The adventure in Tunisia

After years of absence, a man comes back to a hometown that no longer feels like his, pushing him to question identity, memory, and the meaning of home.

Aldo and Marco are twins. Marco, a parish priest, has always been his mother's pride and joy, whereas Aldo has a history of repeated prison stints. A womanizer and high-rolling gambler constantly in need of cash, he frequently finds himself embroiled in wild, shady schemes—most of which go awry. Wanted by the police, he flees to Tunisia, posing as his brother Marco and disguised as a priest. There, he reconnects with his childhood friend Prosper, dragging him into a life of reckless escapades, chasing after a million-dollar fortune and pretty women alike.

Zaghouan

"Islam" by Georges Régnier (1949) is a documentary about Islamic art in Algeria, Tunisia, Morocco, and Spain. The documentary received a special mention at the Venice Film Festival in 1949. Georges Régnier, a French documentary filmmaker active in the post-war period, was interested in North African cultures and colonial issues. In this film, he traces the history of Islam and its architectural art across these regions, and describes the expansion of Islam from Arabia to the Maghreb and Andalusia, highlighting mosques, minarets, and palaces such as those in Kairouan, Algiers, and Marrakech, all accompanied by the sounds of the Arabic call to prayer.

Saved from shipwreck, a little girl is taken into the protection of the North-African tribal chief and named "Zohra".

The story of the sexual development of a filmmaker through three stages of his life.

During World War II, a squad of five American soldiers become lost in Tunisia and are killed one by one in fights with German units. Finally only one man, Private Russo, is left, in the midst of a mine field, together with a German officer, locked in a stalemate. Russo has water, while the German claims to have a map revealing the mine positions. So Russo agrees to swap water for the map, but the German officer tries to double-cross him. This was Burt Topper's debut film, made on 16mm on weekends together with some friends in Indio, California. It was also Wally Campo's debut film, as well as script supervisor Joyce King's.

January 2011 : the revolution bursts in Tunisia, my father’s country. The Tunisian people scream in a rage and I, here in Paris, can feel their revolt vibrating in my heart.

Lilia is a girl with magnetic, hypnotic and rare beauty that gives her a power of seduction which she uses and abuses with impunity, until the day she falls madly in love with her alter-ego.

The Real Story of Fake Democracy. Filmed over three years in five countries, FREEDOM FOR THE WOLF is an epic investigation into the new regime of illiberal democracy. From the young students of Hong Kong, to a rapper in post-Arab Spring Tunisia and the viral comedians of Bollywood, we discover how people from every corner of the globe are fighting the same struggle. They are fighting against elected leaders who trample on human rights, minorities, and their political opponents.

Amel is released from prison after an adulterous affair. In the violent streets of Tunis, Amel seeks her missing son Moumen, a young football player destroyed by the scandal. During her journey, Amel has to face Tunisian society in ruins.

Tunisie, la révolution trahie

Tunisia itself is the subject; we wanted to render the genius of the site. Tunisia is almost the central character of this little film: we see the relation of the city to the sea, the traces that bear witness to its foundation, the remains of Carthage, the symbolism of the recently discovered Medina coin … The splendours of the house interiors and courtyards are associated with a scene of origin, what psychoanalysis calls a primal scene. Entering these houses opens up a world peopled by women: the child’s ‘homecoming’ in the hands of women is staged as an abduction, playing doubly on fascination and terror. These places were mine, from my childhood, they can be found almost intact – it’s the return of the exile visiting the kingdom. I let Ruiz discover all this, and immediately that led him to echoes and resonances ranging from Spain to Chile.

An intimate portrayal of Tunisia’s architectural landscape and its atmospheres, memories and traditions. The film appropriates ethnographic documentaries on architecture and rural life in Tunisia, sourced from France’s national audiovisual archive (INA). Scenes from 1940s newsreels produced by Les Actualités Françaises are combined with new footage from the same sites, including Matmata, Douiret and Tameghza.

Giacomo has an idol: James Bond. When he dreams, he dreams of himself, his fabulous adventures, especially in Tunisia, and a beautiful wife, Belle. In reality he is unemployed, overwhelmed by an obsessive mother who continually called to see if he wore his woolen tank top and is treated by a doctor who thinks he is Einstein. Finally Giacomo is followed by bizarre characters, kidnapped and taken to Tunisia to live a wonderful adventure of her dreams, from the dangers of any kind ... and he met Beatrice

A portrait of the Director’s maternal grandmother, Eliane, a French woman who lived her entire life in Tunisia. The film shows her last moments at home with her family before her passing due to Alzheimer's disease.

A herd backs into a dusty courtyard. The sheep, on the ground with their four legs bound, are quickly and skillfully shorn. The animals, now without their fleece, leave one by one, leaping over a narrow channel to allow the shepherds to count them. Everything is crystal clear, efficient, encouraging in a sense – and this goes for both the shearing and the film. Except for the final panning shot of the men grinning at the camera and brandishing shears ready to be put to use. –Andrea Meneghelli

Since creatures of the sea are one of our vital sources of nutrition, fishing has always been a testing ground for the ingenuity of our species, which is notoriously ill-suited to the water. Before fishing was transformed into an industrialised process, regional variations in practice were a cultural fact. A film such as this, which demonstrates three distinctly different practices, is a precious thing. –Andrea Meneghelli

German prisoners in Tunisia turn around and walk in step through a military camp, with their tents visible in the background. They roll barrels on the ground, spread concrete using shovels, and unload wagons full of earth and stones. The prisoners walk in a row in front of a large door supervised by French soldiers, who nearly approach the camera.

Ten years ago exactly, more or less, give or take a day or two, six young men sat down, or maybe stood, or perhaps some of them just lounged, and wrote the first episode of a new series called Owl Stretching Time. They were called Graham Chapman , John Cleese, Terry Gilliam , Eric Idle,Terry Jones and Michael Palin and later both they and the series became known as Monty Python 's Flying Circus . Today they are the best known British comedy group in the world, famous from Cathay to Kathmandu, from Sydney to Sidcup (except in Japan where the programme is called The Gay Boys' Dragon Show ... say no more). To commemorate their tenth anniversary a BBC team tracked them down in the deserts of Tunisia where they were filming their Life of Brian and almost persuaded them to examine the genesis, the genius and the gender of Monty Python.