NisimazineAbu Dhabi

#2, Saturday 15 October 2011A Magazine by NISI MASA, European Network Of Young Cinema

Chicken with Plums Abderrahmane Sissako

The Beginning and The End

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مجلة تصدرها نيسي ماساـ الشبكة االوربية للسينما الشابة

السبت 15 أكتوبر 2011

د جاج بالبر قوقعبد الرحمن سيساكوونهاية بداية

نيسيمازين

NISIMAZINE ABU DHABI

Saturday 15 October 2011/# 2A magazine published by the NISI MASA in the

framework of a film journalism workshop

for young film journalists from Europe and the Arab

World with the support of

the Abu Dhabi Film Festival

EDITORIAL STAFF هيئة التحرير المدير المسؤول: ماثيو داراس

Director of Publication Matthieu Darras رئيس التحرير/التصميم الفني: مارجه ألدرس

Editor-in-Chief/Layout Maartje Alders المشرفان: جي وايسبيرغ و زياد الخزاعي

TutorS Jay WeissbergZiad Khuzai

Contributors to this issue المساهمون في العدد

Ali Shujaa Al Afeefi, Janka Barkoczi Fuad Hindieh, Mohamed Beshir

Miguel Fernández Flores Filippo Zambon

NISI MASA 99 rue du Faubourg Saint-Denis,

75010, Paris, France.

Phone: +33 (0)9 60 39 63 38

europe@nisimasa.com

www.nisimasa.com

// editorial

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by Fuad Hindiehهندية فؤاد

,

picture of the day / صورة اليوم

ضمن فقرة خاصة، يحتفي مهرجان ابو ظبي السينمائي بالذكرى الوحيد العربي الكبير نجيب محفوظ، المصري الكاتب 100 لميالد الحائز على جائزة نوبل لآلداب عام 1988. ويحتفي كذلك بالذكرى اول اصبح الذي طاغور رابنداراناث البنغالي الشاعر ميالد 150على

حائز غير اوروبي على الجائزة ذاتها عام 1913.

المشهد خارطة على بلديهما ثقافة الكاتبين كال وضــع لقد االجتماعية الحالة عكست نصوصهما ان العالمي. االبــداعــي والسياسية مما جعلها ارثا قوميا تخطى الحدود االقليمية. وقال المهرجان في سبب اختيار محفوظ ان مسيرته امتازتبميزتينالموالثانيةعالقتهبال األولىنيلهالنوبل، ثيللهمالدىأيكاتبعربيآخر: سينماحيثكانمنأوائاللكتابالعربالذينكرسواجهودًاكبيرةللكت

افلمها التي طاغور روائع احدى المهرجان واختار ابةالسينمائية. راي »شاروالتا« )1964( لعرضها الكبير ساتياجيت الهندي المخرج

المناسبة. في هذه

يكون سباقا ان المميزين االسمين عبر هذين المهرجان يسعى االحتفال تستدعي منصة باعتباره عالميا سمعته تكريس في بمنجزاتهم االمارات في المشاهد الدوليةوتعريف الثقافة برموز الفن ان القول وبالتالي العصور، مر على االبداع وجه غيرت التي

ليس حكرا على احد.

والتألق التوسع على قدرته المهرجان اثبت الخامسة، دورته في واخرى الفني، خطابها بجودة امتازت عديدة افالم استقدام في العربي. العالم في الشباب ثورات مثل اساسية قضايا طرحت هذه مثل بقاء في كبير املنا ان القول يستدعي الــذي االمــر حكرا ليست العربية منطقتنا ان الثــبــات المميزة الفعالية ودعم السابع الفن الى واالنتصار االبــداع على بل الحروب على

الفنية. احالمهم تحقيق الشباب في السينمائيين

Under the special program section, the festival celebrates the 100th anniversary of the birth of Naguib Mahfouz, the only Arab writer who won the Nobel Prize of Literature in 1988. It also celebrates the 150th anniversary of the birth of Bengali poet Rabindranath Tagore who became ‘the first non-European Nobel’ by earning the Prize in 1913.

Mahfouz and Tagore are representatives of their countries, which they contributed to put on the cultural map. They tell stories about their nations and then these stories go far beyond their homelands. And the most important thing is that they left a heritage for their people.

The choice of the Abu Dhabi Film Festival to celebrate these widely successful and meaningful writers tells something about the festival’s ambition. By taking these two artists as models to say “Art is not a preserve for the few”, the festival is trying to put Abu Dhabi on the map of crucial cultural events.

In its fifth year, the Abu Dhabi Film Festival has been growing and flourishing. It brings many films that discuss important issues such as the youth revolutions around the Arab world, as well as films with high artistic value. This means that our region is not just the place for wars! We hope such events continue to prove this to the whole world, and to provide us, youth passionate about cinema, with an opportunity to showcase our works to a community that supports us.

فتتاحية ا

by Filippo Zambon

Chicken with PlumsMarjane Satrapi & Vincent Paronnaud - France/Germany/Belgium - Narrative Competition

“Yeki bud, yeki nabud (there was someo-ne, there was no one)” opens the Per-sian tales to make the audience know that what they are about to hear is not necessarily the truth. The same phrase opens the film of Marjane Satrapi and Vincent Paronnaud, but the aim is the opposite: to warn us that what we will see could be true by certain degrees. Satrapi’s well-known magical realism works here at high rev, and merges rea-lity and the fantastic on every level.

Chicken with plums is based on Satra-pi’s comic novel originally published in France in 2004. This work completes the author’s four-part graphic autobio-graphical series which became famous under the title, Persepolis. The story of the current film takes place in Teheran around 1958, but it provides a look back even until the times of the great king, Solomon, and a look forward into the future. The narrator of the film is Azrael, the angel of death, who is waiting for the end of the deeply depressed Nasser Ali Khan (Mathieu Amalric). During his last eight days, Nasser Ali takes the op-

portunity to remember the beauty and the dead ends of his own and his family members’ life as well. He lets us know the past and future fate of his children, and with him together, we discover the secret of his platonic love. The set of the film is part of Satrapi’s coherent world that was built from an indefinable nos-talgia for a lost Iran (the country and a woman with the same name) and the fabulous old memories.

As for the style of the movie, it is not spared with the director’s harsh irony. Even if, being a live-action feature, it lo-ses the chance to bravely play with the lines and contrasts in comparison to the animated structure of Persepolis, the ex-cellent actors (Mathieu Amalric, Golshif-teh Farahani, Chiara Mastroianni) can keep the message. In the end, Chicken with plums becomes a fine mixture of eastern symbolism and western satire, inspired by the felicity of Jean-Pierre Jeunet’s Amelie.

by Janka Barkoczi

review / عرض نقدي

A story about memory through beautiful music plays well in Safinez Bousbia’s El Gusto. This is a tale of times lost, and the reweaving of history, through the resurfa-cing of a music: Chaabi, the sound where “Arabic classical music and Al-Andalus meet the casbah.” It was 2003 when Bousbia was wondering through Algiers, entering a mirror shop where she met Mr. Ferkioui. The 83 year old man told her his own story as a Chaabi musician. In the 1950’s, Chaabi was not only a sound, but a place where Arabs and Jews would meet in casbah as one, living and playing together in bars, religious celebrations, and also, just for the sake of it... for ‘el gusto’.

As one of the musicians says, «Chaabi can make you forget weirdness, hunger, thirst and sadness». When the National Liberation Front (FLN) launched the Algerian War of inde-pendence in 1954, Chaabi could be heard at any corner of the country. Through the madness of war, the casbah commenced deep transformation: bars were closed (or worse, bombed), streets emptied, and music started to

be frowned-upon. «If one of my brothers is on his way to die, why would I chant?» Chaabi musicians could no lon-ger find their place: the Jewish musicians fled to France, a safe haven for them, ‘with the guitar in one hand, and the bag in the other’. Arab musicians, who couldn’t work playing, employed themselves in petty jobs as a mean to sustain their families. In time, Chaabi got itself lost in memory with pre-independence Algeria.

Upon hearing this story, Bousbia set herself to find the original Chaabi players, now scattered through Algeria or France. It took her two years to assemble a 42-piece band naming it ‘El Gusto’ (Spanish for ‘the thrill’), most of them trying to figure out how the last forty years went by. Upon their debut in Théâtre du Gymnase in Marseille, they created an international phenomenon which took off quickly, playing in large venues like Paris-Bercy, or London’s Barbican, giving ‘El Gusto’ musicians new air, and new lives. Through a brilliant soundtrack and great use of archival footage, it’s an accomplished story and a must see for music buffs.

by Miguel Fernández Flores

El GustoSafinez Bousbia - France/Algeria/Ireland/UAEDocumentary Competition

Saturday 15/10 VOX 4 - 4:30 PM Monday 17/10 VOX 1 - 3:45 PM

Saturday 15/10 VOX 8 - 2:30 PM

by Filippo Zambon

SANADAs our second part of the focus on SANAD, today two women filmma-kers and their projects: Yemeni Kha-dija Al Salami and Palestinian Mais Darwazah.

You almost have the same story as Nujood, which you published in a book called ‘Tears of Sheba’. What was your feeling when you heard about Nujood?I was devastated because it brought up bad memories and reminded me of my painful experience when I was her age. I understood the humiliation this brings, the pain and desperation that make you hate everything around you. This is why I have dedicated my life to fight against the conditions that young girls and women in tradi-tional societies must endure through the documentary films I made on the subject. I also helped other young girls to obtain their divorce and I made sure to put them in school be-cause I believe strongly in education, which is the only rescuer to them as it was for me.

How important is the issue of early marriage to you?

In my opinion, early marriage is a ma-jor issue, how can we expect to raise a healthy generation in a society that violates the rights of its own children! That is why we have to make a film that will reach as many people as possible, whether they are educated or not. The effect of the images will draw their attention and speak louder

than words. The film will heighten the spectators’ awareness of the trau-matisms related to forced marriages, which still exists today. The film will help families concerned by these dra-mas to think about their situations. One of my objectives is to make the spectators become aware of the phy-sical and psychological after-effects that the young girls suffer, caused by

ancestral traditions and reinforced by ignorance.

Is there any legal attempt to put an end to early marriages in Yemen? Unfortunately, a law prohibiting mar-riage before the age of seventeen was blocked in 2009 by the Islamic Party and by some tribal leaders. It is a long

battle but I have faith we are going to win it.

When do you plan to shoot the film?The film was supposed to be made this year but due to the crisis in Ye-men, we postponed it for next year. The upraising happening in Yemen now will not be included in the film because it is a different subject. But

on the other hand, I am actually ma-king a documentary about this sub-ject from the point of view of women in Yemen.

Is there any plan to screen I am Nu-jood, 10 years old and divorced in Ye-men?The main purpose of the film is to be screened in Yemen so to bring aware-ness and to push people to think. I am sure the film will stir many discussions on the topic. I hope to stimulate an interest in my own country as well as that in other countries that are also af-fected by this problem. I want to give a political dimension to my film in or-der to mobilize women’s associations in Yemen, with the objective to exert pressure on the government, so that our leaders react more quickly and vote at last for a law that prohibits marriage before the age of eighteen.

by Ali Shujaa Al Afeefi

...how can we expect to raise a healthy generation in a society that violates the rights of its own children!

I am Nujood, 10 years old and divorced is a book based on true events that describes the struggle of a young Yemeni girl from her village to the suburbs of the capital city Sa-naa. Forced to marry a man in his thirties, abused by her in-laws, she finally ran away to a court. Khadija Al Salami is working on the adaptation of this story to the screen.

I am Nujood, 10 years old and divorced

photos by Filippo Zambon

Khadija Al SalamiSanad Project – Narrative (Development)

interviewFOCUS / بقعة ضوء

Mais DarwazahHow did the idea of My Love Awaits Me by the Sea come up?The film idea came about when I saw the works of a Palestinian artist called Has-san Hourani, the poetry and drawings in his book ‘Hassan is everywhere’ really captiva-ted me. The tragedy in Houra-ni’s life is that he wrote a book about freedom, mobility and living with no boundaries, but ironically he drowned trying to save his nephew in Jaffa in 2003, after they snea-ked through the separation wall in Ramallah for a day just to have a breath by the sea.I spent three years exploring how Hassan managed to sur-pass the Israeli occupation and use his imagination to go places. Personally I always dreamt of seeing Palestine but I never really had the courage to, as it’s such an overwhelming step for refu-gees like me, with 60 years’ baggage of bloody conflict. Somehow, with Hassan’s deli-cate spirit by my side I felt se-cure enough to travel to Pa-lestine for the first time, and the documentary is -on one level- reflecting my search for Hassan’s spirit and dream in the people there.

How did traveling to Pales-tine reflect on your prior image of the documentary?It was a challenge to go to a land filled with bulldozers, tanks and bullets, and still be able to find that fantastical level of dreaming. But I knew I wanted to reject this victimi-zing attitude fed to us by the media, and I was sure that if Hassan was able to achieve this under the occupation then there must be others like him.One of the people I met in the camps is called Hazem; when he feels really suffocated he goes on the roof, puts his feet in a bucket of water and trans-mits sounds of sea waves onto the camp through his spea-kers. This is a character I wrote about for two years without ever knowing he existed. All the people I met through my visits had their own personal way of dreaming. I see this documentary as the Palesti-nian dream is full color and surround sound.

How different is it handling a personal, familial story in your first documentary, and handling a broader more complicated setup?The overriding emotional flow I prioritized in Take Me

Home continues in this film. I’m also telling my personal alongside the other stories. I think the visual style influen-ced by my graphic design background is more evident in this documentary.

You were a one-person crew on set in your first do-cumentary. Could you tell us about the experience of working with a relatively bigger crew?If you are going into a space

with a family of four, and one of them already fears the camera, it is vital to have someone taking care of the technical hassle while you sit with the characters and get to connect with them more. I had long discussions with my cinematographer before-hand to reach a visual struc-ture; we tried to construct two layers of visual images corresponding to my perso-nal account and the charac-ters’. One of the main themes was trying to convey this need to breathe and break free from a siege and find a moment of release.

Your film received support and/or funds from Abu Dhabi, Berlinale, Sundance, Doha, Beirut Screen Institute and AFAC. What’s your take on the documentary funding schemes in the region?I realized that development funds are crucial to me. There are endless variables during shooting a documentary, be it new stories that pop up on the shooting day, or the many problems that inevitably occur throughout, even your mood

on that day plays a factor, so if the development phase is not extremely concrete you might lose the whole thing. I myself prefer Arab funds, but the ad-vantage European funds have over the Arab ones is their dis-tributional edge. Once you are signed to a European funding body, you have access to the whole European market, and the funders themselves start finding opportunities for your film to be screened in festivals and exposed to the market.

by Mohamed Beshir

Following her ac-claimed first feature documentary Take Me Home, Palestinian director Mais Darwa-zah’s comeback tac-kles a wider definition of home, dreams and alter-reality. My Love Awaits Me by the Sea received SANAD deve-lopment fund amidst several other funds.

My Love Awaits Me by the SeaSanad Project – Documentary (Development)

Somehow, with Hassan’s delicate spirit by my side I felt secure enough to travel to Palestine for the first time

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The first film competition of the kind launched in the UAE be-came the center of attention not only in the country, but also in the Gulf Region (Bahrain, Kuwait, Oman, Qatar, Saudi Arabia). Since the event started, Emirati films have gained more atten-tion. This explains the increased intensity of competition, and the high expectations for this year’s festival.

The first round of the festival was held side by side with the Abu Dhabi book fair, to have a readily available audience who can also come to watch films for free. The organizers were betting to get 10 films; if they got it that would be excellent. Although just two hours before the deadline they received only 2 or 3 films! The idea to call it off and cancel eve-rything was emerging. However, at the last minute of the deadline suddenly 90 films appeared!! In spite of 58 films screened in the first round, only 30 to 40 people came to fill the empty seats of a theater which was made for a 1000 viewers. But the following year it was not experimental any-more and the festival decided to go to the next level.

The Emirati film maker Nawaf Al Janahi (The Circle, 2009; Sea Sha-dow, 2011) remembers the early times, when the festival started and he was on the street passing leaflets to people, promoting the film festival, shouting “Emirati films!! Emirati films!!” However, before all that, the real birth of the competition was when three people sat on the table chit chat-ting and at the end of that day the idea of the Emirates Film Competition saw the light. Those people are now the film director Al Janahi; the director of Emira-tes Film Competition section at Abu Dhabi Film Festival Ali Al Ja-bri; Masoud Amr Allah Al Ali, the artistic director or Dubai Interna-tional Film Festival. “The conver-sation was simply how we tell our

society that we exist, and we thou-ght that it was time to achieve that objective”, says Al Janahi.

One of the reasons EFC star-ted was the film festival called “Arab Screen Independent Film Festival” already established in 1999 by the Libyan film director Mohammed Makhlof, which star-ted in London before moving to Doha, Qatar. The good reputa-tion of the festival extended to the entire Gulf Region countries where some Emirati film students successfully screened their films there. So the question was: why should Emirati directors go all the way to Qatar to screen their films? Why don’t they screen them here in Emirates?Al Janahi recalls: “From that day the cinematic movement was born officially not only in the UAE but in the Gulf as a whole”. In the following years the EFC started to get things moving in neigh-boring countries and attracting more film makers to come and show their films, especially when the festival launched a new cate-gory in competition just for the Gulf Countries. That’s when the big buzz happened, which saw titles moving around and shown in colleges, universities and fes-tivals.

As the ADFF catalogue states: “In 2008 and 2009, the EFC was held alongside the Middle East Inter-national Film Festival, which was subsequently rebranded as the Abu Dhabi Film Festival (ADFF) in 2010. That same year, the EFC joi-ned ADFF’s other initiatives aimed at providing filmmakers from the Gulf and the entire Arab world with greater exposure.”Al Janahi considers this step as the end of the status of Emira-tes Film Competition. “It’s not the same anymore in many aspects. When Dubai International Film Festival added a new rule that any film screened in Dubai should be a premiere not only in UAE but in the entire Gulf, that killed the

movement”. Then he adds: “Ten years ago the strength of the EFC was the uniqueness of it because it was the first and the only festi-val in the country. Every year there were many films, more audiences and a lot of guests coming from abroad to attend it and you could watch all the films. Nevertheless today’s strength is the interna-tional spotlight that the selected Emirati films gain from ADFF. Yet it’s not anymore the same amount of films being put together like in the old days”.

The challenge that faced Emirati films was funding at first, althou-gh now with new government or-ganizations such as TwoFour54, it shows that making films beco-mes possible and approachable, by both amateurs and professio-nals. From ten years till now, it has become harder to get films selected in competition, which raises the bar of challenges local film makers are facing. All in all, a lot of positive points have to be mentioned about the new films, for, at the end of the day, the fes-tival projects decent movies of good quality.

By Ali Shujaa Al Afeefi

This year, the Abu Dhabi Film Festival is celebrating the 10th anniversary of the Emirates Film Competition. Ali Shujaa Al Afeefi reports on the history and growing im-portance of the event for regional filmmakers.

Saturday 15/10 VOX 2 6:00 PM

Sunday 16/10 VOX 2 12:45 PM

Sunday 16/10 VOX 2 6:15 PM

Monday 17/10 VOX 2 6:15 PM

Tuesday 18/10 VOX 3 3:00 PM

Wednesday 19/10 VOX 4 3:00 PM

focus / بقعة ضوء

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The Beginning and The End

meet mahfouz

The first cinematographic adaptation of a Mahfouz’s novel, The Beginning and the End , is a story of survival that touches every as-pect of Egyptian life in the late 30’s. When the father suddenly passes away, he leaves his family suffering without any income. The mother tries her best to avoid falling into po-verty by moving to another apartment, and selling the furniture of the house. Her oldest son, Hassan, ends up dealing drugs and living an underground life with prostitutes; Husain, the middle son, leaves school and start wor-king to help his mother and his brother Ha-sanian. Hasanian breaks up with his fiancée and leaves his family after graduating from college, believing that his place is with the top society and not with such poor people as his family. Nafisa, the only daughter, starts to work as seamstress to earn money. After get-ting into a relationship with the grocer, who cheats on her and marries another woman, she sells her body to strangers just for a han-dful of money in order to help her mother and her brother Hasanian. Eventually the story ends as it had started for the family.

Fear, hope, and courage constitute the ele-ments of an intense atmosphere, which shows the corruption of the elite society and their control of the poor ones. The old saying could apply here: “the rich get richer and the poor get poorer”. A tragic novel as most of Mahfouz’s books, The Beginning and the End was made into a Mexican version in 1993, Principio y fin, which is also being screened in the program this year.

By Ali Shujaa Al Afeefi Saturday 15/10 VOX 3 9 PM

ونهاية« »بداية البقاء في شريط تالمس حكاية المأخوذ سيف ابو صالح المصري للمخرج )1960(جميع محفوظ نجيب الكبير الكاتب رواية عن الثالثينيات أواخــر في المصرية الحياة مناحي الذي األب يتوافى عندما الماضي. القرن من عائلته تــاركــًا فــجــأة حكوميا موظفا يعمل قد األم تــســعــى مـــــادي، دخـــل أي دون مـــن الفقر، وذلك الوقوع في تجنب الى مستطاعها أثاث وبيع ــرى، أخ شقة إلــى االنتقال خــالل من الى حسن األكبر األبن ينتهي القديم. بيتهم فيما الرذيلة، حياة ويعيش المخدرات تعاطي ليبدأ ــدراســة ال حسين االوســـط يتركشقيقه وشقيقه أمــه لمساعدة مسعى في العمل خطبته، االخــيــر هــذا يفسخ حسنين. الــثــالــث الكلية، مــن تخرجه ــر أث عائلته عــن ويتخلى المجتمع وليس مع نخبة أن مكانه مع مؤمنًا

الفقيرة. عائلته

نفيسة الوحيدة االبنة تبدأ فردية، مباردة في تورطها وبعد المال. لتكسب كخياطة العمل ويتزوج يخونها ــذي ال السمان، مع عالقة في تبيع حيث الرذيلة في تسقط اخرى، امرأة من من حفنة كسب ــل اج مــن للغرباء جسدها حسنين. وشقيقها والدتها لمساعدة المال، تصدم جديد من اخرى تبدأ الحكاية، نهاية في

الجميع.

عناصر سيف ابو – محفوظ الثنائي نص عالج الشريط، ابطال لدى والشجاعة واألمل الخوف المصري المجتمع نخبة فــســاد ـــرزت اب الــتــي وسيطرتهم على فئة الفقراء، كما يقول المثل أكثر«. يفقرون والفقراء أكثر، يغنون »األغنياء تشبعت تراجيديا عبارة ونهاية« »بداية شريط النوبل العربي الوحيد. ويذكر بها اعمال صاحب ان هذه الرواية اقتبستها السينما المكسيكية ابو ظبي أدارة مهرجان ادرجتها التي 1993 عام على 100 بمرور االحتفاء ضمن الحالية دورته في

المدق«. ميالد صاحب »زقاق

العفيفي شجاع علي

Salah Abu Seif (Egypt, 1961)

بداية ونهاية

1961 مصر ـ صالح أبوسيف

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عبد الرحمن سيساكو

بين ما افالمه احداث معظم تدور فى لُتكّون مالي, و موريتانيا لمعضالت معمقة رؤية مجملها ما افريقيا فى االستغالل و المعاناه بعد الكولونيالية من منظور شخصي ألبناء هذه القارة. ال سيما ان سيساكو مبكرا المهجر معنى اختبر الذى )مسقط مالي بين ما تنقله بسبب رأس )مسقط موريتانيا و ابيه( رأس للسينما دراسته الى باالضافه امه( الى سابقا, السوفياتي االتحاد فى جانب البعد العالمي الذى فرضه عليه عصر فى االفالم صانع حياة اسلوب

العولمة.

سيساكو مكانة من الرغم على العالم مستوى على افالم كصانع فى باستمرار تستضاف )افالمه كان مهرجان منها دولية, مهرجانات تحكيمه لجنة رأس الذى الفرنسي الرئيسية فى عام 2008 (، اال ان هذا لم االنتاجية المعضالت ضد تماما يحصنه عادة, المؤلف« »المخرج تواجه التى على الحاصلين احد هو فسيساكو

العام لهذا ظبي( ابو – )سند منحة الجديد الروائي مشروعه لتطوير فان السبيل , ‘ميتو‘. من وجهة نظره من العمل على للمحافظة الوحيد التأثير المادي و التدخل االنتاجي، يكون عبر توزيع موارد االنتاج على اكثر من بدال صغيرة, بنسب للمشاركة جهة

من جهة واحدة متحكمة.

من سنوات بعد سيساكو، شعر ان يسميها، كما االختيارية« »الهجرة الوقت حان ليعود من فرنسا لالستقرار يتفاعل ان اجل من موريتانيا, فى مصادر مع مباشرة اكثر بشكل االتجاة ثنائي تدفق ليؤمن و الهامه, االدراك كان و وطنه. فى الناس مع الخطوة لهذة المالزم المنطقي الناطقة الثقافات الى التوجه هو بحثا المنطقة في العربية باللغة مستوى على مشتركة عناصر عن اللغة جانب الى جماهيري, و انتاجي المشتركة, فان المعاني و االشكاالت المطروحة فى افالم سيساكو تنطبق العربية. البلدان العديد من ايضا على

الى سيساكو يعود الجديد نصه فى قصة المرة هذه ليحكى موريتانيا العبودية عقب تحريرها من يتم فتاة اتخذها الذي سيدها زوجها/ وفاة كمحظية منذ كانت فى الرابعة عشر من عمرها. و فى اول قرار لها كسيدة حرة, اختارت ان تترك ابنها مع ام زوجها الراحل لتسافر الى نواكشوط بحثا عن

حبيبها مبروك الذي فرقهما زواجها.

فى سيساكو العمال المراقب يجد بعدا الجديد للفيلم الملخص هذا افالمه سياق فى التأمل يستحق السابقة ان هناك خطا مشتركا يجمع الشخصية اهلل عبد فمن حكاياتها، السعادة‘ انتظار ‘فى فى المحورية المستوى على يعكس الذي نفسه سيساكو قصة الشخصي بعمله مرورا االغتراب، و الهجرة مع الروائي الثاني ‘باماكو‘ الذي انحاز الى منظور اوسع لمشاكل القارة وادانته السبابها, و التى تكّون عوامل رئيسية المستوى على االبطال الغتراب ‘ميتو‘ يأتي االنساني، و الجغرافي ولكن للهجرة، اخر مفهوما ليطرح الوقت وفي المرة, الوطن هذة داخل

نفسه فى عمق الذات البشرية.

تنبىء عودة سيساكو الى العمل فى مشروعه فى جديدة بمرحلة افريقيا العنصر يظل لكن و السينمائي, على قائم افالمه فى جاذبية االكثر

شاعرية تناوله وضع االنسان االفريقي ، مابين كونه ضحية عوامل خارجية من الشخصية احالمه و طموحه و جهة، من جهة اخرى. تمتاز اعمال سيساكو التمثيل فى االرتجال بين ما بجمعه شديد عام اطار على والمحافظة التي الكاميرا مستوى على التوازن مواجهة في ثابتة الوقت اغلب تبقى

الممثلين.

االطار هذا فى سيساكو نظرية ان من تمايزها تستمد التشكيلي او نافذة هي السينما ان فهمه و التفاعل الى المشاهد يدعو باب الحكاية, صياغة اعادة في المشاركة عليه ُيصبح االعتماد على التلقاثية فى االداء التمثيليى اختيارا منطقيا لدعم المشاركة لهذة المناسب المناخ الجماعية. يعتمد هذا المخرج االفريقي من المتنوعة المونتاج تقنيات على حتى او الخاص, ايقاعه تحقيق اجل االحيان. بعض فى االيهام لكسر تستخدم االفالم ان سيساكو يرى و المتفرجين تخدير فى الغالب فى اخضاعهم, و بالتالى يرى ضمن الوضع من هنالك ليس ان للعالم الحالى االفالم صناعة في اهمية اكثر سبب

من اكتشاف الذات و االخر.

محمد بشير

portrait / بورترية

و السعادة«)2002( انتظار في « صاحب عاش الرحمن عبد الموريتاني المخرج »باماكو«)2007( سيساكو في فرنسا اغلب حياته, وقضى العقد االخير من القرن الماضى فى تحقيق افالم قصيرة و متوسطة الطول، مكرسا مكانته كأحد أهم

صناع السينما في افريقيا.

ونمب

زو

يبيل

فرة:

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