- 1 year ago
مدي 1 تي في : فاطمة النوالي - 05/07/2025
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00:59and the idea of the development and the cultural development
01:02through a clear view of a clear view
01:05and a clear view of a clear view
01:08and a wide range between the following.
01:11But how do you see this fashion?
01:14What about the films and the films and the people
01:17and the people who are also
01:19and what about the activities that are associated
01:22from the work of work and the work of work
01:24and the work of work?
01:25This question is more than other questions.
01:27We will discuss with our representative representative of the Arab film,
01:32the Alamian Fati Manwali.
01:34Welcome to you, Fati Manwali.
01:35Welcome to you, dear.
01:37Thank you, Hussam.
01:39Thank you for your support.
01:41Thank you for your support for watching Media and TV.
01:45Through the program of the Abda'ah.
01:48Thank you for your support.
01:50I know that the last meeting of this presentation has ended up.
01:54I am still here.
01:56You've travelled on the bus and atyared to be there.
02:00Thank you for your support.
02:02You can't afford to be here anymore.
02:07I'm going to be here to work and be there.
02:10I'm looking forward to the show.
02:12I'll talk to you on this project.
02:16Hello, thank you for your support.
02:18And all of us will be talking about this conversation with Mr. Dr. Ahmed Daffrey
02:24Dr. Al-Aziz, welcome and welcome to you
02:26Thank you very much, Mr. Al-Aziz
02:27So, let's begin with you, Ms. Fatiha
02:31So, let's begin with you, Ms. Fatiha
02:31I mean, Maharajan is the result of the film in the Arabian film
02:34Which became from the beginning of the film, which is considered by the experience of the film
02:38Which is considered by the experience of the film
02:40I mean, with him Maharajan Fati
02:43I mean, he was only 6 years old
02:45Bداية, what is the idea of the work?
02:49What is the idea of this film?
02:51Or what is the message of Maharajan?
02:54Bداية, Maharajan
02:56I mean, when I thought about the analysis of Maharajan in the Arabian film
02:59I looked at the image of Maharajan, the image of Maharajan, the image of Maharajan, the image of Maharajan
03:05Over the Republic of the Republic
03:06So, I didn't find anyone in the Arabian film
03:09So, this was the first one
03:11Then, I was looking at some of the images of Maharajan
03:15In the image of Maharajan, the image of Maharajan
03:18I saw them in the image of Maharajan
03:20I saw them in the image of Maharajan
03:22Maharajan, the image of Maharajan
03:24So, I said, why are there therein?
03:26Therein is a way to make us make our existence of Maharajan
03:29In the Egyptians' and the image of Maharajan
03:30Then therein is a way to make us make our existence of Maharajan
03:31especially in the Arabian cinema cinema in different regions of the Arabian countries
03:40they are likely to talk about the same issues, they talk about the same language, and they talk about the same stories
03:46I said that this is the beginning, and this is the beginning
03:49to make the city of the Arabian cinema cinema, especially that there is a cinema cinema and cinema cinema.
03:58So, Dr. Jameel, there are no ideas before the event of the Arabian cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema cinema
04:28He has asked a question on the level of the power of the cinema or the film of the Arabian.
04:37Because this idea is going to lead us to an increase in an increase of the power of the power of the power of what we want to do.
04:51So we are in Greece, which we have been in Greece, in the Arab, in the Arab, in the Amazigh, in the Renews, in the Therapeutics.
05:06And so it is necessary to be understood by the Arab film in this image of the Arab film.
05:15But with that, I still have to ask until now.
05:18With regard to this, how can it be said to the Arab film that the Arab film is an Arab film?
05:32Especially because we know that there is no way to look at the movies and there is no way to look at the language that can be used to be able to communicate with the Arab.
05:44I agree with him in the Arab film, because it is not an Arab film, but it is not an Arab film, but all the films are an Arab film.
05:54There are Arab films that work with other languages like French or English.
06:00There is an Arab film in the Arab film, which is also an Arab film, which is an Arab film, which is also an Arab film, which is also an Arab film.
06:13But it is also an Arab film in the Arab film, which is not an Arab film.
06:20But we are not able to talk about an Arabic cinema with special features
06:30And we can say, this is not Arabic, but it is the Arabic film
06:36In the Arabic language, in the different languages
06:39This is the theme for the audience of the Arabic
06:43Before the conversation, let's watch our viewers
06:47This is the theme for the most important moments
06:51This is the theme for the Arabic film
06:54Which was the last time of the film
06:57This is the theme for the audience of the Arabic
06:59This is the theme for the audience of the Arabic film
07:04Here is the theme for the niemand who dies
07:08For the audience and нет
07:11They are subtitled to by الأolic film
07:13The title of the European Chicago Film
07:23This is the theme for the book
07:25This is the canon of English films
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10:07وهذا الحوار وهذا التبادل وهذه ربما الانفتاح على الآخر على ثقافات أخرى
10:14أيضا من النقاط المضيئة للتظاهرات الفنية
10:17ولEnux tut clapり
10:19والنقطة المضيئة أيضا لمهرجان دار البيضة لالفيلم العربي
10:22نعم خصوصا أن المملكة المغربية
10:26منذ الاستقلال إلى غاية بداية الألفية الآن الحالية
10:33So I think there was a lot of information about the
10:40indigenous people in the northern countries and also the other.
10:47So we were always at the drama, at the cinema, even at the cinema, we were always at the
10:52music. We were always able to make a lot of what we were doing.
10:57And we were able to put ourselves in a lot of time.
10:59لدينا طاقات إبداعية كبيرة
11:02لدينا تاريخ عريق
11:03لدينا مكونات ثقافية زاخرة
11:06لكن كان ينقصنا في مرحلة ما
11:09تلك الإرادة أو تلك الوسائل
11:12التي من خلالها يمكن أن نعرف بأنفسنا
11:16بأننا نحن المغاربة
11:19لدينا عمق في إفريقيا
11:22لدينا كذلك امتداد في شبه الجزيرة العربية
11:26لدينا ارتباط مع أوروبا
11:29لدينا فكر كوني عالمي
11:33ولكن كيف يمكن أن نوصل كل هذا
11:35كان من ضروري أن نفكر في أن نكون حاضرين
11:39من خلال وسائل الإبداع من خلال الموسيقى
11:42من خلال السينما
11:43لذلك عندما تحركت آلية الصناعة السينمائية في المغرب
11:47استطاعت من خلال حضورنا في مهرجانات
11:50أن نعرف بمن نحن
11:52وهذا المهرجان هو كذلك وسيلة وأدات
11:56لكي نعرف بمن نحن أعتقد بأنه سائر في المصاري الصحيح
12:02وقد يحقق أهدافه من بعد
12:05واحد العشر أو عشرين سنة
12:07بحيث يصبح مهرجان دولي عالمي له صيد كبير
12:12نعم وكان لي شرف أني شاركت في إحدى الدورات
12:15يعني في هذا المهرجان
12:18ولمست عن قرب
12:21يعني هذا العمل الدأوب
12:23دكتور ما كانت شيئا جيب سهل أو اعتباطيا أو من فراغ
12:27يعني كين عمل كين هاجس كين إصرار كذلك
12:30على تقديم ما هو متميز
12:32وهذا يحسب لإدارة المهرجان
12:34ويحسب لهذه السيدة بالدرجة الأولى
12:37أكيد أنها محطة بفريق يستغل معها
12:40أكيد
12:41وهي العقل المدبر طبعا لهذا الفريق
12:44طيب العودة إلى الحديث عن مهرجان دار البيضاء
12:48للفيلم العربي
12:49كيف يتم اختيار الأفلام المشاركة في المسابقة الرسمية
12:54سواء الأشريطة الطويلة أو الأفلام القصيرة
12:58هل هناك معايير خاصة تعتمدونها في اختيار الأفلام
13:03أكيد هناك معايير
13:05أبدأ من البداية
13:07يعني كيف أنا أعد لهذا المهرجان
13:10أنا أعده من خلفية الإعلامية والصحفية
13:14فأنا في البداية صحفية
13:17تحاول أن تعرف ما يحصل في العالم
13:20وما يحصل في العالم العربي
13:21فأنا على الطلاح بما يحصل
13:24فكما تعد أنت برنامجك
13:26أعد أنا برنامج المهرجان
13:28وبرنامج الأفلام
13:30فهناك خلفية ما بين الإعلام والصحفة
13:33And also, the intake company, I and my husband, who is a member of my wife
13:41And my friends are also working in this area
13:43This is S.A.E.D.A.Z.A.R
13:46Yes
13:46We are
13:47We are
13:48We are
13:48Thank you
13:49Thank you
13:50Thank you
13:50The family is working in this area
13:54I work on the other side
13:56I am working on the other side
13:58I start working on the other side
14:00I think about the other side
14:01I am sure that any intake, whether the music or books or cinema
14:11You can wait for what will be provided for the years
14:15We are going to force first to be the films
14:17We are not going to accept the other side
14:19I have an intake of this year 25
14:22The intake of this year was 24
14:25Yes
14:25This is the other side
14:27This is the other side
14:28The intake of this
14:30The intake of this
14:31So, according to the borders of the government, there are a number of laws that exist on the market
14:38Between them, the last one, the second one, the second one, the second one, the first one, the first one
14:43The first one, which is the only one that we can do after we leave the government in the government
14:50So, Fatiha, do you have an example of what between the government and the Arab countries in what is related to the government?
14:58It is possible to say and to ourselves, we are as a country and as a country and as a country and as a country and as a country, there is a positive performance for the film
15:08So, in the meantime, there is a film in the previous one
15:12And we try to find a film in the previous one and a film in the previous one
15:17With three or four films that are very close to the panorama, in addition to the panorama, in the previous one
15:22So, this is also a force that we have a lot of problems in the cinema
15:28That this one is also going to be able to do for the government
15:31And that this one is also going to be able to do for the government
15:33What do you think, Dr?
15:36It is an issue of the development of the cinema
15:48The cinema
15:50It is also a design of the cinema.
15:52It is a way to achieve this performance.
15:58But it is just that it is a way to achieve some of the challenges.
16:08Every project, every project, every project is considered that his work is from his own.
16:15ابنه الذي أشرف على تربيته وانتجه بالتالي قد يحز في نفسه
16:22ألا يتم اختياره وهذا ربما قد يؤدي في بعض الأحيان إلى هذه المشاكل
16:27التي يجب أن يتفهمها المبدعون والسينمائيون المغالبين
16:30ولا يمكن إرضاء الجميع طبعا دكتور طبعا
16:33عفوا فاطمة دعينا فقط قبل أن نستمر في هذا الحوار
16:39سنتوقف مشاهدينا عند هذا الشريط وأهم لحظات الدورة الأخيرة
16:44And we'll see you next time on the film, let's see
17:14This is one of the most important moments
17:44Thank you very much.
18:14Thank you very much.
18:44Thank you very much.
20:15And that is a language that we are the people of the city.
20:18I hope that we can get this message to the audience of the cinema.
20:23Well, to the extent of the film, there are some initiatives and activities that are related to this film.
20:30Or are they?
20:31Or are they?
20:32Or are they?
20:33Or are they?
20:34Or are they?
20:35Or are they?
20:36Or are they?
20:37Or are they?
20:37Or are they?
20:39Or are they?
20:41Or are they?
20:43What is the American cinema?
20:45We talk about the problems of the American cinema.
20:48For example, this is the first time of the cinema.
20:52The American cinema.
20:55Where is the American cinema?
20:57And the American cinema.
20:58Because we know, and we know all the songs,
21:01that the music or the montage is
21:05from the international cinema.
21:07And they're trying to provide the international cinema
21:09so that they can achieve this.
21:11And in addition to this, there is no Arabic Arabic.
21:16That can be found in Arabic, with an international community.
21:22And that is close to the reality.
21:26So, the conversation was about these internazils.
21:29And is there a need for this internazils?
21:32Is it possible to be a member of the society?
21:35Or is it possible that we live here?
21:38And we can transfer ourselves and bring this to the inhabitants of the US.
21:46And what else is the most important thing about these studies and the master class?
21:50Is there a few prime people who attended these lectures?
21:54And this is the bigger thing about the popular menu on the world.
21:56There is a much more available to the audience in the cinema where the culture of the film is.
22:00Yes, it is.
22:02The cinema is the same.
22:03The culture of the scenery.
22:04What is successful?
22:06It's not successful in the game.
22:07It's not successful in the game, but it's possible to take a lot of the people from different countries.
22:15So if it's not successful in the game, it's not just successful in the game.
22:31The city of Medina Dharba Dharba, but that you're a part of the people in Asia.
22:36And that's it for us to do this whole thing.
22:40And we're trying to make the citizens in the world, so we will understand how to do this film.
22:48This film isn't a film that's easy, but you can see and follow the content.
22:54How do you do this film until you get to the film?
23:00Well, if you ask me now that you're going to talk about your own personal experience, you're not just as president of the Arab film, but as president of the Arab film in the world. What do you say to us?
23:18I guess that the president of the Arab film is the captain of the Arab film in the Arab film. I hope that the president of the Arab film will be the director of the Arab film.
23:39So everyone is a free-dreamer.
23:42Because everyone is a free-dreamer.
23:44From the state of the government.
23:46The city of the city and the city of the city.
23:49So this is a free-dreamer.
23:51This is a free-dreamer.
23:53So the free-dreamer is free.
23:54And the free-dreamer is free.
23:55We are only going to bring the citizens from this popular field.
24:00And we are going to bring this free-dreamer.
24:03So I wanted to feel that it is a free-dreamer.
24:07From the city of the city of the city.
24:13From the culture of a high-dreamer.
24:15So from the city of the city.
24:17It is a free-dreamer for the state of the city.
24:21It is not a free-dreamer.
24:23It is essential to be there a huge threat to death.
24:27And to be more given to us.
24:30So I am sure the city will be able to...
24:32In this presentation and this presentation...
24:35Thank you very much.
25:05Thank you very much.
25:35Thank you very much.
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