Recherche détaillée

Re-enactments, improvisations and interviews with the Inhabitants of Algiers, Kythira Island and Athens.

A realistic description of unemployed young Muslims who live in the french suburbs, lost generation ostracized by the racism which slowly push them to the Muslim extremism.

The death penalty still holds sway in the United States. Three painful encounters bear witness to this.

Between New York, Dakar and Turin, the fates of Sophie, Abdoulaye and Thierno intersect and intermingle. From disillusionment to decisive encounters, their journey will lead them to make the choice of freedom.

En plein désert algérien, dans son relais, une femme écrit son Histoire. Elle accueille, pour une cigarette, un café ou des oeufs, des routiers, des êtres en errances et des rêves - Elle s'appelle Malika.

In the largest slaughterhouse in Algiers, men live and work in closed to the throbbing rhythms of their tasks and their dreams. Hope, bitterness, love, paradise and hell, the football stories as of the Chaabi and Rai melodies that set their lives and their world.

An act of love, the portrait of a painter, an ode to life... We had the day bonsoir is all these things. "It's in the sound of an ending that the music of the living is played, of which we are all, wherever we're present, an invented note." These are Narimane Mari's words to describe the film made in tribute to her late partner, the painter Michel Hass. As the notes of Amor Amor by Norie Paramor resonate across the opening images - water lit by twilight - names scroll across the screen, the names of people, living or dead, unknown or well-known, whose presence and voices populate this cosmic film. Mari puts together fragments of life gleaned over the years, during films or wandering the streets, and makes them dance with the images of her accomplice. Michel Haas' mischievous gaze is echoed by those of strangers picked up on a Parisian boulevard, and his body as he works by the bodies of Loubia Hamra's children bathing in the Mediterranean, his tender speech by the languid voice of Elvis Presley. In this way, Mari continues the painter's conversation with the world. She builds a refuge to shelter his creatures, sculpted animals and other characters made of paper, letting them cohabit with their companions in life, in thought and in music. Between the silences, spaces for remembrance, seeps the breeze of words from loving gestures - reminiscing about happy memories, calling each other to describe them, recounting them in voice messages. The director thus creates an intimate dialogue that goes beyond death, enhancing the poetic operation by superimposing some of the words onto the image as subtitles or set out like poems, like the notes in a musical score that sing the music of the living. A veritable love song, We had the day bonsoir offers thanks to the exuberant vitality of Michel Haas, an inexhaustible source of life for Narimane Mari and for us.

A man digs his own grave and, and as though to keep him from it, the elements and beings quiver.