Thursday, September 28, 2017
Sunday, September 10, 2017
African cinema and the future of a continent
By Abderrazak Ezzaher
One of the rare cases in which the continental identity is attributed to an art form without risk of ambiguity is that of African cinema.
African countries, related to modern inventions, have known the same fate and nearly during all periods. Indeed, the 20th century, the era of invention and promotion of cinematographic art, was also the century during which Africa was almost entirely under foreign colonization. During this period, the continent underwent and consumed cinematic products of the colonizer. The latter has used it to assert its policy and ideology.
After the independence movements, we witnessed two main trends:
The first one was about the departure of many young people from African countries
freshly liberated from the burden of the colonization to Europe namely France, the Soviet Union and Ukraine in order to pursue their education in cinema, and that is the case of the veteran Souleyman Cissé, Merzak Alouach, Gaston Kaboré…
The second trend was the direct interference of the state in film production and Algeria remains one of the examples illustrating this situation. For years, the Algerian state was the mere African country that produced films. As a result, we witnessed a real emergence of cinema and this lasted until the 90s.
For other countries, a part from South Africa, Egypt and Morocco recently, cinema suffers from problems of production and distribution. African film budgets were too much limited and constrained, therefore, the artists would make concessions sacrificing art. However, certain filmmakers have known, apart from all the difficulties, how to sign works that have marked the receiver either from Africa or elsewhere. We cite examples of films: From Mali/Mauritania; Abderrahman Sissako (Waiting for Happiness, Timbuktu), Mohamed Salah Haroun (Abouna) from Tchad, Haile Gerima (Teza) from Ethiopia.
During the last two decades, we witness a new wave of directors who have chosen to express themselves through the 7th art by taking the same paths of formation as the pioneers and sometimes appearing in the most prestigious festivals of the world: Nabil Ayouch in Cannes, Hicham Lasri in Berlin, etc. At the same time, new practices have emerged, such as low-budget video films, in which the case of Nigeria is known as Nollywood and produces up to 200 films a year, distributed on the local market.
As far as the cooperation of South - South is concerned, speeches abound in this sense and acts are rare and the example to be capitalized and put forward is that of Morocco which opened its laboratories of the CCM to all the African producers to carry out the work of post-production.
To conclude, the difficulties facing African cinema, which are mainly linked to production and distribution, are manifestations of the reality of a continent.
Monday, August 07, 2017
Friday, August 04, 2017
Monday, July 31, 2017
Friday, July 28, 2017
Tuesday, July 25, 2017
Thursday, July 20, 2017
Tuesday, July 18, 2017
Saturday, July 15, 2017
Thursday, July 13, 2017
Tuesday, July 11, 2017
Sunday, July 09, 2017
Friday, July 07, 2017
Thursday, July 06, 2017
Friday, June 30, 2017
Tuesday, June 27, 2017
Monday, June 26, 2017
Thursday, March 30, 2017
By Allal El Alaoui
Some say that Moroccan cinema is abducted . I personally do not think so , why ? because we have to go back to our history in order to look for this matter as to know whether we have an industry of this art or not . Do we have free industry of cinema ? No, we do not . Yet, we have a static one, that is to say our government funds Moroccan filmmakers and believe me too many foreign countries envy us of this political decision and thus we have a governmental cinema spearheaded by free creation of cinema-goers. So, Moroccan cinema is not abducted but it is not yet internationally acclaimed and marked, though some movies make the difference and become more controversial.
Recently, there have been debates on how to make good movies in quality rather than in quantity. We produced more than 25 films per year. That is a good and confortable position among Arab and African countries. Former minister of culture Mohammed Achaari, states that we should have a national conference on drama because what has been presented on national TVs is extremely poor in quality and of course this is related to the movies too. Driss El Khouri , Moroccan satire and an acclaimed novelist says why do we have to write in a society that does not read ? We have also cinema- goers around just like Driss El Korri and Abdellailah EL Jaouhaoui, Noureddine Boukhsibi and more cinema-goers saying that why we produce films knowing that we do not have cinema –theatres? It is a national debate that still continues to be discussed and thought about.
In order to have a cinematic industry in Morocco, the private sector has to be involved. If not, the government should raise funds to encourage new filmmakers to make films. Creation and artistry in movies come from having wide imagination, training and continued training and working as much as possible in national and international industries. We must also control production companies that only have the mentality of looting and stealing .No doubt , filmmakers should be motivated and encouraged because of their visions and creations of their society. Cinematic styles must also be respected and highly praised because it marks the evolution of cinema in our country .
Friday, February 17, 2017
Written by Noureddine Boukhsibi , a Moroccan film critic
Some cinematic genres that live up to the rare artifacts and impress cinema-goers is "Late Spring" (1949) by Yasujirō Ozu . The great Japanese film director , Yasujirō Ozu (1903-1963) is one of these tapes who makes the difference .
Of consistently Yasujirō Ozu, which is considered by a cinematic Taiwanese "Hou Hsiao-Hsyanj" truly as cinematic mathematically mathématicien, creature that formulates and arranges things carefully, as if he were engaged in an interview for the game of chess,
Yasujirō Ozu sculpts filmfilming just like a geoligian who digs carefully the earth to uncover truth . In the first level Ozu provides superficially simple story level, and often tackles levels of family, the past,and generational conflict ... but it's soon to reveal the level of my more authentic and deeper with a succession of scenes and shots, draw up at the end of the tape.
Away from the free pseudo-emotions, Ozu is distributed to a large film lapsed coldly and calculatedwith the beauty of the utmost precision, taking figures of his films in clashes of quiet dialog , but harsh, revealing a great sense of creative aspects of dark depths of human beings .
But this exposure is achieved through a game and consecutive confusions overtones where the language of life mixed with the language of the picture .. no meaning to life when Ozu outside positioning of the image or in isolation from what look from here or there. And the definition of image has remained permanently on the ground level. In his film"Late Spring" stand in the surface layer of the story when the story of a girl who lives with her father, . The girl refuses to marry in the beginning, and cling to stay along with her father and dedicated her life in his love and service. While his father urges her to marry revealing his personal desire to marry in turn. Finally, the girl changed her mind .. give in to her father's position and agree to marry the person of one's choice.
While the story seems painful to some extent, the story of separation and harsh farewell between a father and his only daughter, Ozu displays them on the sidelines as usual, coldly and in an amazing calm. Behind it captures the great humanitarian Ozu creative and exact his sense of the paradox of human existence in the aspect of the relationship of human happiness. Noriko , her daughter , says addressing her father: "I am happy here..staying with you and near you. I do not want to get away from you .... the girl loves him, while their father confirms that happiness is created by the will of love lurking in the depths of the human. But the father admits in a moment of harsh thought : "When you have a girl, if she did not marry then it is a problem, and if she is married then it is also a problem" ... Ozu is creative at picking ironic existentialism with difficulty..In his film "Tokyo Story" (1953) recognizes that the father, after he is disappointed by his sons, admits to his friend, saying: "when we lose our children we are unhappy, and when they remain alive , they move away from us" .. the irony seems to level the apparent simple social paradox or unusual, but in depth the paradox of life gives no solution As long as the essence of humain existence . as long as we can not change, but we can not surrender to them, or at best accepted at the lowest possible losses ..
But Cinema of Ozu is above the spiritual of beauty of cinema. Ozu celebrates the image as if we are in a procession to love rare angels. Wim Vinders says that Ozu is the biggest filmmaker in the history of cinema .. The status of the harsh human life, and is the status of the inevitable inescapable, do not prevent the celebration of the beautiful image and beautiful upscale art. So Ozu in "late spring", as in his most other films, uses plastic plates in the very consistency and optical precision , flow pretty smoothly through intercut scenes . Ozu depicts his cinema between slow and depth to build beautiful scenes that reminds us of Bergman and Antonioni and Tarckovski.
Ozu does not care too much of cinematic structure and plot fragmented, the more they pay attention to small details of his care, the footage that monitor the vacuum and the silence that goes to the depth of things in simple language and dialogue is far from theoretical language that we find usually in the cinema of filmmakers such as Pasolini and Godard .
But this transcendent beauty that celebrates Ozu is also reflected by his choice of representatives. Heroine of the movie "Late Spring" is represented by Japanese Setseko Hara, a deposit actress seems to come to life with great joy through her smile. The beauty of his actress is the beauty of spiritual rare in cinema .
"Late Spring" begins to meet the liturgical majestic group of women in a meeting at intimate ritual of Japanese heritage . Ozu captures these feminist circle as if we are within the devotional, but after a trip with the girl, Noriko through the succession of scenes, downhill towards the necessary social inevitability of accepting to marry against her will, Ozu get us across the mosaic and variety of visuals that are focused where especially to monitor spaces of the familiar, it get us trip finally to a cruel end. This is the fundamental confusion that Ozu oushes inside .