Directed by Merzak Allouache. With Lamia Boussekine, Nabil Asli, Samir El Hakim, Seddik Benyagoub. Set in the northern Algerian port city of Mostaganem. Merzak Allouache – Harragas AKA Burn () The title refers to the hordes of refugees, the 'Harragas', who smuggle themselves out of the. Merzak Allouache's film Harragas (, Algeria-France) exposes viewers with immediacy to the chilling reality of clandestine sea crossings.
|Nom:||HARRAGAS MERZAK ALLOUACHE|
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And again, these formulas function in large measure because of their always potential reversibility. Post-occupation Iraq is more likely to be in a civil war than a democratic paradise. We are introduced to the latter as movement, flight from or flight to, and exterior, the snowy, mountainous outdoors; to the former as stasis, caught behind the counter, and interior, the nearly bare but crowded indoors of the pharmacy. Makhlouf Bombardier, decides to be elected mayor of a dechra village. There is, however, more than one way to inhibit the past in order to pre- clude the future.
Harragas is a film. Synopsis. Harragas are clandestine immigrants that flee their Harragas. Directed by, Merzak Allouache. Produced by, Librisfilms Baya Films France 2 Cinéma. Written by, Merzak Allouache. Screenplay by. KEYWORDS Merzak Allouache; Lisandro Alonso; Rachid Bouchareb; Nacer .. that Allouache had already interrogated in a previous film, Harragas (). Merzak Allouache's film Harragas (, Algeria-France) exposes viewers with immediacy to the chilling reality of clandestine sea crossings, while also.
Each carries a satchel, one with a walking stick, the other with an umbrella. And their search for their missing children will invariably lead to the same hospi- tals, police stations and finally, the apartment their children shared in advance of their impending marriage, a plan of which each of the parents has been ignorant.
And the bridge underscores the distance and difference these two must travel to reach their children as well as one another. Thus, where Allouache stressed an exchange of predicates giving rise to a kind of single, subjective substance and the identity of opposites, Bouchareb stresses something closer to translation the characters speak, by turns, English, French, Arabic and Bambara, while we learn that both of their children were studying Arabic.
The first opens out toward a reappraisal of the visual and by extension the invis- ible; the other tends toward song and a reappraisal of the audible and by extension the inaudible. Today, no one believes the world will be better than before the war on terror began.
When Osama bin Laden and a few hundred other fanatics are dead or locked away in the oubliette at Guantanamo Bay, Halliburton and its corporate peers will still be shaking down the American government for subsidies and control of Middle East oil.
The opposition will continue not to oppose wars on American demand. And the rulers will find or manufacture new enemies. As for a vision of the future in Iraq, where America and Britain have invested and taken so much blood, no one in Britain is stupid enough to believe it will be a peaceful outpost of democracy among the barbarians. Post-occupation Iraq is more likely to be in a civil war than a democratic paradise.
That is the world London anticipates, so why sing about pride and hurling defiance at the foe? We are not, as in , all in it together. But what is essential here is his rec- ognition that what characterises not only England but global politics is a default of historical imagination and a default of progressive, emancipatory collectivity.
Although not as expertly or as elegantly crafted or acted as London River, Little Senegal nevertheless deploys the voyage form and search for a missing child in ways equally, if not more, powerfully and poignantly than the later film. The film opens in Senegal, with its main character, Alloune, explaining to African-American tourists the painful details of the slave trade, the con- ditions of incarceration, punishment and torture, and transport across the Atlantic.
He holds up manacles and weights and explains their function. In his travels across the Carolinas, where he researches in libraries, museums, old plantation houses and state archives, he slowly constructs what he believes to be the North-American branch of his family, now named, after a former slave master, Robinson, and living in New York City. It is here, where the descendants of this branch live in ignorance of their exact descent, that most of the film takes place. And it is here, where Alloune meets Ida Robinson, that the two take up the search for her lost granddaughter, Eileen, who, to underscore the temporal and generational wager here, is pregnant.
The stakes of the representational formula become increasingly clear as the search draws into its circuit three couples: What seems to be at issue then is a rapprochement between Africans and African Americans as well as a rapprochement or reconciliation of each group with, as it were, itself.
Like London River, this film ends inconclusively. Hassan is accidently mur- dered.
Alloune will return to Senegal to give him a burial, thus ending his relationship with Ida. Eileen and her child are reunited with Ida, but their relationship is hardly harmonious. Karim and Amaralis call off their phony wedding and begin what looks like the long work of trying to construct an authentically intimate relationship. The film concludes with Alloune watching his replacement at the slave museum giving the same talk we heard him deliver at its opening.
We are seemingly asked to compare what we have just experienced to the prepared recitation of an historical script. Two ways, then, of representing the disappeared, the victims of catastrophic historical violence: As in London River, what seems to be required is a notion of translation, not only among languages again the film is in several , but translation across spaces and times.
Here the sectator is asked to recognise herself not so much as displaced or missing person, as with and through movements both material and immaterial, as if given a percep- tion of migration still awaiting its concept.
How to redistribute the visible and the invisible, how to incarnate or embody the disappeared, the unseen third, the estate of the democracy to come?
How to redistribute the audible and the inaudible, to hear and make heard the unheard voice of a desire that speaks more than one language? To conclude, I would like to turn very quickly to two films that also take up, one more loosely than the other, the voyage form and search for a missing child, and that also confront historical-political violence, one more obliquely than the other.
She visits her only remaining relative, her maternal aunt, Wanda, a judge who delivers strict and severe ver- dicts but who herself indulges in every vice — drinking, smoking, casual sex — all apparently aimed less at pleasure than at forgetting and self-destruction. They finally discover his remains and transfer them to the old, Jewish cemetery. The journey completed and follow- ing a scrupulous logic, the aunt commits suicide.
The film ends ambiguously, with Ida once again wearing her habit, walking along a road, destination uncertain. Once again the voyage form and search for a missing child. Thus, her appearance already represents the disappeared. Resurrection here means an intense and intimate relation with a traumatic past, the effect of which is to disturb the closure of the present, since it intimates the possibility of another world other than and already lurking within this one.
Thus, the Catho- lic rituals, the restorations of icons and statues with which Ida busies herself during the first part of the film, are almost miraculously transformed from tokens or images of a life beyond this one into what they conceivably always indicated: Her resurrected form in the body of Ida is the redemption of that death and that time into a new fullness in what appears to be a version of the Pauline dialectic of chronos and kairos. In a kind of direct inversion of Los Muertos, it poses living, incarnated memory against amnesia and ontological closure.
Ida unfolds these powers, playing subtly with the tem- poral, redemptive powers of Judaism, Christianity and, to some extent, Com- munism as well. On the face of things, the work of Tunisian artist, performer, writer and film- maker, Nacer Khemir may seem more fantastic, even escapist, than political.
Nevertheless, Armes and Lang have both made strong argu- ments to the contrary, the latter leaning heavily upon the former. Along the way they meet a number of other travellers, each involved in his own journey. His characters hold stage for a while and then vanish from the narrative in some unexplained or magical way.
The endings of the embedded stories are abrupt and truncated; there is never a true resolution, just the potential beginning of a new story. And he continues: Resurrection and renewed creation name two figures of thought through which the spectator joins the disap- peared and reappears with them in an ever-renewed creation.
References Agamben, Georgio.
Translated with an Introduction by Daniel Heller-Roazen. Stanford University Press. Allouache, Merzak, dir. Blaq out. Allouache, Merzak. Alonso, Lisandro, dir. Los Muertos. Facets Home Video. Armes, Roy. Azoulay, Ariella. The Civil Contract in Photography. New York: Zone Books. Typecast Releasing. Bouchareb, Rachid, dir. Little Senegal.
Cinema Libre Studio. London River. Representations of the Disappeared. Derrida, Jacques. Specters of Marx: Translated by Peggy Kamuf.
New York and London: College Literature 30 1: Freud, Sigmund. The Psychpathology of Everyday Life.
Translated by James Strachey. The Hogarth Press. Jokes and Their Relation to the Unconscious.
Constructions in Analysis. Glass, Charles. Khalil, Andrea. Through the Lens of Diaspora, edited by Andrea Khalil, 53— Lang, Robert. The New Tunisian Cinema: Allegories of Resistance.
Columbia University Press. Uncivil War: University of Nebraska Press. Le Sueur, James. Between Terror and Democracy: Algeria Since Zed Books. Martin, Adrian. Last Day Every Day: Punctum Books.
Harragas - Wikipedia
Critical Inquiry Pawlikowski, Pawel, dir. Music Box Films. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Here we Merzak Allouache.
Related News And the Cannes line-up is…? Melhor da Telona. Share this Rating Title: Harragas 6. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Photos Add Image Add an image Do you have any images for this title? Learn more More Like This. Bab El Oued City Comedy Drama.
Follows the conflict between a young Algerian man and the local Islamic fundamentalists. The Repentant Crime Drama. Omar Gatlato A somewhat cynical but realistic look at the alienation of men in Algerian society. Carnaval fi Dachra Edit Cast Credited cast: Lamia Boussekine Rachid Samir El Hakim Mustapha Seddik Benyagoub Nasser Mohamed Terekkat Hakim Okacha Touita Hassan Yassine Naceur Omar Rest of cast listed alphabetically: Wacim Allouache Ali Ahmed Benaissa Khaled Charlotte Daquet Edit Storyline Set in the northern Algerian port city of Mostaganem.
Plot Keywords: Parents Guide: Edit Details Official Sites: Official site [France].
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