Cinema and Movies.: November 2019

Thursday, November 28, 2019

Nada Haddaoui.actress.

Nada - CV Comédienne PDF-converted by allal on Scribd

It's been five years since I started doing theater at the conservatory and the college too! I played in two shorts when I was 15! And this year I played in a TV series that I had an important role, c the series "Ouyoun Ghaima" with the director Said Khallaf, and right after I had a lead role in a short film called "Cry of distress" With Taeib Benjelloun! And I just shot a feature film with director Adil Ammor!

Wednesday, November 27, 2019

Kick-off of the International Film Festival of Schools of Tetouan

By Nada LMISRI

The fifth edition of the International Festival of Cinema Schools of Tetouan (FIDEC) kicked off on Monday night at the Spanish Theater in Tetouan.
The FIDEC is organized by the Faculty of Humanities and Letters of Tetouan (Abdelmalek Essaadi University) and the Bidayyat ARTCINE Association (composed of academics, cinema professionals, laureates of the Specialized Master in Documentary Cinema and doctoral students in Arts and Cinematographic, Audiovisual and Scenic Studies) with the support of the Moroccan Cinematographic Center and Moroccan and foreign organizations and institutions.
The opening ceremony of this edition, which continues until November 30, 2019, has had a massive presence of an audience passionate of the seventh art (filmmakers, writers, artists, teachers, actors, students, students, film critics , journalists, researchers, ...) and was marked by a vibrant tribute to Moroccan film critic and researcher Hammadi Gueroum and German filmmaker and writer Viola Shafik.
The FIDEC jury that will deliver its verdict at the closing ceremony is composed of four members: the film critic and Moroccan researcher Hammadi Gueroum, the German filmmaker and writer Viola Shafik, the Greek university professor Filareti Kotsi and the French Roxane Riou, programmer for Tënk of the Beach First Bobines.
FIDEC offers the Moroccan public and its guests a rich and varied cultural program: screening of dozens of films made by young creators from around the world, special screenings for schoolchildren, training for Moroccan teachers, master classes, tributes, meetings professional ...
This 5th edition is distinguished by the celebration of 10 years of training and film studies in the Faculty of Arts and Humanities of Tetouan. This is the result of the praiseworthy efforts of Professor Hamid Aïdouni, Festival Director and President of the Bidayyat Association, who has the merit of integrating research, training and film creation into this faculty since 1987, with few means but a lot of willpower, ambition and dedication. He created in 2009 a Professional License in Cinematographic Studies, a Specialized Master in Documentary Cinema and Doctoral Training in Arts and Cinematographic, Audiovisual and Scenic Studies. He recently founded an international university film and visual arts magazine '' Mirage ''.
FIDEC asserts itself as a reference in the Arab and African world and is now positioned thanks to the rigor of its selection and the quality of its organization, in just five years of existence, as an unmissable event on the scale internationa

Sunday, November 24, 2019

Room 101 a film documentary soon

written by Ali Karama

Were the words raised by the Ultras people directed to the stadium fans or wanted to be heard outside the stadium walls?
This question will be answered by the context of “Room 101”, which comes immediately after: “In my country they wronged me” and in the “Tivo” in which the Palestinian people were greeted.
Talk about the addresses, is the required audacity implemented by the Ultras in all honesty, and perhaps the former in the time of vigilance that the country tells a state and society, officials and citizens ..
Western novelist George Orwell wrote his novel (1984), which was published in England in 1949, and the idea of the novel focused on the establishment of a government called the government of the "guide" or Big Brother, this government everything contrary to his name, for example, the Ministry of (truth) is a ministry. Its mission is to overturn facts, terrible identity and lies.
The policy adopted is the policy of torture, increasing the degree of torture until it reaches the degree of entering the person to the room (101) and collapses and deviates, for example, the person subjected to torture ask him how many fingers of your hand and say five responds that the guide says nine did not leave torture so as to reassure the interrogator that the person now says follow the brother's guide that it is nine and at this stage tied on his head electrocution equipment ..
Room 101 refers to the most heinous form of torture by reversing the facts of the government in Orwell 's novel.
The "Tivo", which was reassured by the Raja fans in an interview with Derby with Wydad, is nothing more than a message to those who rule and not their weak footballing peer. The slogan says everything without shorthand, without words that it passes to the maximum degree of expression, more expressive than screaming.
Here, Tivo was only the most innovative and proactive skill to shape the new development paradigm, with royal specification, to courageously convey the truth to the pulse of society, albeit painful and cruel, as it is without falsification or deception. Specific specifications required for the modeling of this model, with neutrality and innovation.
Room 101 is the courage of the public to convey the reality of the sense of oppression, injustice, marginalization and fragility of the compound, and predict that the next worst torture as the symbolism of the room in Orwell 's novel, both in prisons and rural prisoners and other prisoners of conscience, and the suffering of society outside fences of oppression and tyranny ..
This audacity of the sports audience may also whisper in order to raise the rhythm among the political, cultural, economic and societal in general .. To convey the facts in all objectivity, inventing new alternatives .. To ensure the attractiveness of influence and interaction…
The audacity here is a wake-up call to whom it may be concerned before the last alternatives for reparation have fallen and all the ropes of trust have gone to the established institutions.

Gaza by Garry keane and Andrew McConnell

A film by Garry keane and Andrew McConnell

Friday, November 22, 2019

International Film Festival of Schools in Tetouan

By Nada LMISRI

The Faculty of Humanities and Letters of Tetouan (Abdelmalek Essaadi University) and the Association Bidayyat ARTCINE (composed of academics, film professionals, laureates of the Master Specialized in Documentary Cinema and PhD students in Arts and Film Studies, Audiovisual and Scenic) organize with the support of CCM (the Moroccan Cinematographic Center ) the fifth edition of the International Film Festival of Schools in Tetouan (FIDEC). And this from Monday 25 to Saturday, November 30, 2019.
The International Film Festival of Schools in Tetouan aims to promote the works of young creators from around the world whether they come from film schools, universities or training institutes for the professions of the image and also of serve as a platform for meetings, exchanges with young people from around the world and belonging to different cultures.

According to its press release, of the 3200 films submitted, 75 films were selected by the selection committee in international competition. An exceptional vintage, an impressive number of schools and countries participating in this edition, many for the first time. The figures express and attest to this exceptional selection: 75 films selected, 33 countries represented and 63 film schools.

39 fiction films, 21 documentaries and 15 animated films make up this beautiful selection of school films. Many selected films carry human and universal values such as tolerance, respect, solidarity, justice, fraternity and love. A wide variety of topics is covered in various thematic fields: identity, migration, youth, adolescent crises, childhood, loneliness, cinema, old age, adversity, etc. Themes often rooted in local and national realities certainly but challenge the universal in us. These films ultimately reveal the human in all its states.

New cinematographs and new talents to discover at this year's edition at FIDEC from November 25th to 30th at the historic theater '' Teatro Espagnol '' in Tetouan.

GRECA (Group of Research and Cinematographic and Audiovisual Studies), affiliated to the Faculty of Arts and Humanities of Tetouan and whose creation dates from 1987, is a pioneer in the field of cinema research in Morocco. Thanks to the praiseworthy efforts of Professor Hamid Aïdouni, Festival Director and President of the Bidayyat Association, who deserves credit for integrating research, training and film creation into the Faculty of Arts and Humanities. of Tetouan after many years of experience, with few means but a lot of will, ambition and dedication. He has created for several years a Professional Bachelor in Cinematographic Studies, a Specialized Master in Documentary Cinema and Doctoral Training in Arts and Cinematographic Studies, Audiovisual and Scenic.
FIDEC asserts itself as a reference in the Arab and African world and is now positioned thanks to the rigor of its selection and the quality of its organization, in just five years of existence, as an unmissable event on the scale international

official Selection FIDEC 2019

MUSIC BOX | VeronikaPasternaSzemlova| Animation | TMK | République tchèque | 13’ | 2018

NEITHER SUNNY NOR CLOUDY | AnvarNijemčević | Documentaire | SFA | Bosnie-Herzégovine | 11’ | 2019

NOTICE ME | Catherine Shelley| Documentaire | BFI | Royaume-Uni | 6’ | 2019

PATCHWORK | Maria ManeroMuro| Animation | UPV | Espagne | 8’ | 2018

RUN | Egor Isaev| Fiction | Moscow Film School | Russie | 23’ | 2019

TEA | ShokirKholikov| Fiction | UzSIAC | Ouzbékistan | 15’ | 2018

THE BINOCULARS | Rahul Sharma | Fiction | LFS | Royaume-Uni | 16’ | 2019

THE CULTURE | Ernst De Geer | Fiction | DNF| Norvège | 25’ | 2018

THE SHEPHERD | BrwaVahabpour | Fiction | DNF | Norvège | 17’ | 2018

THINGS WE DON’T TALK ABOUT| Dan Johan Filip Svensson| Fiction | DNF| Norvège | 18’ | 2018

VOLE | Cynthia Tannous| Fiction | UA | Liban | 8’ | 2018

WHAT EVER HAPPENED TO DARWIN | L. ALTIERI, S. CRIPPA, G. MANNA, M. NOCERINO| Animation | CSC | Italie | 6’ | 2019

WHITE COFFEE | Gloria Tauk | Fiction | UL | Liban | 13’ | 2018

Wednesday, November 20, 2019

Baba Aichour by Allal El Alaoui ( draft )

By Ali Karama

The woman with thin classes , already worked with Jettou governement in Morocco .She is called Najima Taitai so slim,intellectual and a very educated woman .She is from Rif Mountains known of its solid men and beatiful and conservative women .

The first edition of the Imerqane Festival of Intangible Culture will kick off today, Wednesday, July 25 in Nador. Designed by the Conte'act association and the agency of the Oriental, this event whose translation of the Rifain means meetings intends to contribute to the valorization of intangible heritage. "Young people today do not know the oral culture of their country, that's why we thought to launch this festival to promote the Moroccan customs," says Najima Taitai, president of the association Conte'act.
Regarding the choice of Nador for the organization of such an event, the organizers explain that there is a lack of cultural activities in this part of Morocco, and this festival is an opportunity to enhance cultural life. "Organizing a festival in Nador is justified because we do not hear any more about culture in this city. It's time to change the game, "adds Najima Taitai.

Monday, November 11, 2019

Filming Sahara land called Aousserd ( Terce)

Aousserd is a province in the Moroccan economic region of Dakhla-Oued Ed-Dahab, and it is known of its rich land called Terce which is beloved passionately by local Sahrawis . Cinema And Movies presented by Allal El Alaoui and Network agency presented Ali Bosola are in this region to shoot their film documentaries accompanied by actors and technicians such as Khayal,Ilham,Mustapha Khokha,Brahim Zeraouli,Mohammed Amin ,Al Bachir,Ahmed,Bouchra,Habiba,Aya Ali Salem ,Essalka ,Nouredddine DOP and Niri the actor - painter. About 15 miles before reaching Aousserd,there is a beautiful Sahara space called Laglat where we can find tombs of 1958 Moroccan fighters ( Achohada) .

Roa LMISRI on Cinema and literature

Roa LMISRI is a Phd student and holder of a Master in French and Comparative French Literature, Faculty of Humanities and Letters of Tetouan, University Abdelmalek Essaâdi, year 2011.
Qualified Secondary School Teacher

Since its origins, cinema has drawn inspiration from literary works. The great films drawn from great novels are always the meeting of two artists who have each brought two visions of the world, two different perspectives, but which have a common "branch": a diegetic aesthetic world.
In the Arab world, the relationship between cinema and literature suffers from flagrant fragility. Most filmmakers prefer to write scripts for their films themselves or collaborate with other writers to convey their own ideologies. In fact, this is due to the lack of funding, the absence of film production and the mediocrity of the Romanesque heritage in some Arab countries where the novel had prospered only in recent decades.

On the other hand, the situation of the Egyptian cinema differs from that of other Arab countries, since it was, since its appearance, closely related to literature. It is undeniable that the propagation and the glory that he had known, are due to the cinematographic adaptation of great masterpieces of Arabic literature like the novels of the Egyptian writers, Najib Mahfoud, Youssef Sbaï, Ihssan Abdel Koudouss and many others.

However, these reports of interference between Egyptian literature and cinema have been softened during the last two decades. This would be caused by the evolution of the means of the production and reception of cinema and the absence of great writers in favor of a new generation of novelists in perpetual quest for their identity. And in the face of the political and social upheavals experienced by Egypt and the Middle East during this last decade, the general public is no longer fascinated by the great stories and it becomes thirsty for news items.

This prompts us to research the aesthetic relationship between modern Egyptian cinema and a new youth novel that has produced fiction or bestsellers that have exceeded one million copies. By way of example, we can cite Ahmad Mourad's novels, of which we choose the novel Poussière de diamant as an example for our study since it is adapted cinematically in 2018. Note that this film is the result of a third collaboration between novelist and director Marwan Hamed, which leads us to question the limits traced between the film and the novel, between the written narrative and the film narrative.

Why are Ahmad Mourad's works even more successful after being adapted to the cinema, despite critical discourses that challenge its literary value despite its unprecedented distribution? What are the points of convergence and divergence between fictional writing and its cinematographic adaptation?
In addition, establish a kind of logic of the equivalence of meaning between the written words of the novel and the moving images of the film or between two domains; literary written and cinematographic staged, seems a risky and random adventure given that the film remains an ephemeral moment of a literary work. In fact, in Diamond Dust, the story spans more than six decades, a fairly long historical period that requires a director to compress events without the film having narrative holes.

This prompts us to ask ourselves: to what extent did the director Marwan Hamed succeed in weaving the storyline despite his non-respect of the chronological order of events and his adoption of non-linear narrative? Is it, in this case, a primordial necessity for the construction of signifiers or a staged deliberately destructured to refer to the diegetic universe of the film narrative in question?
In order to answer these questions, it would be useful to use academic references that will guide our research. As an example, we can cite Francis Vanoye's Récit écrit-Récit filmique, André Gaudreault's Du littéraire au filmique and Aesthetics of Jacques Aumont's film.

Indeed, these references will allow us to highlight the structural perspective of the written and filmic narrative in Diamond Dust as well as the temporality (the temporal landmarks, the rhythm and the speed of the filmic narrative), which will help us to grasp the historical-political context of the work and to decipher the non-linear character of the narrative.

written by Roa LMISRI

Cinema and Movies.