“Each of you is an ambassador, and we are sure that each of you will be the best ambassador of our country.” This is how the film begins; a speech to emigrant workers for France. Salah left his three sisters and his mother to become an ambassador, going to work on a Defense site, wading in the mud, he works with a jackhammer. Salah wanders in search of work and housing. Coming up against racism from the owners claiming the respectability of the building and the good neighborhood, he finds himself in a hotel in the Goutte d'Or district. The body of Mehdi, friend of Salah, was found in the Canal Saint-Martin, murdered by a fascist commando, and Ali died of a bullet, killed by a racist janitor. Faced with crimes that remain unpunished, Salah and his friends organize, unite with the French working class to defend their lives and their right to work.
Ali
“Each of you is an ambassador, and we are sure that each of you will be the best ambassador of our country.” This is how the film begins; a speech to emigrant workers for France. Salah left his three sisters and his mother to become an ambassador, going to work on a Defense site, wading in the mud, he works with a jackhammer. Salah wanders in search of work and housing. Coming up against racism from the owners claiming the respectability of the building and the good neighborhood, he finds himself in a hotel in the Goutte d'Or district. The body of Mehdi, friend of Salah, was found in the Canal Saint-Martin, murdered by a fascist commando, and Ali died of a bullet, killed by a racist janitor. Faced with crimes that remain unpunished, Salah and his friends organize, unite with the French working class to defend their lives and their right to work.
1975-01-02
6
In a working-class immigrant neighborhood slated for demolition, Jo, the son of Ali, known as the Rescuer from the Algerian war, lives idle and delinquent, committing small assaults to pay for his drugs. One day, while attacking Slim's bar, he is arrested by Ben, a young beur cop torn between his roots and the imperatives of his mission to maintain public order. Giving in to the respect and friendship he feels for Ali, Ben agrees to release his son. But alas, far from calming down, Jo drifts deeper into violence, until the inevitable drama.
Armed robbers take cash from a department store, but they are killed or fatally wounded in their escape. A dying thief stashes a valise with a million Euros in the old car of Julia, a single parent who dances at a Barcelona peep show. She decides to keep the cash, but her suspicious babysitter tips off a nasty private investigator hired by the store's security firm to recover the cash. Julia manages to fight off the private eye the first time he confronts her, and she bolts with her daughter after asking a neighborhood bar owner for aid. He's Luis, quiet and helpful; he takes her to his mother's house in a small town. Can Julia evade the various bad apples on her trail?
This short film is a noir-drama, supported by only two characters: Marco (Alberto Di Stasio), a mature man suffering from a strange form of depression and a very young girl, Sonia (Roberta Nevola), that one day bursts into his life.
Featuring interviews with key political figures including President George W Bush, Vice President Dick Cheney, Donald Rumsfeld, Rudolph Giuliani, Michael Bloomberg, and media heavy hitters Dan Rather, Tom Brokaw and Matthew Broderick, this documentary event examines 9/11 through the lens of the last 15 years. Brought to life by photos declassified in 2016, recently released documents from the 9/11 commission, and never before heard stories from photographers and first responders, a new perspective will arise to provide an unrivaled viewpoint of the historic attack.
Welcome to the enchanted world of capital evasion. The keys to fortune: knowing how to hide, find accomplices and take advantage of all the flaws. The rest of us mere mortals are left with austerity policies and the joy of living in an increasingly unequal world... How far will predators go in this widespread plundering of our economies? How is the political staff complicit? How are we braking? Between Paris and Geneva, Washington and Luxembourg, from Société Générale to HSBC, via Mac Donald, Ikea and Google ... we will track down the circuits of tax evasion and decipher the mechanisms of tax fraud.
27 of the Hottest Electronic, Progressive House, House, Trance, Euro House, Hip Hop Tracks from Sony Music – 202075.9 compiled by Matthew Tang
Do you crave speed? Adrenalin? Ultimate fun? Then follow us on a journey as we explore the ultimate thrill rides at Walt Disney World Resort.
Religious prejudice and racial dogmatism are the curse of Mohanpur, a backwater village out of touch with progress in the contemporary world. But, as depicted in the film Brihonnola, humanity has the strength to combat and neutralist the poisonous effects of these evils on the lives of the villagers.
1. I Feel Free 2. Sunshine of Your Love 3. White Room 4. Crossroads 5. Badge 6. Presence of the Lord - Blind Faith 7. Blues Power 8. After Midnight 9. Let It Rain 10. Bell Bottom Blues - Derek and the Dominos 11. Layla - Derek and the Dominos 12. I Shot the Sheriff 13. Let It Grow 14. Knockin' on Heaven's Door 15. Hello Old Friend 16. Cocaine 17. Wonderful Tonight 18. Promises 19. I Can't Stand It
In Cape Town, a police inspector named September color discovers that the dreaded Mabasha, hired murderer, is in talks with a right-wing organization. In Skåne, southwest of Sweden, is given to the real estate agent Louise Åkerblom by missing and the case is assigned to Inspector Wallander. Just start research supposedly empty building explodes. An unusual weapon, a transmitter Russian and index finger of a man of color are found in the wreckage of the building ...
In this DVD release of their PBS-TV special "Carry It On", the trio recalls the beginnings of the cultural revolution of the '60's, when music emerged as a unifying force amidst the turbulent currents of social change. Carefully chosen archival footage traces the group's phenomenal career, as a musical and personal story is told through selected concert and interview segments.
Recorded live at Hammersmith Odeon in London during Europe's Final Countdown World Tour in February 1987.
Chilly's nemesis as usual is Smedley who's a worker at the aquarium where the penguin is catching fish. Smedley tells him he's not allowed to do that but of course Chilly just does what he wants to which leads to another chase between him, Smedley, and a porpoise Smedley feeds.
Farida is back in her father’s native Algeria for the first me since she was a child. She discovers her grandmother’s house in the middle of the countryside. When the night comes, her sleep is disturbed by an intruder, a strange creature which has been haunting the family for many years.
A young farmer in rural Yorkshire numbs his daily frustrations with binge drinking and casual sex, until the arrival of a Romanian migrant worker.
A construction worker on a construction site in the Paris suburbs, Mehdi takes the bus to return home after work. Wishing to get off while the vehicle is stationary in a traffic jam, the driver refuses: while restarting, the bus hits the car in front of it. The bus driver attacks Mehdi whom he holds responsible for the incident, claiming that it is forbidden to “talk to the stagehand”. Mehdi is implicated in court and his lawyer tries to draw attention to the living conditions of immigrant workers.
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...
A worker in a big city who feels uncomfortable around women meets a sex worker, and in an attempt to overcome his hesitations, he discovers his sexuality.
Pas De Blanc À La Une, by Youcef Bouchouchi, treatises the brutality of the conflict during the war of independence in Algeria from 1854 to 1962, and the systematic use of torture which pushes even the most hesitant to make up their minds.
Set amidst the civil war of Algeria in the 1990s, Enough! is the story of two women. Emel is a Westerner whose husband, a journalist, is missing - perhaps kidnapped or even killed for articles he's written.
Selim Mechoubine, a young man of 28, is the eldest of a large family. In the cramped accommodation he shares with his parents, brothers and sisters... he occupies the kitchen, the refuge of his dreams and his many fantasies. Selim, the court clerk where divorcing couples parade..., wants to get married. His mother finds him “the rare pearl”. But now, the bride's family demands that the couple have their own home... Selim's misadventure begins; he finds himself confronted with the problems of the housing crisis which forces him to begin a long quest, procedures, requests to find the sine qua non condition for his marriage.
A stubborn director who wants to rediscover the Algiers of his childhood comes up against the “Hollywood” fantasies of his characters, non-professionals all hoping to be able to become “someone else”, at least for the duration of a film… Mise en abyme for a journey into megalomania…
In the 70s, in the Goutte d'or district, three friends of Algerian origin: Poulou, a failed boxer, Amar, the clumsiest of thieves, and Jibé, a public writer for illiterate compatriots whose lives he knows in detail. As he betrays none of their secrets, he enjoys great prestige in the bistros where he works. The three of them lead a casual life, raising money by illicit means. It's only when Poulou and Amar leave that Jibé understands his isolation and marginalization. The images as well as the sounds help to reinforce the feeling that Paris is a city where he is both at home and a terrible stranger.
An ensemble piece set in a North African neighbourhood in Toulon.
On November 1, 1954, near Ghassira, a small village lost in the Aurès, a couple of French teachers and an Algerian boss were the first civilian victims of a seven-year war which would lead to the independence of Algeria. More than fifty years later, Malek Bensmaïl returns to this Chaoui village, which has become “the cradle of the Algerian revolution”, to film, throughout the seasons, its inhabitants, its school and its children.
Chano is deported back to Mexico after living most of his life as an ilegal immigrant in the USA. Now, away from his wife and kids, he lives alone and depressed in the country where he is supposed to belong. While rebuilding an old motorcycle with Don Memo, a retired motorcycle racer, with whom he is forced to work, he will discover where his real home is.
Recognizing no boundaries to her love, Angele manages to foment riots, rages and tragedy in colonial Algeria. Angele, an Algerian colonist with impeccably French origins, has fallen in love with Said, the assistant in her brother-in-law's bakery shop. Said is conscious of his Arab origins and traditions, and Angele has her work cut out for her if she wants to persuade him to marry her. Once she does, all hell breaks loose, as neither her European-origin peers nor Said's conservative Arab family approve of the union. When word of the proposed marriage gets out, strikes, violence and murder quickly follow, ruining not only Angele's life, but the lives of those around her. Her brother-in-law Paco, meanwhile, has been doggedly trying to get along and raise his family in an increasingly chaotic and difficult situation.
"Yasmina" filmed in 1961 in the middle of the Algerian war tells the story of a little Algerian girl with her hen and her family whose father was killed in a bombing by the French colonial army of occupation. The family, after a long journey, heads towards the refugee camps on the Tunisian border. Produced by the Cinema Service of the Provisional Government of the Algerian Republic (GPRA) in the midst of the war of independence, these films were intended to re-inform the population and international public opinion on the abuses committed by the French colonial army: torture, arrests and arbitrary executions, napalm bombings, fires in douars, entire villages wiped off the map, etc. which the French media described as a "pacification" campaign. The latter censoring or reorienting any images that could harm the colonial narrative.
In 1960, nine-year-old Bachir dreamed of becoming the son of a martyr because he had heard that the children of martyrs would obtain everything after independence. He sets up a whole plan to get rid of a certain François, enemy of his country, while his father, Saddek, abandoned him with his mother and brothers. Through this fiction, the film looks at the life and visions of little Algerians during the War of National Liberation. Karim Traïdia looks back on his own childhood during the Algerian war (1945-1962). On a humorous note, it tells the adventures of a young child and his innocent friends against the backdrop of a raging merciless war.
In 1895, young journalist Albertine Auclair arrives in the Kabylie during a family visit. The beauty of the region seduces her but she soon learns of the struggles of the native Algerians. She hears in particular about Arezki El Bachir, who was recently sentenced to death by the colonial justice system, and decides to find out more about this extraordinary man.
In Algiers in 1993, while the civil war is starting, Mrs Osmane's tenants have to endure her bad temper. Her husband left her and the fear to lose her respectability haunt her. The former member of the Resistance during the Independence War persists in controlling the slightest moves of the households rather than struggle against her own frustrations. Learning her daughter is in love, the possibility of finding herself alone will push her to the limit: The symbolical Mrs Osmane "harem" is about to collapse.
“Poussières de Juillet”, produced in 1967 by Hachemi El-Chérif, is taken from a poem by Kateb Yacine. "We made a film on the return of the ashes of Emir Abdelkader, to Algeria. It was the opportunity to make a film on the ancestors with M'hamed Issiakhem. He designed glass plates on the basis of my texts. Then we had actors collaborate. It was a film which cost us a total of 300 dinars, proof that we could do work for television without too much money. We won two first international prizes at the Belgrade festival. We left the original of the film with the Egyptians in Alexandria and they lost it. We kept a copy but over time I wonder what happened to it, because there is no not even had a screening, they say it still exists, but I don't know in what state." Kateb Yacine, July 28, 1986, interview with Arlette Casas.