Cheb Hasni, Je vis encore !

It is the evocation of a life as brief as it is dense. An encounter with a dazzling thought, that of Frantz Fanon, a psychiatrist of West Indian origin, who will reflect on the alienation of black people. It is the evocation of a man of reflection who refuses to close his eyes, of the man of action who devoted himself body and soul to the liberation struggle of the Algerian people and who will become, through his political commitment, his fight, and his writings, one of the figures of the anti-colonialist struggle. Before being killed at the age of 36 by leukemia, on December 6, 1961. His body was buried by Chadli Bendjedid, who later became Algerian president, in Algeria, at the Chouhadas cemetery (cemetery of war martyrs ). With him, three of his works are buried: “Black Skin, White Masks”, “L’An V De La Révolution Algérien” and “The Wretched of the Earth”.

In an age when women were incapable of joining the artistic dialogue, Lilias Trotter managed to win the favour of celebrated critics.

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.

Jacqueline Gozlan - who left Algeria with her parents in 1961 - nostalgically retraces the history of the Algiers Cinematheque, inseparable from that of the country's Independence, through film extracts and numerous testimonies; notably that of one of its creators, Jean-Michel Arnold, but also of filmmakers such as Merzak Allouache and critics such as Jean Douchet. A place of life for Algerians, the Cinémathèque was the hub of African cinemas. Created in 1965 by Ahmed Hocine, Mahieddine Moussaoui and Jean-Michel Arnold, the Cinémathèque benefited from the excitement of Independence. The Cinematheque becomes a meeting place for Algiers society, future filmmakers find their best school there. In 1969, the Algiers Pan-African Festival brought together all African filmmakers, and from 1970, Boudjemâa Kareche developed a collection of Arab and African films.

A group of refractory and pacifist Bretons is sent to Algeria. These beings confronted with the horrors of war gradually become killing machines. One of them did not accept it and deserted, taking with him an FLN prisoner who was to be executed the next day. International Critics Prize at the 1972 Cannes Film Festival. Copy restored in 2012

Séfar (in Arabic: سيفار) is an ancient city in the heart of the Tassili n'Ajjer mountain range in Algeria, more than 2,400 km south of Algiers and very close to the Libyan border. Séfar is the largest troglodyte city in the world, with several thousand fossilized houses. Very few travelers go there given its geographical remoteness and especially because of the difficulties of access to the site. The site is full of several paintings, some of which date back more than 12,000 years, mostly depicting animals and scenes of hunting or daily life which testify that this hostile place has not always been an inhabited desert. Local superstition suggests that the site is inhabited by djins, no doubt in connection with the strange paintings found on the site.

Using his personal background, Brazilian Karim Aïnous invites the audience to follow/discover an incredible journey through space and time, with an original and usually unknown prism/aspect : The strong bound between Algeria and Brazil, two countries with political and revolutionary strikes that mould their evolution.

It's the unforgivable story of the two hundred thousands harkis, the Arabs who fought alongside the French in the bitter Algerian war, from 1954 to 1962. Why did they make that choice? Why were they slaughtered after Algeria's independence? Why were they abandonned by the French government? Some fifty to sixty thousands were saved and transferred in France, often at pitiful conditions. This is for the first time, the story of this tragedy, told in the brilliant style of the authors of "Apocalypse".

In 1967, Visconti came to Algiers for the filming of The Stranger with Mastroianni and Anna Karina. Camus, during his lifetime, had always refused to allow one of his novels to be brought to the screen. His family made another decision. The filming of the film was experienced in Algiers, like a posthumous return of the writer to Algiers. During filming, a young filmmaker specializing in documentaries Gérard Patris attempts a report on the impact of the filming of The Stranger on the Algerians. Interspersed with sequences from the shooting of Visconti's film, he films Poncet, Maisonseul, Bénisti and Sénac, friends of Camus, in full discussions to situate Camus and his work in a sociological and historical context. “The idea is for us to show people, others, ourselves as if they could all be Meursault, or at least the witnesses concerned to his drama.”

Pierre Clément, student and photographer of René Vauthier, first accompanied him to Tunisia to make a film on the country's independence in 1957. Destiny led him to Algeria and his presence in February 1958 at the Tunisian-Algerian border changed his life. . Forever. He took his camera and photographed the attacks on Sakia Sidi Youssef before committing himself body and soul to the Algerian cause. Shortly after, he directed the film “Algerian Refugees” before being arrested, tortured and imprisoned, while his third film, “The National Liberation Army in Almaki”, was not finished. Abdel Nour Zahzah, a director who commemorates Pierre Clément, the director who risked his life, the brother of the Algerian resistance, who disappeared in 2007.