Sidonie Panache

Bab El-Oued, a popular district of Algiers, in 1989, a few months after the riots. Boualem works at night in a bakery and steals the loudspeaker that was installed on his roof and was broadcasting the Imam's word... therefore preventing him from sleeping. This blunder is taken as a pretext by the Islamists to put the district under their control...

An experimental essay film about terrorism, media, violence and globalisation. Three infotainment news broadcasts - a rollercoaster, a hijacking, and an influencer - are soundtracked by pulsating experimental electronics that push the psychic residue of a post war-on-terror world out of the unconscious and onto the screen. Capitalism, imperialism, desire; all three are implicated in a nihilism that has seeped from the news into the social psyche.

C'Est Pour Demain

In Kabylie, rude mountain region in the north of Algeria. Arezki finds the young Larbi exhausted, buried under the snow. He takes him in and nurses him until he's recovered. The host seduces Arezki's daughter. She is pregnant. This is an unsupportable shame to the father of the female sinner. Arezki claims vengeance. He leaves his house and takes the oath not to come back before having killed Larbi who betrayed him under his own roof.

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.

Long quest for a director specializing in commissioned films, who after a depression rediscovers his loved ones, his Casbah district, himself. Taken in hand, for a while, by his Islamist neighbor, it is above all the meeting with an old projectionist giving him a censored history of cinema and Algeria, which helps him to change, and to accept his own fantasies, embodied by Marilyn Monroe and the Andalusian.

Omar, better known as Omar the Strawberry, is an old-fashioned bandit. Forced to flee to Algeria, he makes a living out of petty crime, accompanied by his famous sidekick Roger. After decades of ruling the French criminal underworld, they must come to terms with their new life together, which until now has been one of debauchery and violence.

On the outskirts of Algiers, Algeria. the arrival of the satellite dishes governs the lives of the inhabitants. Dissatisfied with their lives, they think of themselves as the heroes of American soap opera and movies, so JR, Sue Ellen, Rambo, Kojak, Spock and others take possession of bodies and minds, with many typical American culture elements. These heroes mix in a beautiful funny mess, with tradition and modernism, Islam and television, reality and fiction.

Mounir Mekbek lives with his family in a small village in the heart of the Algerian countryside. Very proud and sure of himself, he has only one dream- to finally be appreciated by his fellow villagers. Screwing up his carefully maintained image is his headstrong, narcoleptic sister Rym who falls asleep anywhere and whom the village is convinced will end up a spinster. One evening, Mounir returns from town drunk and announces that he's found a suitor for his sister. The fake story snowballs and snowballs until the suitor morphs into a rich, blonde Australian. The village begins preparing for the wedding in earnest - but without a bridegroom in sight.

This musical comedy produced in 1953 for the General Government of Algeria, features the comic trio composed of Rouiched, Mohamed Touri and Sid Ali Fernandel, accompanied by the orchestra of the master of the Algiers Chaâbi El Hadj M'hamed El Anka, the singer Fadhéla Dziria, Mustapha Skandrani on the piano. Some scenes were filmed at the Summer Palace (the current Palace of the Algerian Presidency, called the People's Palace). André Zwobada, the director, will play an important role after the independence of Algeria in 1962, in the production and preservation of the first Algerian newsreels.

Algerian youth of the 1960s, straddling traditional South Mediterranean and Western culture and the desire for emancipation of younger generations to find true love.

In 1988, Johnny Leclerc, the son of a Norman mother and an Alsatian father, lives in a suburban housing estate with his friends. He behaves like a Muslim, observes Ramadan and wears a djelaba. He's even convinced that his name is Abdelbachir and that he was born in a small village in the bled. When his friend Yacine gets into trouble with a local kaid and decides to return to Algeria for the vacations, he smuggles himself into the Sabri family's luggage to fulfill his dream and finally get to know his "roots". As soon as he arrived on the Algerian coast, Johnny felt right at home. But Yacine is opposed to his father, who wants to arrange his marriage.

On his return to Algeria, Belkacem Hadjadj, a young graduate of INSAS in Brussels, joined Algerian television and signed "Le Bouchon", his first feature in the register of an Italian comedy, around the misadventures of a tenant experiencing a water leak.

Rabie is a kid from Sétif in 1980, trying to collect money to buy a wheelchair for his paralyzid sister Sassia, so she can get out of the house.

The story of Algerian women trying to live in 1970s Algeria where the society is between conservative values and progressive modern Algeria.

Moussa, a young Franco-Algerian, returns to Algeria, but adapting to life in his country of origin proves difficult. Just as he is about to leave for France, he is called up for military service, which suits him fine because he is secretly in love with the beautiful Nacira.

Like every year in Zitouna, a bear handler passes by. With his creature, he comes to challenge the small community. And like every year, it is Slimane El Mabrouk who defends the honor of the tribe. But this time, he dies, leaving two orphans, Omar and Ourida. Robbed of their inheritance, the children will grow up alone. The years pass, the French army settles in, and with it, the war. Mysteriously, one day, after the murder of a French legionnaire, Omar disappears into the bush, while his sister dies in childbirth. Omar will return to the village, much later, once independence has been acquired, as a representative of power and with this enigmatic formula: "You must know that the Revolution has not forgotten you". Personal revenge? Sincere desire to bring progress and modernity? ... The inhabitants of Zitouna, upset in their ancestral way of life, will not be long in having an answer to their questions.

Originally commissioned by the city of Algiers to promote tourism, Mohamed Zinet’s Tahia ya Didou blends documentary with fiction to create a poetic, acerbic and rapturous portrait of the director’s native city. The camera travels freely, through the port, market, streets and cafés, capturing everyday people, some of whom recur frequently enough to seem like protagonists. The nominal plotline follows a French tourist couple’s leisurely visit to the city, the man having previously served in the army during the Algerian war. As they walk around, his comments betray his mindset’s racist colonial prejudices, while his wife reiterates asinine clichés. Their unhurried wandering is interrupted when he comes across a blind man and realises that he tortured him during his army service. The film is punctuated with punchy sequences that show a poet named Momo delivering verse as an elegy for Algiers.

Inspector Tahar and his apprentice are invited by Mama Traki, a popular Tunisian heroine, to spend their vacation in Tunis. Before leaving Algiers, they stop at a tourist complex where a murder has just been committed. The investigation full of surprises and twists and turns will take them to Tunis where they will find Ommi Traki and his family...

27 years after 1962, Antoine returns to Algiers...