My previous post was on three worthy Moroccan films I’ve seen of late. Moroccan cinema has become quite good, probably the most interesting in the Arab world at the present time. There’s also some good stuff coming out of Algeria, including two films I’ve seen in the past three months. The most recent one is ‘Yema’, which is set at an undetermined moment during Algeria’s army-led regime vs. Islamist insurgents sale guerre and entirely in a small farm on a remote hillside (somewhere in the petite Kabylie). I’ll let Variety’s Jay Weissberg—the anglophone world’s premier critic of Maghrebi cinema—describe the pic
Algeria’s fratricidal battle between the government and fundamentalists is played at the micro level in Djamila Sahraoui’s three-hander “Yema.” Designed as a Greek tragedy, the telegraphic story is set in a stunning landscape where a mother grieves for her soldier son, killed by Islamic insurgents affiliated with his brother. Beautifully lensed by Raphael O’Byrne (“The Portuguese Nun”), “Yema” (meaning “mother”) has all the trappings of the ancient classics, yet feels equally antiquated; it’s worthy without transcending a static iconicism…
Like a grieving Virgin Mary, Ouardia (helmer-scripter Sahraoui, “Barakat!”) prepares her son Tarek’s body for burial. She’s confined to her home and environs by a one-handed guard (Samir Yahia), taking orders from his superior (Ali Zarif). Gradually it’s revealed that the superior is Ouardia’s younger son, a mujahideen fighter she blames for Tarek’s death. The younger brother also stole the elder’s wife, further embittering their disconsolate mother. Everyone is wounded emotionally and physically by the country’s conflicts, and only Ouardia’s dogged cultivation of her garden produces life from the parched soil. Visuals further the sense of an epic tale recounted on a human scale.
There’s not a lot of action in the film but it’s absorbing. I recommended it (particularly for Algeriaphiles and those interested in the dynamics of civil wars). Another review is here, French reviews (good) here, and trailer here.
The other Algerian film seen lately—actually a French film with Algeria theme—is ‘Né quelque part’ (literally, “born somewhere,” but given the unsatisfying English title ‘Homeland’), by first-time director Mohamed Hamidi (from the Paris area, a founder of the well-known banlieue-themed Bondy Blog, and who normally teaches economics and management for a living). This is a comedy (or perhaps a dramedy) for le grand public, about a 26-year-old Parisian law student named Farid (actor Tewfik Jallab) from an Algerian immigrant family, who’s asked by his ageing father to go en catastrophe to the family’s village (near Tlemcen), to deal with the local authorities’ intention to raze the house the father had built there for his retirement. So Farid has no choice but to drop everything and go to Algeria, where he had never set foot. Now this wasn’t too credible—immigrant families who periodically return to the bled invariably take the kids with them—, nor was it credible that he wouldn’t understand a word of Algerian darija, but that’s okay. At the airport he’s met with open arms by relatives he’s seeing for the first time, one a cousin played by comic Jamel Debbouze—who is hugely popular in France (and in my family)—, who take him to the bled, where he encounters the whole range of zany, offbeat characters. And the rocambolesque story takes off (in short: Farid intends to stay only a few days but, against his will, is retained there for considerably longer). The movie is quite funny—indeed hilarious—, particularly if one knows Algeria and Algerian humor. Immigrés vs. blédards dynamics are naturally a theme. Algeriaphiles will definitely appreciate it. So despite a few contrivances and implausibilities I give it the unreserved thumbs up. I was thoroughly entertained. Review in English is here (the film showed at Cannes), French reviews (good) here, and trailer here.