Aleph

Structured as a labyrinth-like game and inspired by Jorge Luis Borges, Aleph is a travelogue of experience, a dreamer's journey through the lives, experiences, stories and musings of protagonists spanning ten countries and five continents.

Doctors of the Dark Side

Doctors of the Dark Side is the first feature length documentary about the pivotal role of physicians and psychologists in detainee torture. The stories of four detainees and the doctors involved in their abuse demonstrate how US Army and CIA doctors implemented the Enhanced Interrogation Techniques and covered up signs of torture at Guantanamo and Abu Ghraib. Interviews with medical, legal and intelligence experts and evidence from declassified government memos document what has been called the greatest scandal in American medical ethics. Based on four years of research by Producer/Director Martha Davis, written by Oscar winning Mark Jonathan Harris, and filmed in HD by Emmy winning DP Lisa Rinzler, the film shows how the torture of detainees could not continue without the assistance of the doctors.

Літургія протитанкових перешкод

Reality in Ukraine was divided into two periods - before the war and after. Every citizen tries to be useful in this national resistance. Ukrainians change their professions and adapt to the needs of wartime. In art workshops, sculptors make anti-tank obstacles. Silent figures of Ukrainian figures, angels, Cossacks and multiple copies of Jesus Christ, like a terracotta army, froze in anticipation of new creations. Masters weld metal defenses for the Armed Forces of Ukraine.

Qui êtes vous Mr. Iguerbouchène ?

Mohamed Iguerbouchène was born on February 7, 1907 in Aït-Ouchen in Algeria. He left for England in 1923 where he studied music and harmony. Subsequently, he went to Vienna, Austria, to learn piano techniques where he won 1st prize in harmony and piano. Mohamed Iguerbouchen became a composer, he composed four symphonies and several film scores including the famous “Pépé le Moko” (1937) with Jean Gabin. Mohamed Iguerbouchène bowed out on August 21, 1966 following a long illness.

Putin's Obsession: The Fight For Ukraine

A profile of Putin, exploring his complicated relationship with Ukraine. Why does this neighbouring nation threaten his power and identity?

KOKO SunYi

Oversand

Oversand is one of the first films about free climbing, the third film in a series of three with "Overdon" and "Over-Ice". Directed by Jean-Paul Janssen, the film was shot in 35mm in Algeria, in the Sahara Desert, in the Tamanrasset region, on the walls of the majestic peaks of the Atakor massif, central sub-region of Hoggar, mountainous heart of Hoggar, a volcanic plateau of almost circular shape, whose average altitude is 2000 meters, and which culminates at Mount Tahat (2918m), the highest point in Algeria. The Atakor is distinguished by its spectacular volcanic peaks, its needles, and its rugged landscapes, resulting from the erosion of ancient volcanic chimneys, which make it the most emblematic summits of the Hoggar, such as the Assekrem, the Ilamane, or the Tizouyag, where climbers Patrick Edlinger, Patrick Bérhault, Bernard Gorgeon, Hugues Jaillet, Jacques Perrier, Stéphane Troussier and Odette Schoënleb evolve under the watchful eye of the Tuareg caravans.

143 rue du désert

Alone in a small white house on the edge of national road 1, the Trans-Saharan road, which connects Algiers to Tamanrasset crossing the immensity of the desert, Malika, 74, one day opened her door to the director Hassen Ferhani, who came there to scout with his friend Chawki Amari, journalist at El Watan and author of the story Nationale 1 which relates his journey on this north-south axis of more than 2000 km. The Malika of Amari's novel, which Ferhani admits to having first perceived as a "literary fantasy", suddenly takes on an unsuspected human depth in this environment naturally hostile to man. She lends herself to the film project as she welcomes her clients, with an economy of gestures and words, an impression reinforced by the mystery that surrounds her and the rare elements of her biography which suggest that she is not from the region, that she left the fertile north of Algeria to settle in the desert where she lives with a dog and a cat.

Algérie, année zéro

Documentary on the beginnings of Algerian independence filmed during the summer of 1962 in Algiers. The film was banned in France and Algeria but won the Grand Prize at the Leipzig International Film Festival in 1965. Out of friendship, the production company Images de France sent an operator, Bruno Muel, who later declared: "For those who were called to Algeria (for me, 1956-58), participating in a film on independence was a victory over horror, lies and absurdity. It was also the beginning of my commitment to the cinema."

Festival Panafricain d'Alger

Festival panafricain d'Alger is a documentary by William Klein of the music and dance festival held 40 years ago in the streets and in venues all across Algiers. Klein follows the preparations, the rehearsals, the concerts… He blends images of interviews made to writers and advocates of the freedom movements with stock images, thus allowing him to touch on such matters as colonialism, neocolonialism, colonial exploitation, the struggles and battles of the revolutionary movements for Independence.

Kizu (les fantômes de l'unité 731)

Documentary about Japan's Unit 731 of World War II.

Color-Blind

A synaesthetic portrait made between French Polynesia and Brittany, Color-blind follows the restless ghost of Gauguin in excavating the colonial legacy of a post-postcolonial present.

The Devil Came on Horseback

While serving with the African Union, former Marine Capt. Brian Steidle documents the brutal ethnic cleansing occuring in Darfur. Determined that the Western public should know about the atrocities he is witnessing, Steidle contacts New York Times reporter Nicholas Kristof, who publishes some of Steidle's photographic evidence.

Why We Fight

Is American foreign policy dominated by the idea of military supremacy? Has the military become too important in American life? Jarecki's shrewd and intelligent polemic would seem to give an affirmative answer to each of these questions.

Algérie en flammes

These are the first images shot in the ALN maquis, camera in hand, at the end of 1956 and in 1957. These war images taken in the Aurès-Nementchas are intended to be the basis of a dialogue between French and Algerians for peace in Algeria, by demonstrating the existence of an armed organization close to the people. Three versions of Algeria in Flames are produced: French, German and Arabic. From the end of the editing, the film circulates without any cuts throughout the world, except in France where the first screening takes place in the occupied Sorbonne in 1968. Certain images of the film have circulated and are found in films, in particular Algerian films. Because of the excitement caused by this film, he was forced to go into hiding for 25 months. After the declaration of independence, he founded the first Algerian Audiovisual Center.

Algérie 1954, La Révolte D'un Colonisé

This film presents the point of view of an Arab from Algeria who rebels against colonization. He analyzes the process of awareness, the transition to revolt, to armed insurrection. Algeria and the settlers are seen through this lens and not the way a Frenchman saw the country. He gives voice to the Arabs at a time when this word was not heard: sometimes it was not even produced, at least publicly. The testimonies are based on real propositions, most of them were made to the author during his stay in Algeria from 1948 to 1956, then in 1958 and 1959. The comments are borrowed from the texts of Arab theorists of the revolution Algerian. This film thus completely evacuates the point of view of those who are not insurgents; he does not give the opinion of the colonists. It is the direct expression of what was the revolt of a colonized person: it thus constitutes the very type of the historical document.

Escadrons De La Mort : L'École Française

After the Battle of Algiers, France and its army exported, as true experts, anti-subversive methods to Latin America and the United States in the 1960s. After more than a year of investigation in Argentina , in Chile, Brazil, the United States and France, the director collected, sometimes under the cover of a hidden camera, recorded conversations, the exclusive testimonies of the main protagonists. From General Aussaresses to former Minister of the Armed Forces Pierre Messmer, including General Reynaldo Bignone (head of the military junta in Argentina from 1982 to 1984), General Albano Harguindéguy, General Manuel Contreras, and Generals John Johns and Carl Bernard, this investigation gives us a hidden reality of the country of Human Rights.

CHoisir à vingt ans

Between 1954-1962, one hundred to three hundred young French people refused to participate in the Algerian war. These rebels, soldiers or conscripts were non-violent or anti-colonialists. Some took refuge in Switzerland where Swiss citizens came to their aid, while in France they were condemned as traitors to the country. In 1962, a few months after Independence, Villi Hermann went to a region devastated by war near the Algerian-Moroccan border, to help rebuild a school. In 2016 he returned to Algeria and reunited with his former students. He also met French refractories, now living in France or Switzerland.

Obaida

OBAIDA, a short film by Matthew Cassel, explores a Palestinian child’s experience of Israeli military arrest. Each year, some 700 Palestinian children undergo military detention in a system where ill-treatment is widespread and institutionalized. For these young detainees, few rights are guaranteed, even on paper. After release, the experience of detention continues to shape and mark former child prisoners’ path forward.

Vote off

Fayçal Hammoum recounts the 2014 presidential election through non-voting inhabitants of Algiers who, like him, are in their thirties. Be it Bilel, a grocer by default exposed to his customers’ political babbling, or the more politically-charged comments of Younes, a militant FM radio journalist opposed to President Bouteflika’s fourth term, the variety of conversational scenes in no way changes the determination not to vote for an old man who has been invisible for almost two years. The rappers Omar and Brahim are as bereft of hope and voter’s cards as the Tellek webradio DJ, since “the match is fixed”. Moving away from his focus on this subject to film their daily life, the filmmaker draws the portrait of a generation who, as Bilal says with poignant simplicity, “just wants to live