El Anka

Delve into the story of the Algerian footballers who traded European pitches to join the fight for independence. In 1958, in the midst of the War of Independence, talented players secretly left their clubs to form the FLN team – a living symbol of the Algerian people's struggle. This clandestine team, banned by FIFA, served as a mouthpiece for the Algerian provisional government until 1962. Footballer Rachid Mekhloufi explained: “This departure of the best Algerian players playing in France was no accident. With the control of the media, few French people knew what was happening in Algeria. The FLN representatives in France were ahead of the curve in terms of publicity. Truly ahead of the curve, because a move like this allowed the French people and the rest of the world to open their eyes.”

Adam Bensoltane takes us through the birth of Algerian cinema, in his native country, across the ages, exploring its evolution and its impact on the nation, politics, and the world.

The artistic journey of Dahmane El Harrachi, born in 1925 in Algiers, bears the mark of his experience. An attentive and vigilant observer of the environment of immigrant workers, Dahmane has always avoided falling into the ambient miserabilism. From the Algerian Chaâbi, he has kept certain melodic lines and a clear propensity for sayings drawn from the oral poetic tradition. El Harrachi uses simple language, understandable by all popular sectors of the Maghreb, which partly explains its wide success. In 1949, he went to France and it was in cafes, springboard places where people come to breathe the air of the country, that he performed regularly. Elegant, with his beautiful atmosphere, the “bluesman” of the suburbs seduces, upsets and stirs consciences. Discovered late by the new generation, the creator of Ya Rayah met a tragic end, on August 31, 1980, in a car accident, on the Algiers coast which he sublimated above all else.

This musical comedy produced in 1953 for the General Government of Algeria, features the comic trio composed of Rouiched, Mohamed Touri and Sid Ali Fernandel, accompanied by the orchestra of the master of the Algiers Chaâbi El Hadj M'hamed El Anka, the singer Fadhéla Dziria, Mustapha Skandrani on the piano. Some scenes were filmed at the Summer Palace (the current Palace of the Algerian Presidency, called the People's Palace). André Zwobada, the director, will play an important role after the independence of Algeria in 1962, in the production and preservation of the first Algerian newsreels.

This Moroccan romance is a kind of Arab Tristan and Isolde: the heroine kills herself when she is convinced no one cares for her, the young nobleman she thought would love her is killed by a madwoman.

Four guys from a Paris housing project fabricate a documentary about drug dealers working in the City of Lights. When a television network falls hook, line, and sinker for the prank video, the foursome are given a free three-week vacation in the upscale resort community of Biarritz. As they interact with both locals and fellow tourists, they learn about love, friendship, racism, and the differences between the rich and the poor.

Belkacem, a young unemployed man living in the Saharan village of Boulhilet, is entrusted by Bouacha, an old dervish who came from nowhere, with the secret of the olive tree, the only lush tree and true mystery in this stone desert. After water supply works, modern life bursts into the village. Belkacem, ill-prepared for this situation, confuses dream and reality. Believing he has killed his rival who loves his beloved, he flees the village after donning the clothes of the dervish, whose gait he now imitates.

Nine people with Abdullah Le Clandestin (Illegal Taxi), in one car, on the way to Algiers.

Les Plongeurs Du Désert, directed by Tahar Hannache in 1952, is considered the first entirely Algerian fiction film. It tells the story of the inhabitants of an oasis whose well has dried up. The village elder, Sheikh Messaoud, calls upon the renowned desert divers, artisans specializing in clearing sand- and silt-filled wells, to restore access to the vital water for the community. After their intervention, the water begins to flow again, bringing relief to the oasis and its inhabitants. The film depicts the contrast between the traditional techniques of the divers, embodied by Sheikh Ali and his son Mansour, and the arrival of modernity, represented by the machine that ultimately replaces their craft. This story symbolizes the marginalization of local knowledge in the face of technological progress and the social injustice of the colonial era.

Originally commissioned by the city of Algiers to promote tourism, Mohamed Zinet’s Tahia ya Didou blends documentary with fiction to create a poetic, acerbic and rapturous portrait of the director’s native city. The camera travels freely, through the port, market, streets and cafés, capturing everyday people, some of whom recur frequently enough to seem like protagonists. The nominal plotline follows a French tourist couple’s leisurely visit to the city, the man having previously served in the army during the Algerian war. As they walk around, his comments betray his mindset’s racist colonial prejudices, while his wife reiterates asinine clichés. Their unhurried wandering is interrupted when he comes across a blind man and realises that he tortured him during his army service. The film is punctuated with punchy sequences that show a poet named Momo delivering verse as an elegy for Algiers.

The first fictional feature film produced in Algeria after independence, this film addresses one of the most worrying problems: that of childhood. Children, freedom regained, do not yet know how to play “at peace”, they naturally play “at war”.

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.

Maria-Pilar is the new wife of an Algerian gangster whom the police have just arrested. The son of a first marriage arrives in Algiers from which he has remained far away for a long time. His stepmother, charmed by the teenager, gradually experiences a devouring passion, against which Michel tries in vain to fight: he loves a young girl, Sylvie. Mad with jealousy, his stepmother singles him out for his father's vengeance by distorting the truth. Michel does not escape his father's fury, but when the woman's deception becomes known, Maria-Pilar is strangled to death.

Bab El-Oued, a popular district of Algiers, in 1989, a few months after the riots. Boualem works at night in a bakery and steals the loudspeaker that was installed on his roof and was broadcasting the Imam's word... therefore preventing him from sleeping. This blunder is taken as a pretext by the Islamists to put the district under their control...

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.

At the outbreak of the Second World War, two friends, Mokrane and Menach, abruptly interrupt their studies and return to their remote native Kabylian village of Tagsa. While waiting to be drafted into the French Army they have time to woo. Mokrane falls for beautiful Aazi and soon marries her only to find out that she can bear no child. Menach, on his part, is stongly attracted to Davda, but the latter is already married to a rich merchant...Happiness does not seem to be in store for the two former students...

In a small village in southern Morocco, Amrouch cannot, because of his social position, marry the daughter of a wealthy farmer from the nearby village. Based on Federico Garica Lorca’s novel.

Seen right through the sandstorms that rack the lives of a tribe living on a desert oasis, is a subtle and not-so-subtle mistreatment of the female members of the tribe - tribal chiefs have the right to be the first to deflower virgins, and single or widowed mothers must walk a narrow line of behavior restrictions that do not apply to their male counterparts. Both genders, however, fight the brunt of the harsh desert winds together.

Led by Daoudi, a disenchanted architect, a group of Constantines return to their village in deep Algeria where a young man delivers to them words of boyish wisdom inherited from his deceased grandfather..

The story of Algerian women trying to live in 1970s Algeria where the society is between conservative values and progressive modern Algeria.

After a conviction for theft, Merwan was expelled from France, where he had lived since the age of one, to Algeria, his country of birth. In a foreign country of which he knows neither the language nor the customs, he finds himself stripped of his belongings and on the street.