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Afrikki

2025

Fanon

Frantz Fanon, a French psychiatrist from Martinique, has just been appointed head of department at the psychiatric hospital in Blida, Algeria. His methods contrast with those of the other doctors in a context of colonization. A biopic in the heart of the Algerian war where a fight is waged in the name of Humanity.

2025

Un bain en hiver

“Our memories are marked by smells. Bound together by their olfactory sensitivity, a daughter leads her father to question his family heritage: together they go through their double mourning, that of a grandmother and a childhood in Algeria. How do you face up to the fear of vanishing ghosts?”

2024

One, Two, Three – Viva l’Algérie !

“One, Two, Three, Viva l’Algérie!” is the main theme of our film. But it is first a slogan, a link that acts in space and time: a few words scanded, inseparable from the history of Algerian football and therefore the relationship between France and Algeria. These encouragements born with the FLN team during the Revolutionary War and later repeated in the Algerian epic at the 2010 World Cup were taken out of the stadiums in 2019 to call for change.

2022

Des femmes

As the peaceful and determined Hirak movement gathers momentum and hopes for profound political change sweep across Algeria, women are combining femininity and feminism in the past, present, and future.

2020

L'Orientalisme

Orientalism is a literary and artistic movement born in Western Europe in the 18th century. Through its scale and popularity, throughout the 19th century, it marked the interest and curiosity of artists and writers for the countries of the West (the Maghreb) or the Levant (the Middle East). Orientalism was born from the fascination of the Ottoman Empire and followed its slow disintegration and the progression of European colonizations. This exotic trend is associated with all the artistic movements of the 19th century, academic, romantic, realistic or even impressionist. It is present in architecture, music, painting, literature, poetry... Picturesque aesthetics, confusing styles, civilizations and eras, orientalism has created numerous clichés and clichés that we still find today in literature or cinema.

2019

Vote off

Fayçal Hammoum recounts the 2014 presidential election through non-voting inhabitants of Algiers who, like him, are in their thirties. Be it Bilel, a grocer by default exposed to his customers’ political babbling, or the more politically-charged comments of Younes, a militant FM radio journalist opposed to President Bouteflika’s fourth term, the variety of conversational scenes in no way changes the determination not to vote for an old man who has been invisible for almost two years. The rappers Omar and Brahim are as bereft of hope and voter’s cards as the Tellek webradio DJ, since “the match is fixed”. Moving away from his focus on this subject to film their daily life, the filmmaker draws the portrait of a generation who, as Bilal says with poignant simplicity, “just wants to live

2017

Papa Césaire

Shortly after his death in 2008, Maldoror made this film about her longtime friend and collaborator, the Négritude poet Aimé Césaire. In this film, she retraces the steps of Césaire’s travels across the globe — particularly back to his hometown in Martinique, where Maldoror interviews his relatives about his life — and her working relationship with Césaire, including fragments of her previous films about him, Un homme, une terre (1976) and Le masque des mots (1987).

2009

Dark Night, October 17, 1961

Parisian authorities clash with the Front de Libération Nationale (FLN) in director Alain Tasma’s recounting of one of the darkest moments of the Algerian War of Independence. As the war wound to a close and violence persisted in the streets of Paris, the FLN and its supporters adopted the tactic of murdering French policemen in hopes of forcing a withdrawal. When French law enforcement retaliated by brutalizing Algerians and imposing a strict curfew, the FLN organizes a peaceful demonstration that drew over 11,000 supporters, resulting in an order from the Paris police chief to take brutal countermeasures. Told through the eyes of both French policemen as well as Algerian protestors, Tasma’s film attempts to get to the root of the tragedy by presenting both sides of the story.

2005

Raï Story: From Cheikha Rimitti to Cheba Djenet

Raï Story is a musical journey in search of the Raï legend, Cheikha Remitti, in Oran, Algeria, where the Raï musical tradition began. In 1923, the first Raï singers performed behind screens during ceremonies to protect their identity. It was only when the music of singer Cheikha Remitti began to gain popularity among the general public that Raï music was made public, in the 1940s. Cheikha Remitti, who lives between Paris and Oran, is nowhere to be found, the filmmakers then decide to meet producers, musicians, singers like Cheba Dalila or Cheba Djenet, for whom Remitti created a wake. The opportunity, through these unique stories, illustrated with archive images, to retrace the important place of women in this musical tradition and the transformation of Raï music from the 1960s to 2000.

2004

Lion of the Desert

Resistance leader Omar Mukhtar opposes Italian colonization before World War II. The brutal guerrilla war against Italian General Rodolfo Graziani and the Fascist forces of Benito Mussolini highlights the struggle for Libyan independence and the harsh tactics utilised by the colonisers.

1981

Oversand

Oversand is one of the first films about free climbing, the third film in a series of three with "Overdon" and "Over-Ice". Directed by Jean-Paul Janssen, the film was shot in 35mm in Algeria, in the Sahara Desert, in the Tamanrasset region, on the walls of the majestic peaks of the Atakor massif, central sub-region of Hoggar, mountainous heart of Hoggar, a volcanic plateau of almost circular shape, whose average altitude is 2000 meters, and which culminates at Mount Tahat (2918m), the highest point in Algeria. The Atakor is distinguished by its spectacular volcanic peaks, its needles, and its rugged landscapes, resulting from the erosion of ancient volcanic chimneys, which make it the most emblematic summits of the Hoggar, such as the Assekrem, the Ilamane, or the Tizouyag, where climbers Patrick Edlinger, Patrick Bérhault, Bernard Gorgeon, Hugues Jaillet, Jacques Perrier, Stéphane Troussier and Odette Schoënleb evolve under the watchful eye of the Tuareg caravans.

1981

Here and Elsewhere

Here and Elsewhere takes its name from the contrasting footage it shows of the fedayeen and of a French family watching television at home. Originally shot by the Dziga Vertov Group as a film on Palestinian freedom fighters, Godard later reworked the material alongside Anne-Marie Miéville.

1976

Algeria 1954, The Revolt Of A Colonized

This film presents the point of view of an Arab from Algeria who rebels against colonization. He analyzes the process of awareness, the transition to revolt, to armed insurrection. Algeria and the settlers are seen through this lens and not the way a Frenchman saw the country. He gives voice to the Arabs at a time when this word was not heard: sometimes it was not even produced, at least publicly. The testimonies are based on real propositions, most of them were made to the author during his stay in Algeria from 1948 to 1956, then in 1958 and 1959. The comments are borrowed from the texts of Arab theorists of the revolution Algerian. This film thus completely evacuates the point of view of those who are not insurgents; he does not give the opinion of the colonists. It is the direct expression of what was the revolt of a colonized person: it thus constitutes the very type of the historical document.

1974

The Battle of Algiers

Paratrooper commander Colonel Mathieu, a former French Resistance fighter during World War II, is sent to Algeria to reinforce efforts to squelch the uprisings of the Algerian War. There he faces Ali la Pointe, a former petty criminal who, as the leader of the Algerian Front de Liberation Nationale, directs terror strategies against the colonial French government occupation. As each side resorts to ever-increasing brutality, no violent act is too unthinkable.

1966

Les Mains Libres

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.

1965

Dawn of the Damned

This excellent feature-length documentary - the story of the imperialist colonization of Africa - is a film about death. Its most shocking sequences derive from the captured French film archives in Algeria containing - unbelievably - masses of French-shot documentary footage of their tortures, massacres and executions of Algerians. The real death of children, passers-by, resistance fighters, one after the other, becomes unbearable. Rather than be blatant propaganda, the film convinces entirely by its visual evidence, constituting an object lesson for revolutionary cinema.

1965

Jamila, the Algerian

Djamila, a young Algerian woman living with her brother Hadi and her uncle Mustafa in the Casbah district of Algiers under the French occupation of Algeria, sees the full extent of injustice, tyranny and cruelty on his compatriots by French soldiers. Jamila's nationalist spirit will be strengthened when French forces invade her university to arrest her classmate Amina who commits suicide by ingesting poison. Shortly after the prominent Algerian guerrilla leader Youssef takes refuge with her, she realizes that her uncle Mustafa is part of this network of anti-colonial rebel fighters. Her uncle linked her to the National Liberation Front (FLN). A series of events illustrate Jamila's participation in resistance operations against the occupier before she was finally captured and tortured. Finally, despite the efforts of her French lawyer, Jamila is sentenced to death...

1958

Afrique 50

The first French anti-colonialist film, derived from an assignment in which the director was to document educational activities by the French League of Schooling in West Africa. Vautier later filmed what he actually saw: “a lack of teachers and doctors, the crimes committed by the French Army in the name of France, the instrumentalization of the colonized peoples.” For his role in the film, Vautier was imprisoned for several months. The film was banned from public screening for more than 40 years.

1950

Alger Et Ses Environs

The film, shot in 1938, is part of a series entitled “The true face of Algeria”. The film highlights the proximity of Algiers to Paris and promotes air travel. The commentary supporting the images highlights the urban dynamism (“Every day, a new skyscraper replaces a wasteland”) and the comparison with Paris (“Algiers is often nicknamed the Paris of North Africa because of its elegance become proverbial). Contemporary architectural achievements are described as the sign of “grandiose modernism”: “we love the new, the bold”. But the point does not forget the buildings illustrating “the Moorish, classic and attractive style”. The description of the Casbah also attempts to understand the architectural organization but also the diversity and even the atmosphere.

1945