François Mitterrand et la guerre d'Algérie

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.

Has everything really been said about the Algerian war? Although the archives are opening up, almost fifty years after the signing of the Evian Agreements (March 18, 1962), direct witnesses are beginning to disappear. They are, however, unique bearers of history, often the only ones able to illustrate the harsh reality of a long-hidden period. Gérard Zwang, surgeon of the contingent between May 1956 and June 1958, is one of these essential witnesses who help us discover an original history of the Algerian War. During his service, in charge of treating the most atrocious wounds of his fellow soldiers, he sees the war from the side of its victims. He did not fight with a machine pistol in his hand, but behind the closed doors of an operating room where life gives way to death in a matter of seconds.

During World War II there were nearly 2,500 Allied prisoners held in Sandakan POW camp in British North Borneo. Along with the ravages of war and the struggle to survive abject conditions, only six of these POW's were found alive when the war finally ended. In the years that followed, the horror stories of human depravity and the atrocities committed by the Japanese at Sandakan POW camp would come to light, considered by many as one of the most devastating chapters of the Pacific War.

Errol Morris examines the incidents of abuse and torture of suspected terrorists at the hands of U.S. forces at the Abu Ghraib prison.

Doctors of the Dark Side is the first feature length documentary about the pivotal role of physicians and psychologists in detainee torture. The stories of four detainees and the doctors involved in their abuse demonstrate how US Army and CIA doctors implemented the Enhanced Interrogation Techniques and covered up signs of torture at Guantanamo and Abu Ghraib. Interviews with medical, legal and intelligence experts and evidence from declassified government memos document what has been called the greatest scandal in American medical ethics. Based on four years of research by Producer/Director Martha Davis, written by Oscar winning Mark Jonathan Harris, and filmed in HD by Emmy winning DP Lisa Rinzler, the film shows how the torture of detainees could not continue without the assistance of the doctors.

The documentary, " Death and the Judge", revolves around Iran's most famous criminal judge, Azizmohammadi. He served as a criminal judge for 45 years and issued about 4500 death sentences; a record in not only Iran, but also the world. This documentary looks into his personal and professional life as he is followed within his home with his family, in the court of law, and in his retirement days. The ultimate purpose of the documentary is to deduce the role of death in the judge's life as he either takes life away from criminals or death comes to his loved ones. During his retirement, he is once again given the choice between the life and death of a person, despite no longer being a judge.

Part of Zineb Sedira's art installation for the French Pavilion at the 59th Venice Biennale. A piece where Sedira explores her passion for the militant cinema of the 60s and 70s.

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.

A leading figure in the Palestinian cause and the fight against imperialism, the Lebanese communist activist Georges Ibrahim Abdallah had been languishing in French prisons for thirty-eight years—a unique case in France. Arrested in Lyon in 1984 with false papers, he was sentenced two years later to four years in prison for possession of weapons and explosives, then in 1987 received a life sentence for complicity in the assassinations in Paris five years earlier of an Israeli Mossad agent and an American military attaché—charges he has always denied. Although he has been eligible for release since 1999, French political authorities, under pressure from the United States and Israel, opposed his release. Interventions by Palestinian figures, his relatives, his lawyer and ex-prisoners from the extreme left, retrace the journey of the village schoolteacher who became an anti-colonial activist.

Journalist Dermi Azevedo has never stopped fighting for human rights and now, three decades after the end of the military dictatorship in Brazil, he's witnessing the return of those same practices.

Between 1954-1962, one hundred to three hundred young French people refused to participate in the Algerian war. These rebels, soldiers or conscripts were non-violent or anti-colonialists. Some took refuge in Switzerland where Swiss citizens came to their aid, while in France they were condemned as traitors to the country. In 1962, a few months after Independence, Villi Hermann went to a region devastated by war near the Algerian-Moroccan border, to help rebuild a school. In 2016 he returned to Algeria and reunited with his former students. He also met French refractories, now living in France or Switzerland.

"Gerboise bleue", the first French atomic test carried out on February 13, 1960 in the Algerian Sahara, is the starting point of France's nuclear power. These are powerful radioactive aerial shots carried out in areas belonging to the French army. Underground tests will follow, even after the independence of Algeria. From 1960 to 1978, 30,000 people were exposed in the Sahara. The French army was recognized recognized nine irradiations. No complaint against the army or the Atomic Energy Commission has resulted. Three requests for a commission of inquiry were rejected by the National Defense Commission. For the first time, the last survivors bear witness to their fight for the recognition of their illnesses, and revealed to themselves in what conditions the shootings took place. The director goes to the zero point of "Gerboise Bleue", forbidden access for 47 years by the Algerian authorities

More than fifty years after the release of the film “The Battle of Algiers” in theaters in June 1966, director Salim Aggar found, after a search which lasted more than a year and a half, the actors, extras and technicians who worked on the film directed by Gillo Pentecorvo and produced by Yacef Saadi. In this documentary full of anecdotes and stories about the filming of the film, the director found the actress who played the role of Hassiba Ben Bouali, the young 17-year-old actress who played Bouhamidi's bride but especially certain figures important parts of the film who were barely 10 years old at the time of filming and who no one will recognize today. Beyond the important historical aspect of the film, the documentary focused mainly on the social, cinematographic and cultural aspect of the film and its impact on a generation which had just regained independence.

Villa Madjo

In 1967, Visconti came to Algiers for the filming of The Stranger with Mastroianni and Anna Karina. Camus, during his lifetime, had always refused to allow one of his novels to be brought to the screen. His family made another decision. The filming of the film was experienced in Algiers, like a posthumous return of the writer to Algiers. During filming, a young filmmaker specializing in documentaries Gérard Patris attempts a report on the impact of the filming of The Stranger on the Algerians. Interspersed with sequences from the shooting of Visconti's film, he films Poncet, Maisonseul, Bénisti and Sénac, friends of Camus, in full discussions to situate Camus and his work in a sociological and historical context. “The idea is for us to show people, others, ourselves as if they could all be Meursault, or at least the witnesses concerned to his drama.”

Jean Sénac, born in Béni Saf in Algeria in 1926 and died in Algiers in 1973, is today considered one of the great French writers and poets and the only one of his reputation to have accompanied the Algerian revolution before November 1954. part of all the debates and got involved, very early and with immense enthusiasm, in a work of commitment which ended badly. His poetry, his sexual preferences and his political lyricism work against him: rejected as much by the Pieds Noirs as by the FLN activists then by the power in place in Algiers, Jean Sénac was assassinated in 1973 at his home in Algiers, in circumstances never clarified.

Three short films about abandoned children, left to the omnipotence of silence, of the eye and of the hand but also of abysmal loneliness

Music elates, touches the soul and bypasses reason. Music is magic. But precisely this magic can turn it into an insidious weapon for music and violence belong together. The brutal power of African war dances, the ferocity of Maori Hakas, the earth-shattering roar of US sound guns blasting Metallica at Taliban hideouts the principle is always the same: Aggressive sounds demoralise the enemy and whip the allies into a frenzy. In Songs of War, director Tristan Chytroschek explores the extraordinary harmony between music and violence. Sesame Street composer, Christopher Cerf, always wanted his music to be fun and entertaining. But then he learned that his songs had been used to torture prisoners in Guantanamo and Abu Ghraib. He is stunned by this abuse of his work and wants to find out how this could happen.

“La Voix du Peuple,” composed of archival photographs by René Vauthier and others, exposes the root causes of the armed conflict of the Algerian resistance. Participating in a war of real images against French colonial propaganda, these images aimed to show the images that the occupier had censored or distorted, by showing the extortions of the French occupation army: torture, arrests and arbitrary executions, napalm bombings, roundabout fires, erasing entire villages from the map, etc. This is what the French media described as a “pacification campaign”.

Born to an Algerian father and a Sicilian mother in Tunisia, I have always been wealthy of three cultures. This motherland is where were born my Algerian ancestors when it was called Ifriqya but also my Sicilian grand-parents whose parents were part of the important migration flux of the beginning of the last century. A reservoir of workforce by the thousands reached the shores of this "promised land". A hundred years later, I embark on a quest to rediscover my Sicilian family, exiled for the past sixty years, scattered between Italy and France.