Actress, producer and director, Ivory Coast
Roberto Giacomo Pischiutta
Film soundtracks composer, Italy
Producer, Director, President of the Moroccan
Chamber of Film Producers, Morocco
Actor, Screen-writer, director, France
Writer and critic, Morocco
Film critic, programmer and script supervisor, Egypt
Mouley Driss Jaïdi
University professor, researcher and Cinema critic, Morocco
Founder and Programmer Palestinian Film Festival
Co-director of the Fidlab (FidMarseille), France
Feature-length films competition
1. Pause (Pafsi), Tonia Mishiali, Cyprus, Greece, 2018,96’
2. The day I lost my shadow, Soudade Kaada, Syria, Lebanon, France, Qatar, 2018
3. Sibel, Guillaume Giovanetti, Çağla Zencirci, France, Turkey, Luxembourg, Germany, 2018, 95’
4. The reports on Sarah and Saleem, Muayad Alayan, Palestine, 2018, 127’
5. The Guest, Hadi Bajouri, Egypt, 2018, 99’
6. The waiter, Steve Krikris, Greece, 2018, 95’
7. Our battles, Guillaume Senez, France, Belgium, 2018, 98’
8. Endless, César Esteban Alenda, José Esteban Alenda, Spain, 2018, 96’
9. The vice of hope, Edoardo De Angelis, Italy, 2018, 108’
10. The 3M unfinished stories, Sâad Chraibi, Morocco, 2018,120’
11. Screwdriver, Bassam Jarbawi, Palestine, USA, Qatar, 2018, 108’
12. Ultimate Revolt,Jilali Ferhati, Morocco, 2018 , 94’
DOCUMENTARY FILMS COMPETITION
1) Trajectroy Drift, Castiñeiras Gallego Iván, Spain, 2018, 24’
2) The chariot and the olive tree, another story of Palestine, Roland NURIER, France, 2018, 92’
3) The silence of the others, Almudena Carracedo & Robert Bahar, Spain - USA, 2018, 95’
4) The Islam of my childhood, Nadia Zouaoui, Algeria - Canada, 2018, 87’
5) Sacrifice, Eyad aljarod, Syria,2018, 96’
6) You come from far away, Amal Ramsis, Egypt - Lebanon - Spain - Qatar, 2018, 84’
7) Vostok N°20, Silveiro Elisabeth, France, 2018, 50’
8) We will not sell our future, Velissaropoulou Niki, Greece, 2018, 52’
9) The Flying Friar , Boric Davor, Croatia, 2018, 50’
10) Away We Go, Hammami Alaeddin - Muhammad Jbehi, Tunisia, 2018
11) Counting Tiles, Choucair Cynthia, Lebanon, 2018, 87’
1- The Battle of Alger, a film in the history, Malek Bensmail, Algeria, France-137’
2- Journey to a Mother’s Room, Celia Rico Clavellino, Spain, 2018, 90’
3- Poisonous Roses, Ahmed Fawzi Saleh, Egypt - France - Qatar, 2018, 70’
4- Look at me, Néjib Belkadhi, Tunisia -France - Qatar, 2018, 96’
RETROSPECTIVE: Films marocains primés au FCMT
1- The mosque/ A Jamaa, Daoud Oulad Seyed 2010, 86’
2- Burned hearts, Ahmed El Maanouni 2007, 84’
3- House in the Fields, Tala Hadid 2017, 86’
4- Detained memory, Jilali Ferhati, 2004, 94’
5- A death to sell, Faouzi Bensaidi, 2011, 117’
6- Times of comrades, Mohamed Chrif Tribak, 2009, 97’
7- The forgotten of the history, Hassan Benjelloune, 2010, 105’
From ballet to Cinema, it only takes a step
Perhaps the easiest thing in the Cinema is that the spectator falls in love with an actress like Faten Hamama, be fascinated by her, but it is very difficult that she, herself, be fascinated by a person. However, this big star announced, only once, her admiration for an exceptional actress, we are talking about the notorious actress Nelly Karim.
At the beginning of this millennium, Faten Hamama has chosen Nelly Karim to play the first role in the series “The face of the Moon”, after being captivated by her art and performance, when she was dancing Ballet at the Cairo Opera House. Since then, Faten Hamam revealed Nelly Karim, or “The face of the Moon”, who is illuminating the sky of this Silver edition of Tetouan Mediterranean Film Festival.
Nelly Karim started her artistic career as a ballet dancer. And perhaps, she inherited her talent from her Russian mother. As mother of fact, it was Russia who forged this art’s links with the theater. Ever since the inauguration of the Bolshevik theater, and the birth of the ballet theater in Russia.
Nelly Karim was able to fly, with finesse and nimbleness, to the screens of the Cinema, to become the actress who fascinated Faten Hamama. She is an actress who carries the spirit of an angel, while this spirit is carrying her supple body. Her dancing body helped to develop her acting skills, and her wide eyes could express what her body could not say, and what the spectator could not expect.
And through her nimble acting and her dancing and expressing body, we are experiencing the cinema of Nelly Karim, as long as the Cinema is the birth of movements and the creation of time. And our witness is her role in the film “You are my life” by Khalid Youssef, where the dancing and the art are the magical healing potion. And for her performance in this film, she was awarded the best actress prize by the Cairo Film Festival in 2006. And if Wahid Farid was able to convince us, in a funny way, that Nelly Karim is a dazzling actress, we can call, what happens to the spectators while he is watching this actress, “A clash”, and it is the title of one of her best films that was selected, lately, for the Cannes Film Festival. It is a film where our heroine was able to expose a rebellious character, in an Egyptian modern and impressive tragedy.
It was also Nelly Karim who inspired the director and screen-writer Mohamed Diab to include a woman in the film. And by that, Nelly Karim confirms that she is an effective and an influential actress, she does not only play her required role, she also aims to sculpt and to recreate the role during the shooting of the film, as she always emphasizes during our interviews. That was also the case during the 29th edition of Cannes Film festival, where our actress shined bright like a diamond after the projection of “A clash”. It was not the first time. 10 years ago, Nelly Karim sparkled in the film “678”, also directed by Mohamed Diab, where she played a role of a strong woman, who was defending herself and the women of her society against the harassments or any attempt to humiliate her.
Thanks to this film, she won the best actress prize in Malmo Film Festival, in Sweden, and in many other festivals. She even won the same prize for her role in “One Zero” in Cairo National Film Festival and in the Arabic Channels Festival, for her role in “For the highest price”, and the Jury’s prize in the Asian and Pacific Films Festival… and a big number of other prizes. For that, she deserved the Faten Hamama’s excellence prize, 4 years ago, after impressing, earlier, the godmother of the Arabic screens, and becoming the actress who fascinated Faten Hamama.
Director, producer and screen-writer, Spain
From the Cannes Film Festival to the Tetouan Festival
A Spanish filmmaker, producer and screenwriter, Luis Miñarro I Albero was born in Barcelona in 1949. He devoted a quarter of a century to the marvelous word of the 7th art. Mainly, he was in charge of Eddie Saeta, an audiovisual production company (1989-2015)
He produced numerous films (generally auteur films) that have acquired a wide reputation and acknowledgement in the biggest international film festivals. Since his debuts, Miñarro relied on the young filmmakers who have their own original ideas about the cinema. The result was, consequently, positive throughout his career as a producer.
In 2018, he went back to the camera. Shortly after closing his notorious production company Eddie Saeta in 2015 due to the lack of the institutional support, he directed Love me not (Lola Dueñas took part of the film).
In this film, the leading performers were: Ingrid García-Jonsson, Francesc Orella, Lola Dueñas, Óliver Laxe, Luis Alberti, Fausto Alzati, Hugo Catalán, Lu Colomina et Gabriel Ventura. « The idea came up as a riposte and a response to the brutality of Abou Ghraib during the war of Iraq”, as explained by the filmmaker. His scenario was “a metaphor that went to the bottom of things: the repression generates monsters.”. The major imperialist powers can identify with this courageous story.
Miñarro is one of the most audacious producers in the Spanish cinema. At the present time, the excellent Catalan producer, filmmaker and screenwriter is honored, outside of Spain, where we continue to pay tribute to his long career in the cinema, his efforts and his enormous talent.
Other than this exceptional artistic career, the TMFF has not hesitated to designate this distinguished producer as the “Special guest” for his gigantic cinematographic value, at all levels.
He has been awarded many prizes:
The Palm d’Or, awarded at the Cannes Film Festival for his film Uncle Boonmee Who Can Recall His Past Lives (2010);
The Cristal Globe, awarded at the Karlovy Vary International Film Festival for his film “The mosquito net” (2010);
The Jury prize, awarded at the San Sebastian Film Festival for his film “Aita” (2010);
The Hivos Tiger Award, awarded at the Rotterdam International Film Festival of Rotterdam for his film “Finisterre” (2010).
About the year 2010, he says: “In 2010, I witnessed the best moments of the production company, with four awarded movies and the fifth, the strange case of Angelica by Manoel de Oliveira, inaugurating the “Un certain regard” in Cannes film festival, just before closing the door of the company”.
With a lot of sadness, the magnificent Spanish producer evokes this unfortunate recollection: “We are in a country that defends the footballers but does not seem to be interested by the international projection of its artists.”. With certain degree of bitterness, he says: “Recently, there might be some interest to tarnish the image of our community, the cinematographic, not very corporate, throwing us in the same pot”.
The TMFF is very pleased to receive the great representant of the Spanish cinema and the established figure of the 7th art.
Mohamed Bouissef Rkab
An artist, a citizen and a lover of life.
The first thing that comes to attention when meeting Mohamed Choubi is the fact that he is always happy. He does not hide his love and his passion for life, and it is not irregular, he is the son of Marrakech, the city of joy where he grew up and where he did not hesitate, while he was still a student, to recite, with excitement and pride, the poems of Abu Firass Al-Hamdani, of Al-Mutanabi and Abu Al-Alaa Al-Maari, and to join, towards the end of the eighties, the local youth center, where he discovered the meaning of the collective work and of the knowledge sharing, and where he learned the values of change and freedom.
Mohamed Choubi is an authentic and a gentle Moroccan. Nevertheless, he does not believe in loyalty in Arts, and he “lays” with more than one form of cultural expression. For him, theater is a place of worship where he turns to a monk, where he discovers his soul and body, it is an open workshop to conduct the most difficult artistic experimentations and to give life to different characters. As for the television, it is a love-hate relationship, it is, in his own consideration, overrates some spiritless artistic works, and celebrates ephemeral productions that violate, with some exceptions, the career of the majority of artists. On the other hand, between Mohamed Choubi and the Cinema a spiritual relationship since he watched, with big devotion, his first films in a very dark movie theater, he then joined a cine-club where he learned to watch and analyze different cinematographic schools and currents of thoughts. And then there is his first and exceptional experience in front of the camera, for the film “Thirst” by the director Saad Chraibi, it was his first professional experience. And his work will continue with the title: “The Moroccan symphony”, “One thousand months”, “The tears of sand” … And despite of his considerable status, or because of it, Mohamed Choubi, by using social networks, does not hesitate to freely express his opinion on public affairs, to debate and to voice his anger. He considers his virtual debates as a proof of his devotion and of his patriotism, and through it, he confronts some chauvinists and some intolerant fanatics. Besides that, Mohamed Choubi has, henceforth, a new “lover”, it is the literary writing. He said that this new dedication makes him more conscious and cognizant of the societal and the universal changes and movements. He remembers that he was always the one who writes love letters to his friends’ flames.
Mohamed Choubi is more than convinced that the Moroccan public is very smart and has a very refined and sophisticated artistic taste. He would recommend the artists to be honest and to respect their profession. In his moments of creativity, he admits that the one thing he cares about is to be honest with himself, because if not, the public will sense the opposite. He also argues that the Cinema helps the societies to identify the hidden problem, provides the young with analytical skills and confronts the societal prejudices and stereotypes.
Mohamed Choubi is very proud of the fact that he did work with the gigantesque Moroccan artist Mohamed Bastaoui, he was very influenced by his strong personality and by his generosity. He is also fascinated by the charisma of Mohamed Majd. He is a big fan of Youssef Chahine, in his film “Iron door”, and as well of Mahmoud Al-Meliguy and Ahmed Zaki. His biggest dream is to personify Mohamed Al-Gharbaoui and Mohamed Khair Eddine. In his own words, they are very special artists who belong to alternative world, a very secret world.
And, if one day he is alone in an island, Mohamed Choubi will watch “Once upon a time in America” and will read “One hundred years of solitude”.
Abdellatif El Bazi
Coloquium: When the mediterranean cinema is conjugated in the feminine
The Female representation in cinema and the treatment of women in the movies
Expert in Cinema and a professor at Sciences-Po
Delia Guerra Parra
Ayten Multu Saray
Writer and arts critic, Morocco
The fight and the struggle for gender equality should not be reduced solely to labor equality, to employment and payment equity…It must spread and extend to cover other broad disciplines and areas. Unfortunately, even nowadays, after decades of feminism activism, women’s rights are consistently being violated by men who, invidiously, consider themselves as “Laws” and “Regulations” makers. And most of the times, these laws are unfairly “Discriminatory”.
This is the case in the 7th art! Yet popular and mix, it does not escape from the hegemony of the men. By giving less chances and fewer opportunities to women, it continues to perpetuate stereotypes and perhaps to forge identity models that are purely masculine. The sector leaders (exclusively men!) are following the steps of the Hollywood cinema of the 1950’s and the 1960’s, when the big production companies were shutting the doors on female filmmakers and directors. Even worse, the female actors were always condemned to a supporting role. The best roles and the biggest fees were earmarked, obviously, to Men, to the “Superheroes”.
Today still, despite the considerable progress achieved in the fight for equity, the inequalities between the women and the men in the cinema are egregious. It is always hard for female directors to gain recognition in this male-dominated art world.
The Mediterranean cinema does not escape these reducing stereotypes. Worse still, it continues to forge them, at least to convey them. Even in Cannes, this prestigious festival, the situation is not as pleasing as it may sound. Indeed, except the “Parade” on the red carpet where the female stars are honored (or rather, the female actresses are more appreciated for their beauty and their “sexy” outfits than their artistic achievements), the female directors are barely represented in the official selection. This is not a recent occurrence. Disappointing finding, in Cannes, the men expose their films and the women (the majority!), their bodies.
According to a study, on this matter, conducted by the AFP, 4% of the female cineastes, among 268 male cineastes, have been awarded the Palme d’Or. The same is the case with female juries’ presidents. In 71 years, only 12 women had this honor (AFP). These numbers show how the cinema remain an exclusively male art.
It turns out that it is very difficult for a woman (director or actress) to stand out in this male-managed environment, despite the public rhetoric of the official or independent institutions. They “pretend” to remedy this absurd situation and this degrading image of the cinema, a valuable and popular art.
In Morocco (but also in Egypt, in Algeria, in Tunisia, etc.), the situation is hardly better. Or worse! The number of female-cineastes can be counted on the fingers of one hand. Every year, in the national festival, amongst the twenty-some selected films that are selected for the competition, only one or two films are directed by women. A bitter finding, the inequalities are even more pernicious. The Moroccan directors does not offer (or rarely offer) lead roles to women. And when it is the case, the roles are shallower and poorly elaborated. They are mostly represented as weak women, bending under the yoke of a chauvinist society, where men rule their life. Unfortunately, it is precisely these representations that rouse the interest of the northern spectators. It is serious enough to cause him to form reducing prejudices on the societies of the southern shore.
It is disgraceful that gender stereotyping persists in Cinema. An art that have a key role in building a healthy imagination, afield of the disgracing stereotypes that affect the cinema and its fans. We don’t want any more male-directed films that show a hurtful reality to the spectators of the Southern shore of the Mare Nostrum, stereotypes where Maghrebi women, for example, are, more often than not, “Cleaning ladies” and the European, the beautiful “racist” or “compassionate” blonde. It is time for our Mediterranean cinema to provide the same opportunities for the female directors, as their male counterparts. Was the not the cinema, since its very inception, a vector of change?
In the context of its 25th edition, The TMFF devotes its thematic colloquium to “When the mediterranean cinema is conjugated in the feminine”. An important subject that is catching, actually, the interests of the cinema professionals (female directors, actresses, producers, distributors, film critics, etc.). The participants will be asked to answer the following issues:
- Is Cinema sexist?
- What place for women in the Cinema in the upcoming years?
- Should we envision quotas (where for the roles or the financing of the films) in the Cinema?
- How can we remedy the glaring inequalities between women and men?
- Are there any strategies and propositions to “Make things Happen”?
- What about the place of the women in the Moroccan Cinema?
- Is the cinema faced with a lack of female talent and skills? If not, how can we explain this lake of recognition?
- What are the solutions to better support and to broadcast the cinema of the Mediterranean female directors?
Nourddine BEN DRISS
Round table: The cinephilia in the mediterranean
The cinephilia in the mediterranean
Fascination and adoration are the first symptoms of the Cinephilia, and it would probably quickly turn to addiction. A serene stage follows, when the cinephiles start to analyze and to appreciate the cinematographic productions. They are, then, on the lookout for the expectations and the interactions that were aroused by these productions. These expectations and interactions, in the case of convergence, morph into a common base of the members of a given society.
In general, the manifestations of the Cinephilia are numerous. There are, for example, the oral interventions, that start just after a projection of a film during a forum, in a festival or in a cine-club (in a big city or in a small town): those are opinions that oscillate between attempting to share or to persuade. Thereafter, there are the written critics that are published in specialized magazine or in a book. And it also, this time, about discussing and analyzing the intellectual and aesthetic choices of the cinematographic work. The cinephile, in occurrence, tries to peruse the cinematic discourse and the motion of the camera and focuses his attention on certain elements, depending on his sensitivity and his worldview, his aim is to reconstruct the subject via new connotations.
The Cinephilia implies the choice and the adoption of judgment and discernment standards that allow to present and to recognize the Cinema as an independent form of expression. It is also the reflections of the position of each other’s position vis-à-vis the Cinema, mainly in the third world. Furthermore, the Cinephilia is supposed to support the creation of intelligent and productive links between the Cinema and the society and to encourage the public to watch the film, to decipher its message and to translate its silence. As well, the show is the society’s gateway to modernity.
On the other hand, the cinephile plays the role of a mediator between then cinematographic productions and those who were supposed to watch them or should have watched them. And in order to this mediation to be efficient and compelling, he is supposed to, beforehand, to appreciate and to interact with the film, then try to convey this pleasure to others. Thereupon, his mission is to attempt to surprise his receiver by inciting him to decipher, in his own way, the codes of the cinematographic product. Unlike formal, inherently reductive approaches, the Cinephilia aspires to show that any work lends itself to multiple readings. Finally, it comes into play every time a festival is organized: its aim is to frame, to orient and to lead to the selected films.
Even so, no cinematographic movement would be practicable without a cinematheque. Its role is, indeed, to conserve the archives, to restore the old films and to protect the memories of a country. Also, the specialized projection facilities shall continue to exist, the publishers should carry out their job and the specialized magazines must multiply.
And finally, beyond its reflection on art, the Cinephilia is a lifestyle.
In this round table, we will address multiple questions:
-What changes has the cinephile experienced in the world and in our country?
- And how do cinephiles manage the abundance of available films after dealing with their rarity in the past?
-What are the impacts of the social networks, the specialty channels (Netflix), the film piracy and the Cinema festivals on the Cinephilia movement?
-What are the intellectual and political dimensions of the Cinephilia movement nowadays?
-Should we consider that Cinephilia now has an individual dimension because of the disappearance of the cinemas and the decrease in the number of spectators in these cinemas?
-Does love of cinema necessarily leads to attempts to produce film?
Abdelatif El Bazi
Cinema Critic, University professor, Morocco
University professor, researcher , Morocco
Conference speaker, critic, France
Cinema and theater critic, Italy
Conference: The rating and the classification of the cinematographic works in France
The rating and the classification of the cinematographic works in France.
In France, a cinematographic work can not be projected in a movie theater without a visa from the Ministry of Culture. For reasons concerning the protection of the children and the young or the respect of the human dignity, this visa may be subject to limitations, based on the age of the spectators: Twelve years old, sixteen years old or eighteen years old. It is issued on the basis of the opinion of the Cinematographic works rating committee, composed of representants of the administration, film industry professionals and medical experts. What are the rules to rate and to classify the films and what are the restrictions that can limit the exploitation of these films? What are the theme that are monitored by the commission : Violence, sexuality, drug and toxic substances use…? Does the protection of the young still justify the existence of an administrative police of the cinema, when everything is now accessible on the Net? Are the European and the international classifications harmonized?
Il a travaillé dans la diplomatie française: premier conseiller à l’ambassade de France à Nairobi, conseiller juridique du président de la république du Sénégal, directeur adjoint du cabinet du ministre chargé des affaires européennes.
Il est l’auteur de La France en Afrique (De Boeck, 2009)
Depuis février 2018, il préside la Commission de classification des œuvres cinématographiques.
MEETING: The Palestinian Cinema: Images of nostalgia and prid
The Palestinian Cinema: Images of nostalgia and pride.
Samia Labidi Hanafi
Graduate in Political Science at the Sorbonne, and based in Tunisia,programmer of cinema and cultural events. Tunisia
Director, producer, Palestine
Writer and poet, Morocco
Dima Abu Ghosh
Director, producer, Palestine
Director, actor, critic, Palestine
Since its beginnings, the Palestinian cinema was destined to treat big issues, it accompanied the prime of the armed struggle and pictured the first steps of the resistance and the pride. It even presented his martyr Hani Jouahria as an offering and it market the complexities of the cause and its difficult challenges.
The Palestinian Cinema is resistant and rebel and it affected, undoubtfully, our imagination, our language and our expressions. It was our secret lingo: “We are all militants”, “Palestine is in our mind”, “We will never forget Palestine”, “With our souls and our blood”. All those expressions that taught us the basics of the political and the revolutionary films in the era of the raising of the liberation movements in many regions of the world, in Latin America, in the Vietnam and in Africa in the late of the sixties and the beginning of the seventies of the last century. Its prime and principle objective was to “strengthen the voice and the image of Palestine”. The question was therefore, with directors of the independent Cinema current, (Michel Khalifa, Ilia Sulaiman, Hani Abu Saad, May Masri, Ali Nassar, Rachid Machharaoui, …), if the Palestinian cinema has the right to look for an aesthetic effect, beside its political one? To care about the individuals, and the masses in the same time, as it did when it filmed the Israeli enemy, his arrogance and his sadism, since the leading film “Weeding in Galilee” until “The reports on Sarah and Saleem”?
The Palestinian Cinema was able to create its own stars (Mohamed Bakri, Houyam Abbes, Maissae Abdelhadi, Ilya Sulaiman…) and to pierce the biggest international Film Festivals. However, it did not forget its identity and its mission of preserving the memory and of enlightening the idea of a nation and of creating new meanings for the liberty. It also tried to invent new and advanced models to get rid off the “Tough love” and to prove to the world that Palestinians are normal people, who love, who sleep, who get bored and who do not accept humiliation and sadness. Even if they are living in an occupied country and a sad refugee camp.
And what strikes the mind of the Palestinian Cinema’s fans, are its aesthetic risks that are based on very creative visions and philosophic and political positions, on different issues, despite all the categorizations (Diaspora Cinema, the Arab Israeli Cinema…).
The Palestinian films that are projected in this section are unique and different. They present different historical periods, different registers, different tonalities and varied positions. But they have one big thing in common, they all defend Palestinians’ absolute title and right to their land, to dignity, to pride…and to have a normal life, with all its struggles and happiness, like everyone else.
Abdellatif El Bazi
AT THE SCHOOL OF THE FESTIVAL
Since its first edition, the TMFF had set itself the goal of being open to schools, at all levels (Primary schools, secondary schools, high schools and universities). It committed itself to accompanying the plan to reform the education by trying to sensitize the decision-makers about the cinema as an educational and didactic tool which is able, not only to decompartmentalize and to diversify our education, but also to develop a responsible citizen, mindful of the development of his country, willing to participate in the projects initiated by his Majesty Mohamed VI and fueled by the universal values of peace, freedom and tolerance.
Indeed, at each edition, the Festival, in its concern to introduce the young audience to the techniques of the cinematographic language and the reading of the filmic image, devotes a large part of its programming to workshops, traineeships and Master-classes that are inspired by the philosophy of the Festival.
Traineeships & Workshops
At each edition, the Festival, in its concern to introduce the young audience to the techniques of the cinematographic language and the reading of the filmic image, devotes a large part of its programming to workshops, traineeships and Master-classes that are inspired by the philosophy of the Festival. Schoolchildren, students and university students will be mentored by professional of the Moroccan and international cinema. The objective, among others, is to teach young a better apprehension of the filmic image, to encourage them to love the cinema and to enhance their creativity and imagination.
• Writing workshops, film screenings and debates, screenings for
children, production of an animated film .
• Films screenings and debates
Denis Glinne (Belg) – Souad Oulad Tahar - Mohamed ChrifTribak (Morocco) –
Primary schools, secondary schools, French teachers
1- School children – Sidi Driss
Workshop 1: Production of an animated film
Targeted school: Sidi Driss
Facilitator: Denis Glinne (Belgium)
Targeted public: 15 school children
Workshop 2- Screenb-writing/Directing
Targeted school: Abou Bakr Essedik + Kadi Ayyad
Facilitator: Mohamed Chrif Tribak
Targeted public: Members of the school Cineclub
1) Adama, Simon Rouby (2015),85’/ DCP / Bluray (avec option ST arabe), 85’
2) En sortant de l’école, Paul Eluard (2013) ,39’
3) Girafada de Rani Massalha (2013), 100’, Bluray (STFR)
4) Gus petit oiseau, grand voyage, Christian De Vita (2014) ,91’ Bluray / Téléchargement / DCP
5) Ma maman est en Amérique, elle a rencontré Buffalo Bill, Marc Boréal (2013), 75’, Bluray / DCP
6) Les aventures de Spirou et Fantasio, Alexandre Coffre, fiction 2018, 89’ dispo en bluray (option sous-titres arabes)
7) Ernest et Célestine, Stéphane Aubier, Vincent Patar et Benjamin Renner,dispo en bluray (sous-titres arabes), 2012, 81’
8) Le grand méchant Renard ,Benjamin Renner et Patrick Imbert , 2017, 80’ dispo en DCP
The Festival of Mediterranean Cinema of Tetouan
Immeuble de l’Institut National des Beaux-arts Cité scolaire, avenue Mohamed V
BP 10 – 93000 Tétouan / MAROC
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