O.N.C.I.C.

A meticulous chronicle of the evolution of the Algerian national movement from 1939 until the outbreak of the revolution on November 1, 1954, the film unequivocally demonstrates that the "Algerian War" is not an accident of history, but a slow process of suffering and warlike revolts, uninterrupted, from the start of colonization in 1830, until this "Red All Saints' Day" of November 1, 1954. At its center, Ahmed gradually awakens to political awareness against colonization, under the gaze of his son, a symbol of the new Algeria, and that of Miloud, half-mad haranguer, half-prophet, incarnation of Popular memory of the revolt, the liberation of Algeria and its people.

Le Vent des Aurès – the first road movie of Algerian cinema – describes the transformations of the daily life of the Algerian people during the destructive French occupation, then during the war of liberation. While military repression is in full swing, a peasant woman finds herself alone in her mountain home when her only son is kidnapped by French soldiers shortly after her husband's death during a raid. One day, seeing a dead chicken, which she considers a bad omen, she decides to leave home and embarks on a painful journey through the mountains. Accompanied by a couple of chickens, she moves from one detention camp to another in a desperate search for her missing son. The film is inspired by the events experienced by the director's family.

Omar, a young man, lives a simple life with his family and suffers from loneliness. His life changes when he tries to bond with a girl he barely knows.

In prison in colonial Algeria, shortly after the end of the Second World War, three indigenous cellmates make out. Once free, they attack the authority represented by the triad of the boss, the gendarme and the administrator. “Living the colonial condition,” confided Tewfik Farès, “is something! It’s not sociologically or historically speaking. It’s life. And I think that’s all there in it. [...] For a hundred and thirty years, we wait. We hold back. We push back. We hope. At the same time, on different occasions, there are skirmishes, unrest.

Following a robbery in a circus, a young mobster, Jean, is arrested by Inspector Borelli. The thug denies involvement. To compel him to sign a full confession, Inspector Muller encourages the suspect to get married for - he says - to move the jury. This being done, he lets Jean believe that he can spend a moment alone with his wife; but then, Inspector Borelli blackmails him: "If you sign your confession, you can spend a moment with her." After being beaten, Jean signs a confession. It is then that a new blackmail intervenes: "the name of the accomplice?", asks the inspector. But the thug refuses to denounce the latter and ends up refusing the bargain dupes. While the guards drive him back to prison, his wife cuts his veins, breaking the career of the bad policeman.

The film traces the story of a patrol of the Algerian National Liberation Army (ALN), whose mission is to transport a prisoner French soldier to the Tunisian border. Through the march of this group of guerrillas we witness the spirit of sacrifice and combativeness of these men from the people. The patrol will be decimated, but a young peasant will take over and complete the mission.

“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.

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...

The portrait of Eldridge Cleaver, the "Minister of Information" for the Black Panthers movement, in exile in Algiers.

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 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.

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.