Ancient Algiers

“Forgetting is complicit in recidivism,” says the commentary of this film dedicated to the demonstration of October 17, 1961 in Paris and the savage repression that followed. 11,538 Algerians will be arrested, which is reminiscent of the great Vel d’hiv roundup of July 16 and 17, 1942 where 12,884 Jews were arrested.
 The film brings together eyewitnesses including a priest, a peacekeeper, a couple of workers sympathetic to the Algerian cause, a lawyer, Paris municipal councilors including Claude Bourdet (then one of the leaders of the PSU and journalist to France Observateur), Gérard Monatte, the future police union leader, and the editor and writer François Maspero.

An Algerian peasant (fellah), crushed by the soldiers of the French colonial army, decides to resist. His young wife finds herself, despite herself, also enlisted in the Algerian resistance to flee the atrocities of harsh colonial persecution.

Radhia

Tahar, son of a wealthy family, is trying to preserve his privileged status despite the social changes brought about by the revolution. Tinted with historical symbolism, the film tells of the disaggregation of a feudal family when the father died.

Archie Shepp chez les Touaregs

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.

This FitzPatrick Traveltalk short visits the cities of Casablanca, Rabat, and Marrakesh in Morocco, as well as the city of Algiers in Algeria.

By meeting his former comrades in combat, the film follows the journey of Yves Mathieu, anti-colonialist in Black Africa then lawyer for the FLN. When Algeria became independent, he drafted the Decrees of March on vacant property and self-management, promulgated in 1963 by Ahmed Ben Bella. Yves Mathieu's life is punctuated by his commitments in an Algeria that was then called "The Lighthouse of the Third World". The director, who is his daughter, returns to the conditions of his death in 1966.

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.

Yema

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.

Directed by Abdelaziz Tolbi.

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.

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.

Hier, aujourd'hui et demain

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...

Il Était Une Fois Cheb Hasni

At a dangerous time in Algeria, 'Douar de Femmes' is a story of ordinary women who manage to defend themselves in extraordinary situations. The film focuses on a small village that has been attacked more often by terrorists from the surrounding mountains. While the men work, the women learn how to handle machine guns and explore the area. “Fear has armed us,” says the young woman Sabrina. But despite that fear, people get married, children come and keep watch.

“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.

Algiers. From the port to the souks, passing through the Jardin d'Essai, Dominique Cabrera transports us to the land where she was born, on the other side of the Mediterranean "where the sea is saltier". If most of the pieds-noirs left Algeria in the summer of 1962, some -a minority- remained. By going to meet them, the director makes her own inner journey.