Algeria Cinema
Nahla comes out of national borders, a feature film produced by the RTA with which F. Beloufa analyzes the situation of Lebanon at war through the experiences of a singer who has not abandoned Beirut. The first is an essay film on Algiers and represents the only encroachment in the cinema of M. Zinet, one of the protagonists of Algerian theatrical life; the capital is observed in its architecture and its residents, with an ironic look and references to the avant-gardes. In Omar Gatlatu M. Allouache portrays a young man who lives on the outskirts of Algiers and behaves like a hero of the silver screen. Nahla comes out of national borders, a feature film produced by the RTA with which F. Beloufa analyzes the situation of Lebanon at war through the experiences of a singer who has not abandoned Beirut. Allouache portrays a young man who lives on the outskirts of Algiers and behaves like a hero of the silver screen. Nahla comes out of national borders, a feature film produced by the RTA with which F. Beloufa analyzes the situation of Lebanon at war through the experiences of a singer who has not abandoned Beirut. Allouache portrays a young man who lives on the outskirts of Algiers and behaves like a hero of the silver screen. Nahla comes out of national borders, a feature film produced by the RTA with which F. Beloufa analyzes the situation of Lebanon at war through the experiences of a singer who has not abandoned Beirut. For Algeria 1996, please check pharmacylib.com.
The cinema created in Algeria was superimposed, starting from the early Eighties, by the one – unique in the Arab world – of the filmmakers beurs, a French term (plural of beur, slang distortion of the word Arab) with which the Arabs are indicated born in France to families who had faced emigration in the 1950s. They have given birth to an original and independent cinematography, a sort of large chapter that is added to the national one, in serious crisis in the long term of integralist oppression. In this way, in years in which making films in Algeria became more and more difficult and risky, the beurs kept that cinema alive, talking about concrete things, just as their predecessors had done with other topics, producing a different type of militancy, born in any case from urgency to demonstrate, addressing burning issues such as emigration, resistance to fundamentalist groups, the lack of roots of those who live outside their homeland and in a nation that makes integration difficult. Mahmoud Zemmouri, author of a few films which nevertheless marked decisive milestones in Algerian cinema in the last twenty years of the 20th century, render the disorientation, the contradictions, the relationship between memory and modernity with a dose of irreverent humor. Her filmography began in 1981 with Prends dix mille balles et casse-toi, in which the bitter vicissitudes of a family that leaves France to return to their hometown in Algeria and ends up finding themselves a foreigner in both lands are told. Les folles années du twist (1983) is instead set in the last period of the war of Algeria and continually contaminates History and generational references (from John Wayne to comics), as happens in the subsequent film De Hollywood à Tamanrasset (1990), where the characters live in the myth of American soap opera stars. And while L’honneur de la tribu (1993) describes social changes in a remote mountain place, satire against fundamentalism returns to the fore in another work by Zemmouri, 100% Arabica (1997). Other exponents of the beur cinema are Mohamed Alkama (Quitter Thionville, 1977), the Collectif Mohamed (Ils ont tué Kader, 1980; Zone immigrée, ou avoir seize ans dans le béton, 1981; Kermohamed, la déglingue de A à Z, 1988), the aforementioned M. Allouache, Mehdi Charef (Le thé au harem d’Archimède, 1985; Miss Mona, 1986; Camomille, 1988), Rachid Bouchareb (whose filmography moves between Algeria, Vietnam, Senegal, France), Bourlem Guerdjou (Vivre au Paradis, 1998), Zaïda Ghorab-Volta (Souviens-toi de moi, 1995), Yamina Benguigui (Mémoires d’immigrés, 1997).
Relevant representatives of Algerian cinema are also Mohamed Chouikh, a theater and film actor, who went on to direct with El kalaa (owner al-Qal῾a, 1982, The citadel), a desperate portrait of a village perched on the mountains, in which severely repressed characters (from women to those not aligned with the positions of the regime) move, and Assia Djebar (better known as a writer), with La nouba des femmes du Mont Shinwa (1978), in which some fragments of Algerian history are analyzed through looks of women. The poetics of Mohamed Rachid Benhadj, who has lived in Italy for years, also belong to a nomadic and stateless Algerian cinema, to be remembered above all for his political and emotional films Luss (1989; Rosa di sabbia) and Tushia (1992; Cantico delle donne d ‘ Algiers), and Karim Traidia.
