ABOUT SOME MEANINGLESS EVENTS
Casablanca, 1973: a director is preparing a shooting, but since he really wants to give new impetus to the cinema of his country, he roams the streets, asking passers-by what they think Moroccan cinema could and should be. He gets a bunch of contradictory answers, reflecting the many di erent people he speaks to. The members of the shooting crew have a discussion: they endeavour to elaborate the theory of an independent national cinema, between formal experimentation and social representation, cosmopolitan examples and rejection of the overwhelming gaze of France. But as they are scouting for locations, they find a fascinating young man, whose fate is to be decided when they are looking away. De quelques événements sans signification (About Some Meaningless Events) highlights both the insoluble contradictions of national cinema and the violence brought about by social deprivation. The film was immediately censored after a single screening in Paris in 1974, and for a long time, it was thought lost. Derkaoui establishes an aesthetic of long-focus lens, usually typical of documentary, to cloud the frame of reference as to the levels of reality in his film. The soundtrack and its wild free jazz, alongside rare images of violence, also ba es any unequivocal reading of the film. Because De quelques événements sans signification is really a criticism of the ambitions of cinema through the very weapons of cinema, a film that keeps asking the same question: what can a camera really do? (N.L.)
Original version: Arabic. Subtitles: French. Scenario: Mostafa Derkaoui. Image: Abdelkrim Derkaoui. Editing: Mohamed Abdelkrim Derkaoui. Music: Jazz-Band “Nahorny”. Sound: Stan Wiszniewski, Noureddine Gounejjjar, Larbi Essakalli, Miloud Bourbouh, Menouar Samiri. Casting : Abdellatif Nour, Abbas Fassi- Fihri, Hamid Zoughi, Mostafa Dziri, Aïcha Saâdoun, Mohamed Derham, Salah-Eddine Benmoussa, Abdelkader Moutaâ, Khalid Jamaï, Chafik Shimi, Malika El Mesrar, Omar Chenbout, Mostafa Nissabouri.
Production: Basma Productions (Mostafa Derkaoui).
Distribution: L’ Observatoire (Léa Morin).
Selective Filmography: : Les quatre murs, 1964. Amghar, 1968. Adoption, 1968. Les gens du caveau, 1969. Les États généraux du Cinéma, 1970. Un jour quelque part, 1970. De quelques événements sans signification, 1974. Les cendres du clos, 1976. Les beaux jours de Chahrazade, 1982. Titre provisoire, 1984.
EP – Histoire(s) de Portrait
A young woman is reading The Songs of Maldoror. But the reading is unsettling: the voice over is split and repeats itself; the voice of the reader is followed by a whispered, hushed voice: the same...En savoir +
Alongside images, a text: poetic prose that punctuates a flow of images (of Provence, relatives, animals) that bit by bit form a network – remanences of the Algerian war that surface in the...En savoir +
Cinema and television also have their own lumpenproletariat, so far away from sequins, mu ing the screen. Marwa Arsanios only chooses to keep amateurs and extras so she can turn them into...En savoir +
The Republic of Karelia is a region in Russia on the border with Finland. It’s home to the Pankrat’ev Family with their Shamanic legacy, devoted to communing with nature and holding on to...En savoir +
A sequence shot of the slightly slow-motion movement of hands massaging and caressing the surface, textured with scars like a zebra skin, of a vaguely anthropomorphic wax sculpture. For sound, we...En savoir +
A shooting: the blocking, the settings, the resumptions. Antecâmara uses images captured by the camera in-between takes. Then a dialectic of the gaze, both determined and free, sets in between the...En savoir +
Kain the Poet, the eloquent and loud-mouthed African-American and pioneer of hip-hop, reads accompanied by the experimental percussionist Lander Gyselinck. At the heart of his poem lies a cryptic...En savoir +
A mother writes to her daughter, from one paradise to another: one is on holiday in the Mediterranean, the other is in a foster family in the Southern Hemisphere. On screen, shots of Italy alternate...En savoir +
At FID (2016) we discovered Je rey Dunn Rovinelli’s first film, the unsettling Empathy where we were invited to follow the enigmatic Em, a young sex worker, from New York to Los Angeles. Here Je...En savoir +
To be sure, « chaos » names the cause, the sinister cause, of everything at stake here: war devastating Syria, a country and its people. « Chaos », however, is also the name of its...En savoir +