Mohamed Bouamari

Reel 13 of Gérard Courant's on-going Cinematon series.

Zineb Sedira pays tribute to the history of African Cinema and the filmmakers who had inspired her.

Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.

El Kalaa, a village in southern Oran. Although already married, old Sidi planned to marry another. He sets his sights on the beautiful Aïssa, with whom Kaddour, his adopted son, is in love. The old man decides to play a trick on Kaddour to teach him never to covet a woman that an elder wants to marry...

A stubborn director who wants to rediscover the Algiers of his childhood comes up against the “Hollywood” fantasies of his characters, non-professionals all hoping to be able to become “someone else”, at least for the duration of a film… Mise en abyme for a journey into megalomania…

Collectively directed by the members of the Centre audiovisuel d'Alger at Ben Aknoun, the film traces, in two parts, Algeria's recent history, from colonial repression to the birth of the National Liberation Army, and the country's postwar reconstruction, framed in sympathy with the socialist project of Ahmed Ben Bella's government. Released in 1964, the film was banned and sealed after Houari Boumediene's June 1965 coup, precisely because of its favorable treatment of Ben Bella.

Film describes the miserable existence of a charcoal-burner who is barely able to feed his family. His search for work in town ends in failure and he is forced to return to his village.

Film describes the miserable existence of a charcoal-burner who is barely able to feed his family. His search for work in town ends in failure and he is forced to return to his village.

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

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 1971, the Algerian government nationalized hydrocarbons. The consequences of this decision on the community of Algerians in France are numerous. The Galti family is prey to these economic problems. The father, Khaled, former member of the F.L.N. in France, does not escape the sentence. Sharazade, his wife and comrade in combat, finds herself torn between her role as wife, mother and nostalgia for a country and a bygone past. As for his son Karim, a victim of socio-cultural division, all he has left is refusal.

In 1971, the Algerian government nationalized hydrocarbons. The consequences of this decision on the community of Algerians in France are numerous. The Galti family is prey to these economic problems. The father, Khaled, former member of the F.L.N. in France, does not escape the sentence. Sharazade, his wife and comrade in combat, finds herself torn between her role as wife, mother and nostalgia for a country and a bygone past. As for his son Karim, a victim of socio-cultural division, all he has left is refusal.

A modern couple seeks to find marital happiness in a context where Algerian society is taking the “first step” towards female emancipation. A woman becomes president of a popular municipal assembly. Will she find happiness ?

A harrowing picture of the heritage of colonialism, focusing on a man driven mad by torture but saved by his wife, who restores his sanity and leads the progressive forces to rebuild the village.

A harrowing picture of the heritage of colonialism, focusing on a man driven mad by torture but saved by his wife, who restores his sanity and leads the progressive forces to rebuild the village.