NYU Black Renaissance Noire Spring 2015 - Page 140

A Jil jadid [rejuvenation] and the feminising of cinema Throughout the last decade, Algerian cinema has renewed itself in terms of quality as well as the discovery of real talents. Themes have been expanded and the cinema seems more inclined today to project a real or subliminal image of Algerian society, with is failings and its doubts, as is the case in all the countries where cinema is free. 138 The revival of the fiction short film — whose directors have walked off with many international prizes in the last few years — has shown that there is hope for a new generation of film-makers, who will establish a truly sustainable Algerian cinema. With Yasmine Chouikh (La porte, 2006), Khaled Benaissa (Sektou, 2008), Mounès Khemar (Le dernier passage [The Last Passsenger, 2010]), Amine Sidi-Boumedienne (Demain Alger? [Tomorrow Algeria?, 2011]) as well as Abdenour Zahzah (Garagouz, [The Puppeteer, 2010]), the cinema ‘made in Algeria’ seems to have secured its future. In spite of its length (just 24 mins), Garagouz represents one of the most brilliant exercises in fiction initiated by an Algerian since Independence. The days before (2013) revealed Karim Moussaoui as a promising director. BRN-SPRING-2015.indb 138 By way of conclusion Another feature of the last decade has been the emergence of women filmmakers. At the beginning of the eighties, Assia Djebar had brilliantly prepared the way for her colleagues. Twenty years down the line, Mina Chouikh followed in her footsteps, in a cinema where feminism had previously been expressed by men. Then came Mina Kessar and Nadia Cherabi, with the most engaging L’Enfer du miroir (2007). More recently, Fatma-Zhor Zamoun, whose first feature film, Zhar (2009), full of creative innovations, seems to represent a serious chance for Algerian cinema. With its acute sense of spatial exploration, its style somewhat resembles that of Tariq Teguia. The film-maker is currently finishing her second feature film called Combien tu m’aimes [How Big is your Love] that deals with children who are victims of their parents’ divorce. In the sphere of documentaries of historical and political nature, two young women have demonstrated genuine talent, Yasmina Adi and Mariem Hamidat. In the very fine piece that Yasmina Adi made in 2009 for France Television about the massacres of 8 May 1945, she blamed high-level French officials of the period. In the same vein, she presented her previously mentioned latest feature documentary, Ici on noie les Algériens in autumn 2011. At first sight, the overall results of productions seem to be satisfactory in terms of quality. It is still possible, today, to state that Algeria has some very talen FVB7&VF