Friday, September 30, 2011
Thursday, September 29, 2011
Monday, September 26, 2011
Dans le cadre de la 9ème édition du Festival du Court Métrage Méditerranéen de Tanger qui aura lieu du 3 au 8 octobre 2011, Le réalisateur marocain Hakim BELABBES donnera, le 8 octobre une leçon de cinéma.
Hakim BELABBES évoquera devant un auditoire composé principalement de jeunes réalisateurs, son itinéraire, son expérience de cinéaste et l’art d’écrire et réaliser des films de tout genre.
Hakim BELABBES est actuellement, enseignant du cinéma à l’Institut des Arts à Chicago, il a Réalisé plusieurs films de documentaire, de court et de long métrage de fiction dont notamment : « Un Nid dans la Chaleur » (1996), «Murmures » (1998), « Trois Anges Aux Ailes Cassées » (2002), « Les Fibres de l’Ame » (2003) , Son film « Fragments » a eu le Grand Prix de la 12ème édition du Festival National du Film (2011).
Liste des films (Les pays sont classés par ordre alphabètique)
"STONE WATER" de Ervin Kotori
"DEMAIN, ALGER " de Amin Sidi-Boumediène
"GARAGOUZ" de Abdenour Zahzah
"UN HOMME, FACE MIROIR " de Zakaria Saidani
"JEUNES COMBATTANTS " de Ivana Lalovic
"REVERSE" de George Grigorakis
"SONG TO THE SIREN" de Savvas Stavrou
"RECYCLAGE" de Brankol Stvancic
"THAT LITTLE HAND OF YOURS" de Sara Hribar
"5 LIVRES " de Mohamed Adeeb
"MAWLANA" de Ezz El-Din Said
"SENSES" de Mohamed Ramadan
"THE ATTIC" de Mohamed Shawky
"VOUS ALLEZ PARTIR? " de Cristina Molino
"EN UNIFORME" de Irene Zoe Alameda
"LA GRANDE COURSE " de Kote Camacho
"L´ORDRE DES CHOSES" de César Esteban Alenda et José Esteban Alenda
"LE CORTEGE " de Marina Seresesky
"DIANE WELLINGTON " de Arnaud des Pallières
"FEU ORPHÉE " de Jean Saint Germain
"JE POURRAIS ETRE VOTRE GRAND-MERE" de Tanguy Bernard
"J’AURAIS PU ETRE UNE PUTE" de Baya Kasmi
"L’ACCORDEUR" de Olivier Treiner
"13 ½" de Haris Vafeiadis
"CASUS BELLI" de Yiorgos Zois
"LES PYRAMIDES D'ATHENES" de Yolanda Markopoulou
" MARIOS ET LE CORBEAU" de Yiannis Bougioukas
" SALUT ANESTIS !" de Dimitris Kanellopoulos
"41" de Massimo Cappelli
"SALVATORE" de Bruno e Fabrizio Urso
"TRAJECTOIRES INVISIBLES" de Luc Walpoth
"2 ½" de Elie Kamal
"UN MARDI" de Sabine El Chamaa
"IMPLACABLE BRUINE" de Kenneth Scicluna
"ANDROID" de Hicham Lasri
"KARKOBI" de Jaïs Zinoun
"LES VAGUES DU TEMPS" de Ali Benjelloun
"MOKHTAR" de Halima Ouardiri
"SUR LA ROUTE DE PARADIS" de Uda Benyamina
"VENDEUR DE FLEURS" de Ihab Jadallah
"ALFAMA" de João Viana
"EN PUNITION " de Pierre-Marie Jézéquel
"NORTH ATLANTIC" de Bernardo Nascimento
"I ALREADY AM EVERYTHING I WANT TO HAVE " de Dane Komljen
"DUCK HUNTING" de Rok Bicek
"THE THINGS WE’VE NEVER DONE TOGETHER" de Martin Turk
"FLU" de Riyadh Makdessi
"MOUJA " de Mohamed Ben Attia
"TABOU" de Meriem Riveill
"VIVRE" de Walid Tayaa
"BICYCLE" de İ Serhat Karaaslan
"VOYAGE SANS RETOUR - DERNIERE STATION AEROPORT FRANKFORT" de Güclü Yaman
"MY HATICE" de Denis Metin
"THE HOUSE ON THE HILL " de H. Melih Eryılmaz
"TRACE" de Simge Gökbayrak
Sunday, September 25, 2011
Herman J. Mankiewicz
EXT. XANADU - FAINT DAWN - 1940 (MINIATURE)
Window, very small in the distance, illuminated.
All around this is an almost totally black screen. Now, as the camera moves slowly
towards the window which is almost a postage stamp in the frame, other forms appear;
barbed wire, cyclone fencing, and now, looming up against an early morning sky,
enormous iron grille work. Camera travels up what is now shown to be a gateway of
gigantic proportions and holds on the top of it - a huge initial "K" showing darker
and darker against the dawn sky. Through this and beyond we see the fairy-tale
mountaintop of Xanadu, the great castle a sillhouette as its summit, the little
window a distant accent in the darkness.
(A SERIES OF SET-UPS, EACH CLOSER TO THE GREAT WINDOW, ALL TELLING SOMETHING OF:)
The literally incredible domain of CHARLES FOSTER KANE.
Its right flank resting for nearly forty miles on the Gulf Coast, it truly extends
in all directions farther than the eye can see. Designed by nature to be almost
completely bare and flat - it was, as will develop, practically all marshland when
Kane acquired and changed its face - it is now pleasantly uneven, with its fair
share of rolling hills and one very good-sized mountain, all man-made. Almost all
the land is improved, either through cultivation for farming purposes of through
careful landscaping, in the shape of parks and lakes. The castle dominates itself,
an enormous pile, compounded of several genuine castles, of European origin, of
varying architecture - dominates the scene, from the very peak of the mountain.
GOLF LINKS (MINIATURE)
Past which we move. The greens are straggly and overgrown, the fairways wild with
tropical weeds, the links unused and not seriously tended for a long time.
WHAT WAS ONCE A GOOD-SIZED ZOO (MINIATURE)
Of the Hagenbeck type. All that now remains, with one exception, are the individual
plots, surrounded by moats, on which the animals are kept, free and yet safe from
each other and the landscape at large. (Signs on several of the plots indicate that
here there were once tigers, lions, girrafes.)
THE MONKEY TERRACE (MINIATURE)
In the foreground, a great obscene ape is outlined against the dawn murk. He is
scratching himself slowly, thoughtfully, looking out across the estates of Charles
Foster Kane, to the distant light glowing in the castle on the hill.
THE ALLIGATOR PIT (MINIATURE)
The idiot pile of sleepy dragons. Reflected in the muddy water - the lighted
THE LAGOON (MINIATURE)
The boat landing sags. An old newspaper floats on the surface of the water - a copy
of the New York Enquirer." As it moves across the frame, it discloses again the
reflection of the window in the castle, closer than before.
THE GREAT SWIMMING POOL (MINIATURE)
It is empty. A newspaper blows across the cracked floor of the tank.
THE COTTAGES (MINIATURE)
In the shadows, literally the shadows, of the castle. As we move by, we see that
their doors and windows are boarded up and locked, with heavy bars as further
protection and sealing.
A DRAWBRIDGE (MINIATURE)
Over a wide moat, now stagnant and choked with weeds. We move across it and through
a huge solid gateway into a formal garden, perhaps thirty yards wide and one hundred
yards deep, which extends right up to the very wall of the castle. The landscaping
surrounding it has been sloppy and causal for a long time, but this particular
garden has been kept up in perfect shape. As the camera makes its way through it,
towards the lighted window of the castle, there are revealed rare and exotic blooms
of all kinds. The dominating note is one of almost exaggerated tropical lushness,
hanging limp and despairing. Moss, moss, moss. Ankor Wat, the night the last King
THE WINDOW (MINIATURE)
Camera moves in until the frame of the window fills the frame of the screen.
Suddenly, the light within goes out. This stops the action of the camera and cuts
the music which has been accompanying the sequence. In the glass panes of the
window, we see reflected the ripe, dreary landscape of Mr. Kane's estate behind and
the dawn sky.
INT. KANE'S BEDROOM - FAINT DAWN - 1940
A very long shot of Kane's enormous bed, silhouetted against the enormous window.
INT. KANE'S BEDROOM - FAINT DAWN - 1940
A snow scene. An incredible one. Big, impossible flakes of snow, a too picturesque
farmhouse and a snow man. The jingling of sleigh bells in the musical score now
makes an ironic reference to Indian Temple bells - the music freezes -
KANE'S OLD OLD
Saturday, September 24, 2011
Friday, September 23, 2011
Agony of Safia Ziani
By Allal El Alaoui
At Bannani atelier in Essamarine in
Weary with toy and left to ill-natured mad dogs of productions,
When I was at the international film festival of women in Salé this year, I waited for some women to mention her agony but no one even press has made a scoop about her only they talk about beauty, cosmetics and showing-off business. Shakespeare was right when he said “too much ado about nothing”. I said to myself questionably are cinema festivals in
No doubt, Safia Ziani is sealed in our national visual memory. Surely; it is about five decades of serious work .i think we are invaded by egoism and selfishness. We must overcome our ego and restart our human system as computers do so as to look for homeless and painful artists.
Actors and actresses make us laugh and cry, but we don’t want to laugh at them because they need our support and our solidarity .These artists are us .We look like them and they interpret us by nature. We might be ashamed if they interpret us like monsters and animals as if we have never been born with pride and dignity.
Allal-cinemagoer: Moroccan public knows you very well.So, no need to give us your historical background because…
Safia Ziani: (She interrupts me) No, sorry my son. I insist to bring you back to our national memory, I mean the fifties.Oh. (She gives a long sigh) .Those golden days. I think
Allal: That was in 1957.
Safia: Exactly. We worked very hard that time. Work was our goal to see our nation up in the air, but we really enjoyed those moments .We worked at “the Maison du Theatre” where we were trained by European and Moroccan teachers too.
Allal: I understand that Morocco had difficult times under the French administration, I mean it just came out of the Burden of the colonization.
Safia: My family was patriotic and we had a great affinity with the national movement front called then “Al Haraka Al Wataniya’ under the lead of Allal El Fassi and Mehdi Ben Barka.El Mfadel Charkawi was my grand father .He was a Sufi by nature a great man of charm, but he taught us all principals to fight for our nation against the French.
Allal: I have heard that there is a street in the suburbs of
Safia: Yes.That was my grand father name. At home, artistic knitting patterns were exercised by my own mother. She used to teach me songs that urged me to survive and indeed I was inspired by them to love my country and arts especially theatre. You know Allal, we love our country so much.( a deep sigh).Let me tell you that there are people born with a golden spoon whereas me I, was born with love of this land.
Allal: Who inspired you to love theatre?
Safia: Sharif el Gnawi.He saw me do some gestures, movements, mimics spontaneously at home .Then; he took me to theatre introducing to Tahar Ouaziz, Pierre Voisin, Taib Essadiki and Khadija Jamal. Sharif did not know that he had given me a big present ever in my life. Those moments were unforgettable of my great vocation and inspiration of those giant artists.
Allal: I understand those moments of joy and magic. But, tell me about women like Khadija Jamal and Fatima Regragui .They were first women to be on stage in
Safia: Moroccan taboo to see women on stage were broken by these ladies. They were sympathetic to me and had taught me a lot about stagecraft. They were great ladies.
Allal: What was your first theatrical improvisation?
Safia: It was my first casting by two great men. They were Pierre Voisin and Taib Essadiki.At first; they looked at me with suspicion. I admit that they were unconfident to go further. However, they decide to cast me with “Hala” as we say in Arabic. They said to me “Imagine yourself you are a happy girl. You go from one street to another. Then you stop to see some clothes only for girls. All of a sudden, you hear from a close door that there are some people who are talking about you. So, what will you do?
I did the part so well that Pierre Voisin and Taib Essadiki were impressed. My imagination did not betray me and I was so happy that these men engaged me to be a professional actress.
Allal: Tell me about the play “Awicha”?
Safia: My role was about a girl called Wafaa .I played that part very very good with great pitch and moment as Shakespeare said. In Awicha, actors like Mohamed Said Afifi and Fatima Regragui were playing with me .You would not imagine how happy I was that moment of performance.
Allal: Who was Pierre Lucas?
Safia: He was the director of the Rabat Theatre house, a great man and a theatre-goer.
Allal: Moroccan dramaturge like Taib Laalej begun to focus on adaptations like Moliere plays?
Safia: True. Taib Laalej writes good Arabic. He adapted “le malade imaginaire” by Moliere which became in Moroccan slung “Amrid bel Wahm”.My part in this play was to play a woman called “Lalla Abouche”.We were invited by the king of Belgium to play that play before him. Of course, our king Hassan the second was there and he was extremely happy about our performance.
One thing I was unhappy about was my spelling of some words especially “S” to “ch”.When I was casted before El Kanfaoui, he refused to see me spell these words like this. So, he said to me with denial and refuse “Go home to help your mother». His words were like daggers into my heart. I was really disappointed and nervous .We were then in Maamoura complex known of its beautiful green land and high beautiful trees. I went out and saw a Sheppard .I just approached him and gave him about 5 dirham’s, because I wanted him to give me his stick. I had an idea in my mind to lead his sheep speaking loudly to myself .So, I put a pencil in my mouth and begun to order sheep”S-S-S”.With a great surprise; EL Kanfaoui got out and observed my determination . From that moment he knew I was a stubborn and determined girl having balls of fire into my eyes. At last, he invited me to come inside to join his theatrical team.
Allal: The theatrical group in Maamoura was named by his majesty the king Hassan second?
Safia: Yes. It is true. My talent was sealed with professional actors and actresses. I was given a nice part in that play of Mohamed Basri called “Chraa Atana Rabaa”. We toured with it all
Allal: New era of images has come .I mean television .National Radio and television known of its name “RTM” had an important impact on you especially that RTM started to air its programs from Mohammed 5 theatre?
Safia:I joined RTM by writing a letter to the king Hassan the second. I was impressed by this new machine called television .I was recruited there and it was the first time I met up with Abdellah Chakroun who was the director of RTM.Tehniques of Radio were something new to me especially the magical tools called ‘Micro’ and "sound effects". To convince people without seeing them is challenging and need great efforts to equalize the voice and widen imagination.
Allal: Dubbing Hindi movies with Brahim Saih is another technique to work in the auditorium of Studio Swissi in
Safia: Brahim Saih was a gentleman.He used to bring operators and technicians from
Allal: Where is Studio Swissi located?
Safia: In Swissi in Rabat.Unfortunatly, rushes are destroyed and vanished .I presume some of them are stocked at the Moroccan Cinematographic Center (CCM).I hope they will show those movies to this new generation by paying homage to Brahim Saih.I think we were unfair to this man either in his life and even in his death.
Allal: I know you have been successful in tragic roles in cinema .However, I think you are also good to play comic parts too.
Safia: critics and cinemagoers adore all my roles in cinematic roles such as:
- A la recherche de la plage perdue by Ferhati Jilali
- La nuit sacrée by Nicolas Klotz written by Tahar ben jaloune
- Mémoire et détention by Ferhati Jilali
- l’ombre du Pharaon by Souhail Ben Barka