الافلام المشاركة
Participating Films
اللقاء الأخير
The Last Encounter
ريمي مقصود, لبنان
Rémie Maksoud, Lebanon
Synopsis
A journey through the body of the last man standing inside The Egg, Beirut’s abandoned cinema. Surrounded by revolutionary slogans, the walls and a lonely figure become a mirror of the horrific events that Lebanon witnessed in 2020.
الإمضاء
The Signature
سيرين رحومة, تونس
Syrine Rhoùma, Tunisia
Synopsis
Dalel is an intern in a Tunisian administration. She needs the signature of Mr Anouer her professional supervisor to validate her internship, but Mr Anouer and his colleagues are refusing to do so I mean sign the paper. So she decided that's enough of them and their excuses and that she will take the matter into her own hands and get the signature her own way.
صورة عائلية
Family Photo
أسماء جمال, مصر
Asmaa Gamal, Egypt
لمحة عن مخرجة
بعدما أعلن العالم الإعتزال التام بين البش ، تكررت محاولات أم في العشرينات من عمرها. تستقبل طفلها الأول الذي انفصل عن العالم الخارجي الذي أصابه فيروس كورونا. تظل باحثة عن فرص خيالية تجمع فيها ذكريات الأحياء و الأموات تحفظها الفوتوغرافيا.
فيلم نعيمة
Naima's Movie
سامي سيف, المغرب
Sami Saif, Morocco
Synopsis
A young filmmaker makes a film to honor his childhood nanny’s life and their close bond.
دور مع الرومبوان
Turn at the Roundabout
مريم عامري, تونس
Myriam Amri , Tunisia
Synopsis
Since the establishment of the new city council in the Kram in the suburbs of Tunis in May 2018, strange statues have been popping up on the many roundabouts in the district. A turtle carried by a wave, near the sea, a stone in the shape of Palestine topped by a drone, a calligraphic sprinkler: those cause confusion, and are difficult to understand at first glance. Many of these statues have been the subject of mocking comments in the media. They are the work of the Mayor of Kram, Fathi Laayouni, a former executive of Ben Ali's party, converted since the revolution into an Islamist politician, who, through his polemical statements and his roundabouts, seeks to make his passage to the Municipality of Kram a political springboard. In this documentary, our wandering takes us from Kram plage to Kram ville around three roundabouts that have become emblematic of the neighborhood. On these three roundabouts are grafted the awareness campaigns of some and the dreams of political greatness of others, all in the midst of an incessant flow of cars and unconvinced bystanders. Through interviews with political and associative leaders but also locals, we will tell the story of the Kram roundabouts and with them, the yawning chasm between, ambitions and results, politicians and inhabitants, democracy and the people.
الراقص الغزّي
Dancer of Gaza
هايدي أحمد, فلسطين
Haidi Ahmad , Palestine
Synopsis
In this film, a young man from Gaza challenges circumstances, customs and traditions, breaking the restrictions set by the Gaza society from negative comments and views on him as a talented person with contemporary dance. This film come out from workshop, sponsored by A M QTTAN, UNICEF and SYF.
ممكن نتوه
We Can Be Lost
منار الزهيري, مصر
Manar El-Zohery , Egypt
لمحة عن مخرجة
ممكن نتوه يسرد قصة ثلاث شابات مصريات من جيل التسعينات، الجيل الذي نشأ يشاهد الفضائيات في مطلعها، وبأجواء سياسية ساكنة باضطراب ، مريم من أسرة بسيطةمن احدى قرى المنيا ، ترعرت في الإمارات ككثير من فتيات الأسر التي تسافر بحثا عن الرزق. فتفتح أعنيها على أزمة الهوية من طفولتها المبكرة، روضة من عائلة إخوانية فنشأت نشأة دينية بمدينة كفر شكر بمحافظة القليوبية، أما عبير فهي من مدينة صغيرة بمحافظة الشرقية تشأت في عائلة تمتهن التعليم والأم من عائلة سلفية تنهي دراستها في جامعة الزقازيق وتصر لدخول معهد السينما لتقف بين عالمين لا يعترفون بها، البنات الثلاثة يعشن أزمة الهوية وتتجلي مع تقدمهم في العمر والانطلاق في رحلة تحقيق الذات والسفر إلى القاهرة، ليظل عالمهم الداخلي يشبه كارتون سبيس تون، المفضلة لجيلهم وتظل صورتهم الداخلية بعيدة عن مظهرهم الخارجي وهو ما تعكسه مشاهد الفيلم، مع لقطات تعكس قتامة المدينة بصريا ، وضخامتها وبعدها عن عالمهن الأول البسيط في المحافظات، تظهر أزمة الهوية بوضوح في مسار حياتهم بانعكاساتها النسوية ، خلخت الثورة كيانهم وهي الذكرى الغير منسية لكن رواية هذا الجيل من الفتيات لم تسمع كثيرا، بين تحولات وبحث عن الذات واحتكاك عن قرب ومعايشة بالاتجاهات النسوية العالمية يصلن لفكر آخر يملأه الاضطراب لكن يصر على المحاولة أن يكون حقيقيا،، يتنفس،، حر ،،يحقق إرادته رغم استهجان وتعجب دائرتهم البسيطة ومجتمعهم الكبير ربما يوضح الفيلم لم وكيف تحولت وتشكلت مشاعر هذا الجيل الذي شهد اضطرابات شديدة في مراحل محورية من حياته.
بلادي تنزة
Tinza My Homeland
دلال زيور, الجزائر
Dalel Ziour , Algeria
Synopsis
The film opens in the border town of Tin Zaouatine in Algeria. Ousman and Aghaly of the Tuareg music group Tamikrest meet in this military village, with its Western-style setting, to compose a new album. These musicians are in exile. A wadi, the border between Algeria and Mali, separates Tin Zaouatine in two. On the other side of the wadi, the village of Tinzaouaten-Achibriche was invaded by the Malian army in 2007. The inhabitants fled the war and settled on the Algerian side. Ousman’s childhood home is on the other side of the wadi, a region plagued by war and terrorism. In February 2012, a month after the new Tuareg revolution started, Tuareg fighters from the National Movement for the Liberation of Azawad (MNLA) drove the Malian army out of the village. Since then, a few inhabitants have been returning to the village, little by little. In the small space of the room where he lives with Aghaly, Ousman remembers his childhood between Tinzaouaten-Algeria and Tinzaouaten-Achebriche. He recalls his schooling in the school that was destroyed by the Malian army. Ousman wants to see his village and the school where he heard for the first time, the electric guitar. The presence of terrorists, the French military, and the closed borders make the adventure perilous. But these musicians, used to these risks, get organized. They leave Tinzaouatine and cross the border clandestinely. In Achibriche, the soldiers left behind the traces of their presence. Punctured tires, stripped carcasses, bullet casings on the ground. Everything seems dead, crushed by the sun. Beyond any words, these marks give an account of a violent history. They give a material representation to all the buried wounds. In the life of this musician, as in this place, the war has penetrated everything. It is on the walls of the houses, in the brutal image of solitude, and in the poems of Ousman.
