- 7 weeks ago
video 44.33 mins
Category
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CreativityTranscript
01:16This is a film about stories carried by a man, Budge Makarec, who has watched so many films and now
01:24has lost his sight but not his vision.
01:30This is also about a Cinematheque in Algeria, the first in Africa in 1965, that speaks to other film institutes
01:39with a relationship to the continent.
01:42Together, they are essential, so future generations can learn to see.
01:54This is a tribute to filmmakers and to the film institutes that preserve histories and stories resonating across Africa.
02:06Stories that say more than the events they contain.
02:11And it's a dance to cinematic rhythm where movements swirl and merge, celebrating the life of cinema.
02:51And it's a dance to cinema.
03:16And it's a dance to cinema.
03:35We are a few years after the independence, three years exactly.
03:39A beautiful country, free, courageous.
03:44The leaders were young.
03:46Ben Belen was a president.
03:50He was a president capable of everything.
03:55Good people like the less good people.
03:58He was accompanied by filmmakers and cinema people.
04:02Like in all independent countries, everyone would like to do cinema.
04:07Everyone likes cinema.
04:08Everyone in Algiers is a real cinema country.
04:14I wonder, why did I wait so long to make this project?
04:19I missed so many conversations, stories that slipped away.
04:24Yet along the way, I discovered remarkable filmmakers through their films.
04:40L'Algérie just came to make important films.
04:43L'Homme des Danais is not a lot about the battle in Algiers.
04:47So the cinema was in the air.
04:51It was appreciated.
04:53It was respected.
04:55He created the CNC, the National Center of Cinema.
04:58He made an announcement in the press.
05:01All the young people who are in the back
05:03can be presented to the course of the Institute of Cinema.
05:08He did three years' studies with the Polish people, etc., etc.
05:15And in addition, he created the Algiers Cinematheque Algérienne
05:17which was, in Al-Ambi Ben Beledi, in Algiers,
05:20a nice and nice and nice.
05:22And above all, he was named a guy, Ahmed Hussein,
05:26who was really a guy with exceptional intelligence.
05:31A little shy, unfortunately.
05:32He said to be the founder of the Algiers Cinematheque Algérienne.
05:39And one day, in front of the university,
05:41I liked this place.
05:42There was a cafe called the Brasserie de Faculté,
05:46where all the students wanted to drink a beer,
05:50who wanted to drink a beer, who wanted to go to the cinema, etc.
05:54And I was often there with a guy,
05:58a friend of mine, Nordel Toisy, who was doing the IDEC at Paris.
06:04And when he came back from Paris,
06:06he brought me the Cahiers of the Cinematheque.
06:08It was interesting to me.
06:10And the Cahiers, really, I read it with attention.
06:14And a good morning,
06:16about the beginning of June,
06:18he came to the same cafe,
06:20and he said,
06:21Ahmed Hussein, the founder of the Cinematheque,
06:24he wanted to recruit an Algiers animators.
06:27He proposed a video point,
06:29and I accepted it,
06:30and I met my feet.
06:32So, the 19th of 1965,
06:35and I was no longer reparti.
06:37Jusqu'en 2004,
06:40the Cinematheque helped me
06:42to understand what is a film.
06:45And a film helped me to understand
06:47what is a society.
06:49And thanks to the cinema,
06:50I understood the Algiers.
06:51Me too, understand Algeria through its cinema.
06:59So, this is a film created as a home.
07:03My home.
07:09A place for the dead and the living,
07:12for African voices that return
07:14and echo through the continent and beyond.
07:39I understood that the cinema could help a lot
07:43to educate the young people.
07:47I feel an urgency to record stories,
07:50to pass on their teachings,
07:53to keep their knowledge alive
07:56before they disappear.
07:59Like so many from that post-independence era.
08:03Past and present overlap,
08:06sometimes gently,
08:08sometimes in conflict.
08:12That's my vocation.
08:14That's what I discovered.
08:15And I got married.
08:17And I brought more and more young.
08:20And I presented more and more films.
08:22I took trips.
08:24I found some filmmakers.
08:25I found some filmmakers.
08:26I invited some filmmakers.
08:27I also called other posts.
08:32And it's me who became director.
08:34I was 74, I believe, 75,
08:37or something like that.
08:38At the cinema,
08:38it was five sessions per day.
08:40A terrible price.
08:42In a room of 300 places.
08:43And regularly,
08:45there were 1500 people per day
08:47at the cinema.
08:48When I arrived at 13 hours
08:49with the audience,
08:50I was able to see the audience
08:52when the audience arrived.
08:53A full of young people like that,
08:55who are there,
08:56who attend to buy a ticket
08:57to go see a film.
08:59It's a spectacular.
09:02But what counts,
09:04when we are in the cinema,
09:08it's to see the audience
09:09how they receive a film.
09:11To see the audience
09:12what they expect.
09:13To see the audience
09:14how they are.
09:16How they move.
09:17How they move.
09:19How they move.
09:19How they...
09:19A audience who turns their eyes,
09:22their eyes,
09:24to the screen.
09:26That's something
09:27that created an atmosphere
09:28in the cinema.
09:29A climate.
09:30And I say,
09:30an friendship.
09:32I really get it.
09:34Always in friendship.
09:36Through the love of cinema.
09:41Hello?
09:43Hello?
09:45In Africa, in the 1960s and 70s,
09:50cinema and pan-africanism intertwined.
09:54We have poetry, films, projection rooms and debates.
10:04And the cinéastes
10:05began to respond.
10:06Of course,
10:07first of all,
10:07the Algiers,
10:08a young boy,
10:09a young boy,
10:10a young boy,
10:11a young boy,
10:11a young boy,
10:12a young boy,
10:13a young boy,
10:14a young boy.
10:18And then,
10:18it's a place of freedom.
10:20They can drag,
10:21they can talk with girls.
10:23It's important for a young boy
10:25to be in contact with a girl,
10:26etc.
10:27It's all that,
10:28the cinema general.
10:29The chance of the cinema general,
10:32is that we have mixed a bit
10:34the politics,
10:35not too much,
10:36the politics and the culture.
10:42Come back Africa.
10:45It all began in 1969,
10:47at this fantastic pan-african festival in Algiers.
10:51Let us remember,
10:53it was summer,
10:54the noise,
10:55the heat,
10:56Egypt,
10:57Sénégal,
10:59Ivory Coast,
11:00South Africa,
11:01Mali,
11:03Niger,
11:04Mauritania,
11:06Morocco,
11:07Tunisia,
11:08and of course,
11:10our own.
11:11Before the coup d'Etat,
11:13l'Algérie is the multi-partism.
11:15Before 1965.
11:17The coup d'Etat de Bourgetienne,
11:19c'est parti unique,
11:21journal unique,
11:23radio unique,
11:24télévision.
11:24But,
11:26they left the door open
11:27for culture and sports.
11:28El Moudjahed,
11:30journal unique.
11:31The people bought the journal
11:32for the program of the Cinémathèque.
11:34The Cinémathèque had a placard
11:36in this journal
11:37with the last last page,
11:39the Past Culture,
11:40which took a quarter page.
11:42I spoke to the radio every day.
11:44The radio invited me every day
11:46to present the program
11:47for a dozen years.
11:48For a dozen years,
11:49all the journalists were close
11:50to the Cinémathèque.
11:51The critics
11:53who started to take in mind
11:55the Algérie Actuality
11:56became a very big journal.
12:02The Cinémathèque Algérienne
12:03in the center of Alger.
12:04In the right,
12:06there is El Moudjahed
12:07and Algeret Tilti.
12:08In front,
12:09there is the African Revolution.
12:11In front,
12:12there are the radio locals.
12:13In the right,
12:14the journalists quitte
12:15without a bureau
12:16or without a seat.
12:18He doesn't know where to go.
12:19He went to the Cinémathèque.
12:21It was a place of passage,
12:24a place of discussion,
12:25a place of exchange.
12:30Al-Doubenzian.
12:32They are diminutive, Al-Doubenzian.
12:35He did an education
12:37for journalists.
12:40There was a guy called
12:41Larwati
12:43who was the director of TV.
12:46He proposed a magazine
12:50The DG
12:52that we will call
12:53The Two Ecrans,
12:54which is cinema and television.
12:56And you will be the patron.
12:58You will be the local,
12:59you will be independent,
13:01a budget and everything.
13:03And a professional magazine.
13:05And Abdo
13:06made The Two Ecrans.
13:07All the people
13:08who were interested in the cinema
13:09wrote,
13:10I wrote,
13:10I wrote,
13:12very competent,
13:13very intelligent,
13:14brilliant even.
13:16It was a bit
13:17the charnier of the magazine.
13:19It was a book of Boutelu.
13:21There were a lot of journalists
13:22of quality,
13:23of critics.
13:24There was a guy called
13:25Guillen Bell,
13:27who was a critic
13:28who lived in Algérie,
13:30who became important,
13:33who wrote well.
13:34He was a cinema specialist
13:36who was accredited
13:38in the Algérie cinema.
13:39The film
13:51became a shared language.
13:54Of writings,
13:55of politics,
13:57of imagination.
13:59Not a lament
14:00for a lost future,
14:01but a question.
14:03Might it still be possible?
14:09The cinema,
14:11a weapon,
14:12not of mass destruction,
14:14but of awakenings
14:15against oblivion.
14:17All the liberation movements
14:18at the time
14:19had their bureau.
14:21We created very quickly
14:23contacts,
14:24because now
14:26we're talking about
14:26Palestine,
14:28etc.
14:29At the time
14:30it was the Guine-Bissau,
14:32the Mozambique
14:33who were doing war,
14:35who were invaded,
14:38colonized by a small country
14:40which is Portugal.
14:42And that's why
14:43we created a relationship
14:45with the liberation movements
14:48that brought their copies.
14:51So it was a precise work
14:52of militants.
14:55We made our friends,
14:58people close to this cause.
15:00They were many
15:01and they replaced the room.
15:02It was very important
15:04for us.
15:04So we had to familiarize
15:05the audience
15:06with all this people
15:08in the fight,
15:11in action,
15:13in action,
15:13in action
15:14that we think
15:15we need to defend
15:16by the image.
15:18And, of course,
15:18I made an image
15:19at the time
15:20extraordinary,
15:21an image signée
15:22Cinémathique Angéria.
15:24It's a young
15:25with an object
15:27at hand.
15:27It's both a camera
15:28and a gun.
15:29The artist
15:30worked well.
15:32He burned the camera.
15:34And I had put
15:36a weapon.
15:40And, of course,
15:41he arrived,
15:42he looked at the picture,
15:43he looked at the picture,
15:44and he looked at me
15:46and said,
15:46it's true,
15:47the cinema is an art
15:48unless it's art.
15:51What a lesson.
15:54And the cineast
15:56started to understand
15:57all this.
15:58The cineast
15:59is the third world.
16:00They started to work
16:01their films.
16:02We were against the
16:03cinema.
16:04It's a slogan
16:05on va gagner,
16:06on va vaincre,
16:06on va...
16:07Non, non, non, non.
16:08C'est par l'art,
16:09le beau,
16:10que vous pouvez convaincre
16:12que vous allez gagner.
16:14Nous,
16:14nous étions des militants.
16:17Ma politique,
16:18c'était la défense
16:18de l'art,
16:19et tout particulièrement
16:20du cinéma.
16:21Le cinéma,
16:22une arme,
16:23et bien voilà.
16:24Voilà la cinémathique
16:25algérienne.
16:26Tout est là.
16:29Le drame des Palestiniens
16:30de l'époque,
16:31ils n'avaient pas
16:32une cinématographie
16:34conséquente.
16:35Mais on ramassait.
16:38Tous les courts-métrages,
16:40tous les films
16:41faits par les Palestiniens,
16:43on les ramenait
16:45à la cinémathique algérienne.
16:49Quand on prend un pays
16:50comme le Viettelan,
16:51les cinéastes étaient des hommes
16:53de culture,
16:54de politique,
16:54c'étaient des amis d'Hochemine,
16:57c'étaient des gens extraordinaires.
16:59Les viettelaniens étaient en guerre
17:00contre les Américains.
17:02Et là,
17:02on organisait des manifestations,
17:05on organisait des rencontres,
17:07on montrait des documents.
17:12Quand il y a eu le coup d'État
17:13de Pinochet,
17:16en quelle année Pinochet 73,
17:19je crois,
17:20et bien tous,
17:20ils se sont réfugiés à Alger.
17:22Ils habitaient au centre familial
17:24de Benacloun.
17:25Et leur lieu de travail,
17:27de rencontre et de réflexion,
17:28c'était la cinémathique algérienne.
17:30Quand ils voulaient faire
17:31une rencontre
17:33cinéastes chilien
17:34et cinéastes algériens,
17:36cinéastes brésiliens
17:37et cinéastes algériens,
17:39c'est à la cinémathique
17:41que les rencontres se tenaient.
17:44C'est une femme militante.
17:47Elle était un peu
17:47une petite Sarah Maldora.
17:50Elle a fait des films
17:52sur les luttes.
17:54Elle a beaucoup fait la lutte.
17:55À l'époque,
17:55il y avait,
17:56on parlait beaucoup
17:57dans les pays du Golfe,
18:00des mouvements d'indépendance.
18:02Elle allait avec les maquisards,
18:04elle les filmait,
18:05elle allait projeter leurs films.
18:07Elle a fait du vrai boulot, voilà.
18:11L'Algérie l'a utilisée
18:13pour faire un film sur le polisario.
18:16À l'époque où l'Algérie
18:18prenait position
18:18et héberger le polisario,
18:21donc avec le conflit
18:23avec le Maroc,
18:25l'Algérie lui a financé un film.
18:28Santiago Alvarez,
18:30l'un des plus grands cinéastes du monde,
18:32il est venu trois ou quatre fois
18:33à la cinémathique algérienne.
18:34Ils ont fait des documentaires
18:36extraordinaires.
18:38Et Fidel Castro,
18:40les Aboukou,
18:40et moi je suis allé à Cuba
18:41trois ou quatre fois
18:42pour montrer des films africains.
18:45Le Brésilien,
18:46Globert Rocha,
18:47il venait montrer ses films à Alger.
18:50Il n'y a pas un Brésilien
18:51qui ne soit pas venu.
18:54Sarah était
18:56grande militante du LPLA,
18:59mouvement populaire
19:00pour la libération de l'Angola,
19:02le pouvoir algérien.
19:05Elle a emmené des armes
19:07pour les combattants du MPLA,
19:09du Frélimo,
19:10du PLGC,
19:12de l'ANC, etc.
19:14Et Sarah allait dans l'avion
19:17qui livrait les armes.
19:19Il a débarqué
19:22dans les maquis,
19:23soit d'Angola,
19:25soit de Guilhem,
19:26soit etc.
19:26Là où il y avait des luttes
19:27encore contre le Portugal.
19:29Elle filmait.
19:30Moi je l'ai montré à la cinémathique
19:31sinon à quoi ça sert
19:32qu'elle faisait ça.
19:32Et tout ça,
19:33c'était mobilisateur.
19:34Les gens arrivaient,
19:35attendaient le retour de Sarah
19:37qui revenait des maquis.
19:39Et tous les autres militants
19:41des autres partis
19:41venaient.
19:43Mais,
19:44jamais propagandins,
19:46cinéma d'abord.
19:48Sarah filmait
19:50comme cinéaste.
19:52Elle aimait le cinéma
19:54et elle filmait
19:55et elle était courageuse.
20:01C'est ce qui m'attrait
20:02à ces militants films.
20:04Les esthétiques,
20:06les graines,
20:07la charge politique,
20:09l'urgence,
20:10l'occurrence
20:11que le cinéma
20:12pouvait matter
20:12ou quelque chose
20:14plus personnel.
20:26le cinéma
20:29Sortie
20:30Embrasse
20:30D'où.
20:30Qui est ces entres ?
20:32Peut-être
20:32ce sens
20:33que dans ces images
20:35une autre version
20:36de moi
20:37revient ?
20:39Une façon
20:40d'entrer la main
20:41de la zone
20:41qui n'est pas
20:42dans le état.
20:44Nous avons découvert
20:46que le monde
20:49était partagé en deux.
20:50Et on vivait ce monde-là.
20:52Les généraux
20:54ingrédients
20:54est riche.
20:55they took everything, they were gone, they passed their time to go.
21:00And those who passed their time to trim the third world,
21:04it was the time we created the continental world.
21:09The World War of the Occident, the Americans, the French, the World War.
21:13I like the cinema, but I don't want to be their agent.
21:17So for not being an agent of the people of the North,
21:21I am an agent of the people of the South.
21:23The people of the cinema were monetized.
21:32I said one day, at a conference where I presented a film,
21:37I was repris,
21:39that the Algerian cinema is an Arab-African cinema.
21:43So I had to give the proof.
21:46The cinema are not mausoleums.
21:49They transmit, they circulate, they survive.
21:57The Africa and the Arab world were coming in.
22:06They were welcome, of course, they were waiting.
22:13There was a political scene where the cinema was still very important.
22:20The cinema was still important.
22:22And very often, the politicians, I repeat,
22:24are afraid of the cinema.
22:26But they respect it.
22:28All of this is a good film.
22:32It's a good film.
22:35It's a great film.
22:36The documentary of Azdem Dour.
22:39How much I love you.
22:41It's a great film.
22:42Boar Maris.
22:43What a great film.
22:45The first film is a great film.
22:47The first film is a great film.
22:49The first film is a great film.
22:53So that is a beautiful film.
22:55Which is the real table.
22:57And you've got some personal agreeable lifestyle.
22:59You've got some books called Azdem Dégé.
23:01There's a deal ofbrecraft,
23:04which hello to your life,
23:05hello to my diferenました.
23:09This is how important,
23:11the two films are from.
23:11They really are composed of video.
23:14So they get poetry,
23:15If you do it,
23:17you get the unmute esos Yeah!
23:20There's a lot of praise.
23:22I encourage this film.
23:22You get語 i-ential and machineryなるほど.
23:23To focus.
23:30to touch with the eyes as we do so many films so many filmmakers enter the material of memory
23:43in our hands through our senses the negative brings them into the light again
23:55one that people might seek and return to
24:01editing is a gesture a struggle a way to exist a political act of memory
24:16I had the chance in the 1970s so two characters who became my friends Shaheen for Egypt and Samen Ousmane
24:26for the Sénégal
24:27these two great immense cinéastes at all point of view human artistique intelligence courage and
24:38ces gens-là sont devenus des habitués de la cinémathèque algérienne
24:46they were at least once a year or twice a year
24:51Shaheen a made better when they took the film they took 50 copies 60 copies they always told me
25:00copy for bourgeois it's to say we saw this copy in Algérie it was 35 mm at the time it
25:07was 30 kg
25:07Samen was the chef for the young people to discover the cinema Samen
25:13a young man who didn't see the noir 2 can't say I make films it's not possible he made a
25:18film for who he gave him the money
25:20it was so that he made the fameuse co-production the Conte de Tiaroy
25:24against the Algérie and the Sénégal and I agree with Samen when he said
25:31the cinema is my school of history
25:39Amat Khalifi
25:41it's the first film so it's important
25:42l'homme
25:44Abdelhati Benhamar
25:46who made a film for me
25:48who is one of the most beautiful films tunisiens
25:50who made Sejelen
25:52and after they were producing Bouzid
25:55Nouré Bouzid
25:56because the film was fabulous for me
26:01and then it didn't happen because of the administration
26:04I told you that we are the people of power
26:07we are the people of power
26:08we are the people of power
26:09we are the people of power
26:14When cinema and the state face each other across time
26:18the ground of free creation becomes fragile
26:22We are the people of Stasi
26:24Soal Benmarcan
26:25The moments of me
26:26we have to see what a Ben Ali and Wajma
26:29but there is another one who came right away
26:32Malouni
26:32who made Eliem Eliem
26:34it's a film extraordinary
26:37Voilà the Maroc
26:38of people of great quality
26:40but there is a man
26:42who called Nourdeshael
26:45he created
26:47one of the first select clubs marocain
26:49he presented to me
26:50he said
26:51he created a select club
26:54but I have no copy
26:55I said I'm not a copy
26:57I'm not a copy
26:58I'm not a copy
26:59and I did it for years
27:02Ben was a very close to the Algerian
27:05he was an Algernian
27:06he was a Mauritalian
27:08and he was a Malian
27:11so it depends on the place
27:12and the moments, etc.
27:14for his nationality
27:17and it was a very nice
27:19Ben had an advantage
27:21he was a Belgian
27:22but quel monsieur
27:23quel combatant
27:25quel courage
27:27quelle générosité
27:33Désiré c'était un playboy
27:37c'était un gars qui a vécu beaucoup à Paris
27:39et il a fait de bons films
27:40à nous deux France
27:42il a fait des films courageux
27:45mais le dernier était extraordinaire
27:47visage de femme
27:49il a la folie
27:51d'introduire une séquence d'amour
27:53dans la lagule
27:54comme on dit dans le lac
27:56un jeune garçon et une jeune fille
27:57qui dure dix minutes
28:00il faut l'amour dans tous les sens
28:04quand il montrait ce film
28:05donc il pouvait pas montrer le film
28:09dans son pays encore
28:10au Côte d'Ivoire
28:13Algernon est venu le montrer quand même
28:15et moi je lui disais
28:16on va montrer un peu, pas tout
28:18il m'a dit non non
28:19c'est comme tu me disais
28:20comme tu veux
28:21il est mort juste après ce film
28:23dommage parce que le film
28:24à lui qui a marché
28:25il aurait pu attaquer
28:27une vraie carrière de cinéma
28:30le Niger est un grand pays de cinéma
28:32au Maruganda il faut voir Cabas Cabo
28:34le titre veut tout dire Cabas Cabo
28:37ça veut dire tout par en couille
28:39Cabas Cabo
28:40tout par en couille quoi
28:42et c'est ça le film de Maruganda
28:44qui est un garçon courageux
28:46intelligent
28:48Moustapha Alassane
28:49il découvre le cinéma
28:51il découvre les films
28:52c'est un bricoleur
28:54il fait
28:56il fait des montages
28:58à vue d'oeil
28:59il n'a pas de machine
29:00et tout
29:00c'est seulement avec ses mains
29:02et ses yeux
29:03il fait des montages
29:04à lui
29:07et il faut voir ce que c'est
29:08c'est un vrai travail d'artisan
29:10d'artiste je dirais
29:16Yonel Gakan
29:18beaucoup prononcent le Gakané
29:20c'est le seul cinéaste
29:21d'Afrique du Sud
29:24pendant l'apartheid
29:26qui avait ramassé
29:28des bouts de fil
29:28un peu partout
29:29je ne sais pas comment il a fait
29:31on l'a montré à Alger
29:32100 fois
29:33ou même plus
29:35et on l'élogeait
29:36il restait à l'hôtel
29:38à l'Éthia
29:38à l'époque
29:38c'était le plus bel hôtel d'Alger
29:40pendant un mois
29:41deux mois
29:42après il allait à Tunis
29:44pour Carthage
29:45il faisait la même chose
29:46parce qu'il n'avait pas de maison
29:47il n'avait pas où habiter
29:49c'était l'apartheid
29:50en Afrique d'ici
29:55c'est fou
29:58c'est pourquoi
29:58il est un grand cinéaste
30:00il invite les gens
30:01à Bamako
30:07pour voir ses films
30:09le travail et lumière
30:10notamment les deux
30:11et les projections
30:12avaient lieu dans la brousse
30:15c'était donc
30:16des appareils portatifs
30:18à l'époque
30:19il n'y avait pas
30:19comme maintenant
30:20le téléphone
30:22et dans la brousse
30:23à lui
30:24tout était éteint
30:25il nous donnait
30:26alors
30:27une bougie
30:29une boîte d'annuette
30:31une bouteille d'eau
30:33minérable
30:35il nous dit
30:35voilà
30:36quand la projection
30:38est terminée
30:38vous pouvez allumer
30:40votre bougie
30:40mais la projection
30:41ces projections-là
30:43en pleine nuit
30:44dans la brousse
30:45des écrans
30:47qui se détachent
30:48dans le ciel
30:49c'est pas possible
30:51c'est féerique
30:52c'est voilà
30:52ça c'est si c'est
30:54il faut le faire
30:55c'est un clou
31:35de retour
31:52scénat
31:52c'est le choix
31:53to throw light into darkness the film does not exist until it is projected
32:02before that it sleeps waiting for a body a machine a room the project films is to
32:14insist on the possibility of a collective imagination dreams
32:23peux-tu me raconter le festival panafricain d'algères en 69 c'est la première fois
32:28que la cinémathèque organisée il retour peut-il de célébrer c'est là que j'ai découvert vraiment
32:41les premiers films que j'ai appréciés les gens s'intéressaient tout le monde en parlait ça a duré
32:5710 jours le pana le pana de 60 heures était la fête et la liberté wow i wish i'd been
33:06there
33:07i went to the 2009 edition but it was nothing like 1969
33:22et le film de william klein sur le festival il y avait un ministre qui était intelligent
33:28de venir et qui a vite compris qu'il fallait filmer tout ça le projet a été remis à
33:34moulin klein donc il a donné à des cinéastes jean à l'époque les moyens une caméra de caméra 35
33:43ils auraient loué du matériel de front ça a coûté une fortune et c'est midi klein qui a patronné
33:50qui a piloté tout ça il ya deux festivals du film africain très important à cette époque là en 65
34:06les jcc et en 69 le fespaco peut-tu m'en parler donc j'ai commencé à défendre les jcc
34:13de cartage du
34:14journais cinématographique de cartage à tulis ou le fespaco le festival panafricaine de cinéma et
34:22télévision de ouagadou ou bakuna faso qui sont deux festivals extraordinaire c'était chez moi ça
34:32si j'allais là parce qu'il y avait ce que je voulais moi j'étais juré de tous ces
34:36festivals quand
34:37l'africain faisait un film je le montrais et j'ai fait de la cinémathèque un peu un festival
34:43sur de l'année lorsque j'ai choisi un film dans une rétrospective dans une dans le programme
34:51dans une programmation c'est un film que j'aime moi j'ai toujours un rapport amoureux au film comme
34:57j'ai un rapport amoureux c'est bien il ya eu en 75 le deuxième congrès de la fépasi l
35:04'idée est née
35:04en 69 au panaf le premier congrès en 70 était au jcc de tunis en algérie ils avaient créé
35:12l'association des réalisateurs algériens l'union algérien des cinéastes de l'audiovisuel
35:21ils ont fait un congrès algérien ce qui était le congrès de la fépasi la fépasi c'est la fédération
35:27panafricaine des siléastes elle regroupait toutes les associations des siléastes des pays africains
35:34alors les siléastes ont compris que dans le pays du tiers monde les nôtres tout l'argent vient de l
35:41'état
35:42on a dit que si l'état ne vous produit pas un film vous faites pas de films aux cinéastes
35:47de se débrouiller
35:49chéri le disait bien il dit pour le cinéma il faut prendre l'argent même dans la poche du diable
35:54mais
35:55il faut faire ce qu'on veut et les siléastes ont compris ça donc ils ont créé une fédération panafricaine
36:03pour défendre auprès de chaque gouvernement la part du cinéma il y avait aussi les rencontres des
36:10cinéastes du tiers monde d'alger en 73 avec de grands noms d'amérique latine comme global rocha
36:15fernando solanas et jorge cendrines les siléastes du tiers monde elle n'avait pas la capacité mais le
36:23pouvoir de la fépasi la fépasi c'est l'afrique elle regroupait les associations l'association du
36:30tiers monde a regroupé tous les pays du tiers c'est à dire l'afrique le monde arabe les jeunes
36:36et les
36:37asiatiques les latinos mais c'était tellement gros que ça n'a pas été conséquent donc le
36:44l'éloignement le coût de la vie la pauvreté des pays du tiers monde a fait que l'association
36:52des siléastes du tiers monde n'a pas été conséquent mais tu as quand même montrer des
36:56films d'amérique latine pourquoi on a poussé notre réflexion quand on dit le cinéma pour nous il est
37:03arabes et africains et latino-américains on a ajouté latino-américain tous les pays latino
37:09américains montrer leurs films à alger ce qu'on a réussi c'est de familiariser le public algérien
37:19algérois à ce moment à ce monde à ce vaste monde qu'est le tienne tu invités des réalisateurs
37:26français de la nouvelle vague tous alors le cinéma français c'est leur maison parce que c'était plus
37:33proche et ils vont beaucoup aidé pour avoir des copies donc j'étais reconnaissant voilà il n'y a pas
37:40un cinéma français qui sont pas venus en Algérie sauf les racistes bien sûr et sinon tu pouvais
37:46projeter ce que tu voulais je suis là pour dire témoigner que j'ai toujours été libre de mon travail
37:54mais vraiment complètement libre j'ai programmé les films je voulais j'ai invité les gens que je
38:02voulais j'ai j'ai organisé les projections comme je voulais jusqu'à maintenant pourquoi comment j'ai eu
38:10le droit à cette liberté je pense que la cinémathèque était prestigieuse donc ça fait peur de la
38:17toucher tu peux pas toucher une cinémathèque qui appartient à chahil à saint ben ousmann à voir
38:22marie à godard godard parlait de la cinémathèque algérienne comme d'un lieu proche de lui de
38:29chamerolles de truffeau de de l'osée on va montrer des villes quand je pense qu'à l'époque on
38:34a montré
38:35l'histoire là les premiers ravontements dans le monde la cinémathèque algérienne toutes les fonds d'alger
38:41il était là il s'artène elle s'appelait la réalisation c'est là qu'ils venaient de se montrer
38:44un livre
38:45ça allait voir la queue alger quand le film est passé incroyable je connais pas cet algérien la
38:51cinémathèque a toujours été réputée pour ses débats politiques et sur l'esthétique tu es d'accord
38:56le débat il est permanent le débat il n'est pas seulement à la fin du film quand le réalisateur
39:02est
39:02debout en face du public il leur parle et répond que c'est le nom le débat c'est tout
39:07cinema was never only entertainment it was also political architecture built for encounters
39:17a space where bodies gathered filmmakers actors film critics and wider audiences
39:41so many debates that stretched into the night politics and aesthetics entangled formant revolution argued
40:04in the same breath
40:06today the cinémathèque algérienne is not as alive it has dried out it was a brutal civil war of the
40:1590s
40:15the rise of islamism the attacks and assassinations of intellectuals and artists many now exiled culture is no longer a
40:27priority
40:28the cinéma periclité parce que public l'existe plus the algerian film industry has changed images are faded a slow
40:38control takes school creating a costly regression
40:42how far we are from the so-called mecca of the revolution an image-making and self-representation
40:49where the means to decolonize oneself
40:56perhaps
40:57perhaps
40:57Gujema
40:58losing sight
40:59was a premonition
41:02blindness
41:03does not erase images
41:05it teaches something cinema has always known
41:09that images
41:10are not only seen
41:12they are carried
41:14they are carried
41:15shed
41:15a stone
41:16the echoes remain
41:18the archives
41:20exist
41:23the film
41:24when you lose the public
41:26you lose the creator
41:28as a film
41:29what counts
41:30and what will save the cinema
41:32is the essence
41:34of the cineast
41:36and in the meantime
41:38the return of the public
41:39in the cinema
41:41there are two human beings
41:42the creator and the public
41:44save the two
41:46you save the cinema
41:47and that's why
41:48the film
41:49you have to project
41:49you have to make it live
41:51I don't like the film
41:52I don't like the ones
41:53I like the head
41:55I like the head
41:55of the spectators
41:57and to finish
41:57tell me
41:58what is your favorite film
42:00of all the films
42:00that you have to be programmed
42:01to the cinema
42:01I was the director
42:03of the cinema
42:04for me
42:04a film equal a film
42:05I loved all the films
42:07and I defended
42:09all the films
42:11but
42:13there is a guy
42:14who has for us
42:16a beautiful name
42:17of the film
42:20who has made a film
42:22with an extraordinary title
42:24Tukiboki
42:25Do you want to add something else?
42:27Go see Tukiboki
42:28and though the cinematech
42:34lies dormant today
42:35a new generation
42:36of Algerian filmmakers rises
42:41they prove that images
42:43and knowledge
42:43still circulate
42:45and what was once
42:47set in motion
42:48has not stopped
42:51In 2025
42:53the Cineteca di Bologna
42:55awarded
42:56Budge Makares
42:58the Vittorio Guarini Prize
43:00a gesture of recognition
43:03quietly telling me
43:05that his voice
43:06still matters
43:41that will be