After losing their family home in Algeria in the 1920s, three brothers and their mother are scattered across the globe. Messaoud joins the French army fighting in Indochina; Abdelkader becomes a leader of the Algerian independence movement in France and Saïd moves to Paris to make his fortune in the shady clubs and boxing halls of Pigalle.
This film, is about the courage and the determination of a young woman in djurdjur"as mountain in Algeria, fighting for her ancestor land during the earlier years of french occupation.
Tareq is released from an Israeli prison and returns to his hometown in Palestine, a place transformed by drastic changes and filled with secrets, to find his daughter. As secrets are uncovered, light is shed on the stifling nature of contemporary Palestinian society, while revealing Tareq’s hidden past. Inspired by true events.
Illustrated with archival photographs, animations and live action, this film explores the history and historical and spiritual heritage of Emir Abd El-Kader. Algerian leader of the 19th century, was admired by Abraham Lincoln and celebrated to this day by the Red Cross as a great humanitarian. Emir Abd el-Kader, the man who challenged the French armies from 1832 to 1847 before creating the bases of a real Algerian state, is today considered by independent Algeria as one of the most outstanding figures. of its history. The nobility of his attitude after his capture and the very effective protection he brought to the Christians of Damascus at the end of his life also earned him great prestige among his former adversaries. A documentary told in dialectal Arabic by the voice of Amazigh Kateb.
Set in 1962 MANDELA’S GUN is a political thriller, based on Mandelas African Odyssey. As Commander-in-Chief of the Liberation Army Umkhonto we Sizwe (the MK) he undergoes military training in Algeria and Ethiopia while surviving assassination attempts and betrayal. In South Africa he is finally arrested with the connivance of the CIA In the crucible of the surging African Liberation Movements of the early 60s not only does he study the art of war but also leadership and political survival. MANDELA’S GUN is a thrilling biopic, supported by eyewitness accounts from Mandelas advisors and comrades.
The film is set against the backdrop of the Algerian War. A determined French commander, who believes Algeria belongs to France, must deal with a soldier who rebels when asked to execute an Algerian freedom fighter. The finale is set in the blistering desert as the soldier seeks to escape
Women and children from a village in southern Algeria find themselves besieged by soldiers and can not get out the risk of dying. Gradually, these villagers are faced with thirst. At the point where soon arises for them the dilemma of choosing their death.
“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”.
As usual, Slim goes to the Point Ephémère bar in Paris to have a last drink. As is often the case, he finds Lily there, an eccentric and intriguing character, then Seiko, whom he knew as a child soldier, once in Sierra Leone. While he listens to Lily tell him a few stories, Slim watches the Seiko ride, tracked and soon arrested by two plainclothes police officers.
Jacqueline Gozlan - who left Algeria with her parents in 1961 - nostalgically retraces the history of the Algiers Cinematheque, inseparable from that of the country's Independence, through film extracts and numerous testimonies; notably that of one of its creators, Jean-Michel Arnold, but also of filmmakers such as Merzak Allouache and critics such as Jean Douchet. A place of life for Algerians, the Cinémathèque was the hub of African cinemas. Created in 1965 by Ahmed Hocine, Mahieddine Moussaoui and Jean-Michel Arnold, the Cinémathèque benefited from the excitement of Independence. The Cinematheque becomes a meeting place for Algiers society, future filmmakers find their best school there. In 1969, the Algiers Pan-African Festival brought together all African filmmakers, and from 1970, Boudjemâa Kareche developed a collection of Arab and African films.
