociopathic methods of attaining income. While being both loyal and competent in his work, Verdoux has been laid-off. To make money for his wife and child, he marries wealthy widows and then murders them. His crime spree eventually works against him when two particular widows break his normal routine.

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.

Meursault is a man who feels utterly isolated from everyone and everything around him. This alienation results in sudden, inexplicable bursts of violence, culminating in murder.

The life of Puerto Rican revolutionary José Maldonado Román, known as Águila Blanca, on the island in the late 19th century. Maldonado Román fought against colonialism by leading a gang of ex-convicts to vindicate Puerto Rico as it sought its identity as a country.

This excellent feature-length documentary - the story of the imperialist colonization of Africa - is a film about death. Its most shocking sequences derive from the captured French film archives in Algeria containing - unbelievably - masses of French-shot documentary footage of their tortures, massacres and executions of Algerians. The real death of children, passers-by, resistance fighters, one after the other, becomes unbearable. Rather than be blatant propaganda, the film convinces entirely by its visual evidence, constituting an object lesson for revolutionary cinema.

A film about the historical uprising of the seamen in Kiel: During the Russian October Revolution of 1917, German and Russian soldiers start to solidarize with each other. By disarming the officers, machinist Henne Lonke and stoker Jens Kasten prevent the attack on a Russian freighter. When German admiralty gives out orders for operation "Nibelungen", which would lead the German fleet into a suicidal attack against England and quell the revolutionary spirit, seamen and soldiers from different political backgrounds unite in protest.

In prison in colonial Algeria, shortly after the end of the Second World War, three indigenous cellmates make out. Once free, they attack the authority represented by the triad of the boss, the gendarme and the administrator. “Living the colonial condition,” confided Tewfik Farès, “is something! It’s not sociologically or historically speaking. It’s life. And I think that’s all there in it. [...] For a hundred and thirty years, we wait. We hold back. We push back. We hope. At the same time, on different occasions, there are skirmishes, unrest.

In the midst of the Algerian war for independence, a group of fighters is trapped in the mountains, surrounded by the colonial army. Cut off from their allies, they have only one hope: to transmit a vital message to save their unit. But crossing enemy lines is a suicide mission. Their only chance lies with an unexpected messenger: a courageous dog named Messaoud. Carrying the letter attached to his collar, he embarks on a perilous crossing, braving the hostile nature and the dangers of war. But when he is captured by the enemy, his courage and instinct become his only weapons. Prisoner, hunted, he must risk everything to escape and accomplish his mission before it is too late. Sacrifice, bravery and hope mingle in this breathtaking odyssey where the humblest of heroes can change the course of history. The Unknown Hero, a moving film which won first prize at the Arab World Festival in 2017.

Chernobyl: The Last Habitant

Two deaf and dumb children. She is the daughter of an American Oil engineer. He is the son of an Algerian farmer. They meet and manage to communicate, transcending all the cultural barriers that separate them.

“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.

This film presents the point of view of an Arab from Algeria who rebels against colonization. He analyzes the process of awareness, the transition to revolt, to armed insurrection. Algeria and the settlers are seen through this lens and not the way a Frenchman saw the country. He gives voice to the Arabs at a time when this word was not heard: sometimes it was not even produced, at least publicly. The testimonies are based on real propositions, most of them were made to the author during his stay in Algeria from 1948 to 1956, then in 1958 and 1959. The comments are borrowed from the texts of Arab theorists of the revolution Algerian. This film thus completely evacuates the point of view of those who are not insurgents; he does not give the opinion of the colonists. It is the direct expression of what was the revolt of a colonized person: it thus constitutes the very type of the historical document.

Journalists Ichiro Sakai and Junko cover the wreckage of a typhoon when an enormous egg is found and claimed by greedy entrepreneurs. Mothra's fairies arrive and are aided by the journalists in a plea for its return. As their requests are denied, Godzilla arises near Nagoya and the people of Infant Island must decide if they are willing to answer Japan's own pleas for help.

In Algeria in 1954, in a village in the Aurès region, poverty reigns over peasants enslaved by colonial administrators and Algerian landowners. Noua, in love with the son of a peasant dispossessed of his land, must be sold to a wealthy landowner.