In this consistently engaging movie, Allouache skilfully mixes humour with drama. I was intrigued, especially when I heard the great Robert Wise was at the helm. The Algerian tells the story of Ali, an immigrant to the United States who, as a child, witnessed the death of his mother in a bomb explosion—or what the film assumes we will perceive as an explosion despite the risibly poor visual effects. Of particular interest to her, and to the film, is a particular strain of Salafist propaganda, used to recruit young men to jihad, which promises that martyrs for Islam will each be received in paradise by 72 beautiful virgins. With its rhythms and music, the crashing sea and the changing light in the sky, the spectator is left with the impression of a city full of contradictions and problems, poverty, the mistreatment of women, corruption and greed. A woman will watch helplessly as a tragedy plays out on a nearby rooftop, but across the city there is a wedding feast with the music drifting into the night air and down to the streets.
It stars Poitier and Harry Belafonte Jr. Allouache employs an ingenious structure to his sprawling tale by focusing on five iconic rooftops set across the five different daily Muslim calls to prayer. She and her colleague Mustafa embark on a road trip that takes them across the country from the capital city to the rural south, meeting with intellectuals, artists, boys on the street, religious figures, and political activists. Film Review: 'The Rooftops' Reviewed at Venice Film Festival competing , Sept. Their one passion is 'combat'. Here Variety profiles the rising filmmakers: Justine Triet, Eléa Gobbé-Mévellec, Hafsia Herzi and Mati Diop. Allouache himself has described the film as an investigation of how, amidst a backdrop of turmoil in the Arab world, Algeria has almost surreally remained peacefully serene.
T, as most of his friends, lives in a self-constructed 'house', built on top of an old building in the city. The opening night selection is Algerian auteur Merzak Allouache's a slice-of-life movie that uses five different rooftop calls to prayer to illuminate daily life in Algiers. In spite of an engageing cast, slick production co-produced by Taylor Hackford and Howard Koch, photographed by Theo van de Sande, designed by Jeannine Oppewall, and scored by Michael Kamen and Dave Stewart it turned out to be a poorly-scripted update of the rock and roll B-fliks of the 1950s featuring Alan Freed. Also in London Film Festival — Debate. Crew: Directed, written by Merzak Allouache.
International sales: Elle Driver, Paris. Entering its 39 th iteration, the remains the premier event on the city's film calendar. His friends are reluctant to help though, knowing what happened to T's friend when he crossed them. The rooftops themselves are a paradoxically public and private space which suggest both alienation and community. The 2016 edition opens on Wednesday, Feb. With: Nassima Belmihoub, Adila Bendimerad, Aissa Chouat, Mourad Khen, Akhram Djeghim, Amal Kateb, Djemil Adlan, Ahmed Dahane, Mohammed Jouhri, Hamid Remas, Ahcene Benzerari, Hamza Boukrif, Yasmine Abdelmoumen, Abderrahmane Ikariouane, Nabil Asli, Myriam Ait el Hadj, Aida Kechoud, Kader Affak, Rachid Benalal, Mohammed Ghouli, Djamil Ghouli, Fethi Nadjem, Meriem Medjkane, Mohamed Takiret, Redouane Merabet, Mebarek Faradji, Salima Abada, Nadjib Oulebsir, Mohamed Bendaoud. Gender relations are equally frayed, even among Westernized middle-class young people like the band members.
As always, screenings are free and open to the public. The youngest of the three is the , which was founded by local writer and filmmaker David Walker and has been held at the Hollywood Theatre for the last four years. Just like the old Freed films Rooftops can be seen as a something of a curio rooted in its time. This year's edition includes the usual combination of names familiar to fans of global cinema, as well as an array of emerging or previously unheralded talents. . It was touted as an aware, updated version of West Side Story against the back-drop of the crack-ravaged streets of Lower Manhattan.
The Portland Black Film Festival continues through Feb. Playing like an Algerian Short Cuts, the drama recounts the various lives of the people who use and live on the rooftops. This one has 15 features and a program of shorts by South African women filmmakers, unspooling over the next four weekends. Camera color , Frederic Derrien; editor, Sylvie Gadmer; music, Allouache; sound, Philippe Bouchez, Xavier Thibault, Julien Perez; assistant director, Nadjib Oulebsir. It then concludes with a 2 p.
Uncle Larbi Rachid Benalal lives shackled in a wooden cage on the roof of a building in the Casbah, telling stories, through the slats, of Independence War heroics to young Layla Myriam el Hadj. Investigating Paradise recounts what happens when Nedjma, an Algerian journalist, sets out to explore how her fellow citizens envision the afterlife. Produced by Merzak Allouache, Marianne Dumoulin, Jacques Bidou. Uncle Larbi, of course, is itself, so used to violence that the value of human life has become cheapened. Needless to say, it died a quick death at the box office.
A band meets on a rooftop downtown to practice and hash out ideas for future gigs. The Cascade Festival of African Films is one of the oldest such events in the country, having started in 1991. The use of space outside the frame is notable, and editing is first-rate. Writing about these characters grants them much more legitimacy than they deserve, but two of them stick out like particularly sore thumbs. With: Nassima Belmihoub, Adila Bendimerad, Aissa Chouat, Mourad Khen, Akhram Djeghim, Amal Kateb, Djemil Adlan, Ahmed Dahane, Mohammed Jouhri, Hamid Remas, Ahcene Benzerari, Hamza Boukrif, Yasmine Abdelmoumen, Abderrahmane Ikariouane, Nabil Asli, Myriam Ait el Hadj, Aida Kechoud, Kader Affak, Rachid Benalal, Mohammed Ghouli, Djamil Ghouli, Fethi Nadjem, Meriem Medjkane, Mohamed Takiret, Redouane Merabet, Mebarek Faradji, Salima Abada, Nadjib Oulebsir, Mohamed Bendaoud. You are watching the movie The Algerian 2015 The Algerian is an international political thriller about the colliding worlds of the Middle East and America. Toward evening the roof is taken over by an Islamist prayer meeting during which a preacher Kader Affak praises the late Muammar Gaddafi as a martyr to the Muslim cause.
It'll screen on Saturday, Feb. The final rooftop is in Belcourt, where alcoholic Halim Aissa Chouat has a squat in a grungy washroom and charges people for occasional use of the space. Well, time heals old cinematic wounds. Friday, February 5 at 6:00pm and 9:15pm Free Directed by Merzak Allouache Algeria, France, 2013 , 91 min. Allouache will attend the two screenings on Friday, Feb.