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*** Special Evening
November 7
In the presence of
Rabah Ameur-Zaïmeche
and Michelle
Guerci,
journalist and lecturer at Paris VIII
Supported of
and in partnership with
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The palette is a painting tool,
for mixing colors.
A pallet handling is an accessory designed to streamline the handling, storage and transportation of goods.
The nutria (Myocastor coypus) is a mammal native to South America, introduced into Europe in the nineteenth century to the operation of its fur. All individuals present in Europe are escapes or releases volunteers.
A social structure implies a good communication system. Many nutria Caviomorphes whose use a palette of sounds, each having a precise meaning.
Word and pallet
Describing the everyday business of pallet repair, Adhen itself as a brilliant gallery of characters, who observes with a sharp eye on power of speech and universal struggles.
Causer, expression, free speech for better understanding the world as it goes: it is an ancient tradition French movies (which has done wonders for example in Jean Renoir), which has occurred in recent years the exhilarating updating. If the multi-Cesar Abdellatif Kechiche was perfectly able to bind reinvention of French identity and dizziness, Rabah Ameur-Zaimeche hit equally hard with this Adhen, which depicts the graceful movement of the floor in a small business. The boss, Mao, is a Muslim and tent, midway between authority and complicity, to establish a proper relationship with its employees, all from the African continent.
First comic and burlesque (the grotesque episode of circumcision), the film moves then to a gravity which never yields to the misery on the contrary, it is through aesthetics sunny and cheerful rhythm as Last Maquis confronts its characters with contemporary difficulties.
What is striking here is the sovereignty with which social issues are articulated and consistent characters. If the engine of narrative film is the opening of a mosque in an enterprise, enabling a solid reflection on the relationship linking religion, work, community and individualism, Rabah Ameur-Zaimeche transcends any categorization by the flamboyant gallery emotions he draws. Prisoner of no subject, freed any central character, the film sails with freedom within the team that repaired pallets. The director does not forget to replace the human relationships within a broader nature, offering a long interlude around a nutria, which broke into the business. In an unfathomable poetry, this passage perfectly illustrates the ambition of Adhen: capturing an acute turmoil of life, pushing ever further the accuracy of gaze over France today. After Wesh Wesh, what happens? and Bled Number One, Rabah Ameur-Zaimeche could not better close his trilogy.
Damien Leblanc
The third feature film by Rabah Ameur-Zaimeche subtly interrogates Islam and the proletarian identity. Film analysis of a "scrub" the riddle which eventually becomes resistant:
CONVERSATION Francis Bégaudeau
Throughout his three movies, Wesh Wesh what that Password?, Bled Number One and Last Maquis, Rabah Ameur Zaimeche has built a world consistent and personal. There raised the question of the life of cities, the weight of Muslim traditions in Algeria, now the labor-management report and report to Islam. Subjects who are heavy each time more extensive than the director refrained from trial, describing a situation rather than the viewer invests only. The magnitude of these movies, and more of Last Maquis, is the skill with which Rabah Ameur Zaimeche works together form and substance, raises questions concerning a humanistic look at his characters at the same time it playing with colors, shapes and rhythm of a film that offers itself to contemplation as much as reflection.
All three films Rabah Ameur Zaimeche is strongly rooted in place, in which the story is intrinsically linked and that dictates the pace of the film. Wesh Wesh what happens? described the life of a city Paris, Bled Number One problem is the archaic Muslim Algerian magnified in a campaign. As in her first film where we seldom went to the City of Groves, Last Maquis remains concentrated in a warehouse pallet, also mechanical garage in an industrial area. Place as the filmmaker met as evidence before writing his film, which he exploits the potential cinégénique majestically. Addressed as an array, this scene is the subject of a play with the colors red, thousands of pallets, yellow slickers, blue sky, green trees ... Corps workers, machinery, pallet blocks ... continue to be in motion before our eyes and build a canvas of colors and forms in perpetual metamorphosis. It gives us time to take the pulse of dance strangely light machinery and materials, gestures of backbreaking work. The fluidity of camera movement is involved the grace of this piece, these shifts smoothly. In the midst of workers and pallets, it wanders, looking for what may well be interesting to film, hesitates, re framework remains long before the same thing. It seems to intensify the attitude and Rabah Ameur Zaimeche character he plays, Mao. Corporate boss, he walks among its employees to ensure they perform their tasks properly. Behind him, the filmmaker seems to look the people he chose to stage. Like Rabah / Mao, the viewer oscillates between attention to narrative and contemplation. A remarkable sound work making the porous border between the noise and musique concrete part of the fascinating rhythm of the ballet where you can breathe, fluid motion up to men in flights of the crane.
The Last Maquis force is to arrive in the interstices within or beyond this fluid light, to ask serious questions of the employer-employee relation, the relation to Islam (at religion). The pressure on Mao's workers is initially silent but omnipresent: here and there are indications distilled, when he calls her a soft look maneuver to confirm that he is happy, he checks the score ... Bled Number One, the problem is the archaic Islamic traditions was discussed similarly, rising time to plan, a scene or a sentence, not making this delicacy that the more meaningful issues raised. If the viewer detects the manipulation of Mao when he appeared at the beginning, the characters do not. Awareness of some of them took place when a mosque built in the warehouse, and appoints himself the Imam. The tradition that the latter is chosen by the faithful, some workers dispute, see the note in the pattern of abuse of power, an attempt to control their freedom. On the contrary, some are grateful, confident in the sincerity of his faith. When each of termination revolt at the end, others remain manageable thanks to a few euros, including Mao's rise. The viewer remains uncertain about his intentions for Mao when he asked the Imam to convert those who are not yet, it appears that the mosque allows him to buy social peace. But when he goes there to meditate alone at night, his belief may seem genuine. Part of this ambiguity character, and hence the floating of the meaning of the film, the game elusive Rabah Ameur Zaimeche, the fact that the director interprets the role of the boss and to accept, as a filmmaker, also an entrepreneur.
In Wesh Wesh and Bled Number One, the look of the character played by Rabah cernable remained, he was the one who returns after years of absence, outside Paris and Algeria, and one sees clearly reality that has become foreign. Instead of Mao (appointment at the crossroads of Muhammad and Mao Zedong) is more ambiguous, it is both the middle those for whom it manages to work and back because he observes, directs and manipulates. It is definitely a selfish boss who, without bothering to argue, denies any increase, to pay overtime and ultimately terminates abruptly for economic reasons. Occasionally, however, Mao seems to leave room for Rabah, when one feels in her eyes a kindness to his characters, he laughs with them sincerely and spontaneously. Working within the meaning of the ambiguity, the director encourages the viewer to find their own answers at the same time it refuses to judge his characters, to arrogate this right.
The humanity of this look is reminiscent of Renoir, present in more than one title in the cinema Rabah Ameur Zaïmeche. The Last Maquis universe is exclusively male, nor is there any woman is mentioned. Wesh Wesh As with residents of the City of Groves, in Bled Number One with those of the village of Algeria, Rabah Ameur Zaïmeche works reflect the nobility of the characters, actors, engineers and laborers here. It is moved by the sincere awkwardness Titi who believe that circumcision is necessary to convert, is the operation itself, words full of sense of village head requesting an increase of joyous complicity between mechanics. If Mao is on the side of the manipulation, the attitude of workers is very healthy, it makes them endearing and can be more sensitive to problems that their story raises. To be heavier than the latter, we laughed too frequently, which contributes to the richness of rhythm and meaning of the film, proximity with the characters. The naivete that they sometimes show makes them both victims and who knows more of the noblest of beings. Laughter accompanied by a fascination for the emotional purity, the problem of abuse of power by the boss is placed along what proved the greatness of individuals. As in Bled Number One and Wesh Wesh, Rabah mixes actors here (Jafri, Christian Milia-Darmezin), who interpret the mechanics, to non-professionals, laborers who actually work in the warehouse and he has long observed , Imam, the Muezzin Muezzin Imam and true. Two reports to the character and play, plus the presence of the filmmaker-actor which was discussed, comparison of three realities heterogeneous part of the richness of the film, the range of possible interaction between the character, the actor and person.
Respect for people filmed doubles as a respect for the viewer, in which Rabah confidence. Just as he leaves a great place to be on screen, Last Maquis offers ample space to invest. Plans last, the filmmaker is not afraid of annoying at the same time that he trusts in the riches of what he filmed. Not afraid either to undermine our habits, when faces are cut, the camera moves between body parts, the field is slow to cons come. Work towards more ambiguity, the lack of an overflow of words or explanatory plans invites us to go to meet what happens, we fully integrates into this world at once accessible, clear, and whose the meaning remains floating.
is finally his confidence in the reality and the possibility of cinema to account for his wealth makes him sensitive and transmits Rabah. The cinema can play with a pictorial decoration, magnifying the people dancing on backhoe loaders and pallets. In a very rare and beautiful out of the warehouse, on the banks of a river, unlikely to capture the flight of a heron in the trees, catch the light leaves a plane that passes through the plan appropriately. In Wesh Wesh, Kamel away the life of the city to go fishing at a lake in Bled Number One he isolated himself on the edge of the water yet, listen Rudolph Berger playing the guitar. Movies Rabah Ameur Zaimeche are holed escapement, at which time we take note of what happens in the warehouse, the Algerian city or village, to assimilate into breathable films that raise serious . Rabah Ameur Zaimeche uses as well as film to talk about issues close to his heart and it is urgent to raise, he uses them to make movies. In one case as in the other, with great gusto.
Marion Pasquier
"The title is enigmatic for the typical person who does not know the Arabic language as well as the contemporary history of the Algeria (country, birthplace of the director).''''means Adhen call to prayer,''last''maquis refers to religious fundamentalists, (we think recess to Algeria). What is the relationship between these words in a foreign language in France today and the film takes place in the suburbs north of Paris? Our quidam cited above do not clearly see relationships. There are yet! For the foreign population in France carry with them their traditions and customs that will handle the crafty to better exploit the workers from these populations. To show their vulnerability in a society that ignores almost all of their culture, the director films the workers who share the same religious faith. Their religious practice (zigounette mutilated, collective prayer coarse miles away spellbinding chants of Koranic verses) is deliberately caricatured by the director to better show then the''primacy''of reality when the conflict broke out between the boss and his workers. Yes Islam, like all religions, is used as a political weapon in the class struggle denied by the zealots''who directs the faithful to''blend (to ensure social peace), in the popular Umma The community of believers. Adhen''scrub''or''last'' is a film that attacks with a certain skill to a complex problem, the relationship between politics and religion. We are not embarrassed by the simplicity of the device of narration because all plans have a density''reveals''the game of subjects and issues (the relationship between boss and employees, between the imam and his' '''flock, among the workers''and''black''Arab''etc.). The film focuses on his characters a knowing look embellished with some humor, poetry and the dose of images and sounds make up the''unspoken'' Film. In his world view he is filming, it reads the mind of director on the current situation of the country that was born and which he dedicated the magnificent''Bled Number One.'' Adhen with''''Rabah Ameur returns to his''suburb''that he had staged the''Wech Wech,''a film unknown and that the acid has had the foresight to support firmly. The rest is history .... "
Ali Akika, filmmaker, member of ACID
Casually, the airwaves are underground Adhen return insistently well beyond the time of its projection.
strange object, which resists unambiguous analysis, both programmatically and formal, which is installed and working as a comedy turns to tragedy. Human Resources in Lumpen one hand, the plant in the country (as they say the city to the countryside) on the other, the place of Islam in the world of work and workers' struggles. Fiction
certainly documentary evidence, as he likes to combine Rabah Ameur-Zaimeche: the interpenetration of these two registers is the social game in perspective and keep the complexity of the characters in defusing any doctrinal position.
Adhen portrait of a group through which humanity, politics, religion and the absence of women - the latter question is settled, so to speak, from the first part of the film, served / sublimated in a crazy gesture symbolic castration allegedly meet the requirements of religious law, but we know that women's place in the immigration context, necessarily refers to the difficulties of living conditions, among others, the issue of family reunification.
Somewhere between the vicinity of a large city and the green French countryside, it works, art, typing and scrap space and matter of an industrial area in agony.
Highly metaphorical, with great simplicity, the film works as pallets (evenly red) manufactured by the company and the accumulation of which serves as a breathtaking backdrop to the film. Not really a sophisticated production, rather transitional objects without which the goods do not circulate. Activator of imagination and reflection that the viewer must set the registers, the film constructs its own tension on the gap between the story and the artifice of the place. More than a theatrical space is installation within the meaning of art, it is. Ie a space in which we are invited to walk in order to produce his own fiction. Here, the expressive force of the stacks of pallets sounds like the ridiculous accumulation of goods ghosts, the precarious order, closure, urban periphery and the flaming potential revolts.
Title, Adhen gives clearly the political tone. In the company's boss Mao, the place of immigrants in the hierarchy of work falls back on the historicity of immigration; African workers forming the last wave, the more precarious, the most fragile, most remote observation. We do not know more about each character that is at stake in their interactions or what s'entraperçoit in the wake of the camera.
"How aggressive film may remind one of documentary cinema, but it's true that we are not provided in actuality. This is another relation to time, which is not necessarily recording an immediate reality, so realistic. This is a proposal, just make things, not judgmental, "says Rabah Hameur-Zaimeche.
On clear line of narrative, opposes the opacity of Mao, whose ambiguous demagoguery will be unmasked at the same time that the true function of religion, only bond that unites them all, and on which the movie, "secular" as director, conveniently distinguished believers clerics. Played by the director himself, Mao is just turning his company and the movie around him. Only in a superb escape scene, something its deepest truth will emerge. In the scene of nutria in the middle of the immutable nature of channels lush Edenic jungle animals and welcoming to come Moreover, indifferent to the instabilities of views, what story is the eternal migration of men, something like the salt of the earth.
Cati Couteau, a member of ACID,
Portrait Rabah Ameur-Zaïmeche
It says himself: "In my city, I was the boss's son." Rabah Ameur Zaïmeche comes from an Algerian family in the past easily, which owned forests. His father emigrated to France in 1960 and built his shipping company, in a few years from one to six hundred trucks. Rabah has grown up between two worlds, privileged among the poor of the cities. At the Sorbonne he studied psychology and sociology, but "not to become an economic agent, trying to become one day, I hope, a free man."
The film, he did not learn about the schools of the university, in the halls of the Latin Quarter or in the workshops Femis, but first a self Cinephilia fed by television of the 70s, with The Film Club by Claude-Jean Philippe and the Theater of midnight Patrick Brion (who at the time spent at 22 h 30). A process similar to that of his colleague Malik Chibane and raised awareness of the importance of these two programs in learning a whole generation of movie lovers. Thanks to Philip and Brion, Rabah discovered the western, or classics like Golden Helmet, which shows quail commuter time, the Apaches.
The desire to make films the pliers quickly, but later, completing his studies, he proceeded to act. Originally a sociological work on the suburbs, he transforms into a screenplay written with a friend and neighbor of amphibians. As no producer decides to give the green light to these strangers, Rabah decides to shoot the film himself. This will be an adventure Wesh wesh, what happens?, One of the best films about neighborhoods, work of great finesse on a material's not easy and readily subject to caricature. Rabah Ameur Zaïmeche while never attending, has no shot short film, he enrolled at the outset in the wake of Renoir and Ford, showing patience to look, taste for strolling narrative sense of human complexity, range of vision. In 2006, Bled Number One, selected at Cannes (Un Certain Regard), confirmed that gangsta rapper ... not a flash in the pan, a fluke. Recounting the difficulties of returning back home from a Paris Beur, resolutely taking advantage of women, Rabah Ameur Zaïmeche shows once again his qualities as a filmmaker, his influences westerniennes, generosity and precision of her gaze, a certain laconic indifference , characteristics which contrast with the all-comers cinema.
Serge Kaganski
December 12, 2007
Bled Number One
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