#Abderrahman I

[geohistoarte]

Intervención de Carlomagno en la península Ibérica

[silicacid]

“When I woke up, I discovered that I had been shot 30 times.”

Abderrahman Al Zeghel, a 14-year-old Palestinian child and the youngest prisoner released in the Hamas-Israel hostage exchange, sustained deadly head injuries after Israeli forces assaulted him while he was buying bread in occupied East Jerusalem’s Silwan.

Despite undergoing multiple surgeries, he now lives with “half a skull” and faces health issues preventing a return to normal life.

Israeli law doesn’t permit the imprisonment of children under 14 and instead enforces  house arrests as a form of punishment

TRT World

[mikeydraws]

HELP SOMEONE IN NEED.

Pride month has always been a month to uplift voices of queer and trans people, it’s a month to enjoy ourselves and be proud of who we are and I want more people to enjoy it with us. I myself am part of this amazing community as a gay trans man.

Today I wanna uplift someone’s voice even with the little followers I have.

“Meet Elle, a 17 year old trans-woman from Algeria. At 15 she bravely came out to her religious extremist parents, unfortunately she was faced with abuse and got sent to conversion therapy. She pretended to conform, finally convincing her parents to send her study in the UK. Hoping to start a new life.

Despite these challenges, Elle has begun connecting with the LGBTQ+ community in London. She found support, friendship and acceptance. She dreams of becoming a makeup artist and living in a world that accepts her. Sadly Elle’s newfound freedom was short lived. Someone outed her as trans to her parents in Algeria and they cut her off financially immediately. Now without the means to pay her school fees Elle faces deportation back to the abusive household she fled from. This terrifying nightmare looms over her each day.

Your donation or your voice can help Elle stay in the UK, continue her education and live a life free from abuse and shame. Anything can help.”

Under this are the links to her tiktok and her Fund raiser. Please help as much as you can, even by just reposting this post can help reach more people, that’s all I ask of you all.

https://gofund.me/70e75e58

https://www.tiktok.com/@elle_stray?_t=8nEzdT3FbXt&_r=1

[v4lentin3d0ll]

[description : includes valid link connected to a gofundme page for the person mentioned below. this link does briefly mention physical abuse , a suicide attempt , and anti-lgbtq+ topics. please read with caution]

hi everyone !! i wanted to spread this around in case anyone comes across this post.

there’s this young woman (trans mtf) named elle who really needs help !! she’s been through a lot of familial abuse , abandonment , suicidal thoughts , and many other things. it would be amazing if you guys could help her pay for her college tuition so she can continue to live safely among her peers in the uk !!

if you are able to send a donation to her , it would be a major help !! any amount , no matter how big or small , counts !!

p.s. if you or anyone you know is suffering from abuse , suicidal thoughts , or anything else , please reach out to a professional or a hotline ! everyone deserves genuine love , food , water , and a safe and accepting place to live ! please be safe out there.

[byneddiedingo]

Mahmoud Al Meleji and Ezzat El Alaili in The Land (Youssef Chahine, 1970)

Cast: Mahmoud Al Meleji, Nagwa Ibrahim, Ezzat El Alaili, Hamdy Ahmed, Ali El Sherif, Yehia Chahine, Salaah El-Saadany, Tawfik El Deken. Screenplay: Hassan Fuad, based on a novel by Abderrahman Charkawi. Cinematography: Abdelhalim Nasr. Film editing: Rashida Abdel Salam. Music: Ali Ismail.

I will only betray my ignorance of Egyptian history, literature, politics, and culture, not to mention the Arabic language, if I venture to say more than that I found Youssef Chahine's The Land both stirring and baffling. I may have been baffled occasionally because The Land is based on a novel, and Chahine chose to include some sections that may have worked better on the page, such as the opening sequence about a boy's infatuation with the pretty Wassifa (Nagwa Ibrahim). Chahine spends much time establishing a backstory for the boy, but he disappears from the rest of the film after his sequence ends. But narrative flaws like that one shouldn't deter anyone from watching the film, which is often quite beautiful and features some impressive performances, particularly that of Mahmoud Al Meleji as a farmer struggling with the intractable demands and corruption of government authorities, with the ambitions of his landlord, and with the apathy and ineptness of some of his fellow farmers. The action moves through incidents both comic and brutal, and ends with a masterly final scene that evokes the work of Eisenstein and Dovzhenko. The rest of the film isn't on a par with its ending, but that's probably asking too much. 

[sunnyscript]

Hello there! You've been tagged! You don't have to do anything if you don't want to, but if you'd like, list 5 things that make you happy, then put this in the askbox for the last 10 people who reblogged something from you! Learn to know your mutuals and followers! 💖💖💖

-1 Reading. [currently reading a bunch comics, 'De La Violence Algérie - Les lois du chaos-' from Abderrahmane Moussaoui and 'المجنون' (the insane person) from جبران خليل جبران (jebrane kkhalil jebrane)]

-2 rain smell (cold season started where i live, but it hasn't been rainning yet)

-3 tea and infusions (everyday, twice a day)

-4 writing and drawing

-5 daydreaming and thinking about my favourite characters (24/7)

@1-800-t3rry @thevanillahorizon @unrequitedbrainsidianangst @iron-sides @yellowcorps

@friend-of-ferret @thelongesttumble @thepineconelord

@mercurysystem @vexic929

[alightinthelantern]

Best of the Bunch: movies watched in 2023 I heartily recommend (Part 1)

The titles of the films are links to where you can watch them!

Timbuktu (2014, Abderrahmane Sissako)

The Favourite (2018, Yorgos Lanthimos)

Mirror (1975, Andrei Tarkovsky)

Andrei Rublev (1966, Andrei Tarkovsky)

Early Summer (1951, Yasujirō Ozu)

Late Spring (1949, Yasujirō Ozu)

Days of Being Wild (1990, Wong Kar-Wai)

Ready or Not (2019, Matt Bettinelli-Olpin & Tyler Gillett)

The Dark Knight trilogy (Batman Begins/The Dark Knight/The Dark Knight Rises) (2005, 2008, 2012, Christopher Nolan)

Superman Returns (2005, Bryan Singer)

Part 1 | Part 2 | Part 3

[randomberlinchick]

Share Subject: Berlinale: Lupita Nyong'o makes history in German film festival

Share Message - Berlinale: Lupita Nyong'o makes history in German film festival

Three African entries are among the 20 competing for the top prize, and all tell stories from the continent.

They include Black Tea by Mauritanian-born Malian director Abderrahmane Sissako, Who Do I Belong To by Tunisian-Canadian director Meryam Joobeur and the documentary Dahomey by French-Senegalese filmmaker Mati Diop.

Nice . . .

[kristenswig]

most anticipated 2023!

May/December (Todd Haynes)

Infinity Pool (Brandon Cronenberg)

The Red Sky (Christian Petzold)

La Chimera (Alice Rohrwacher)

The State of the Empire/Lost in the Night (Amat Escalante)

Butterfly Jam (Kantemir Balagov)

Strangers (Andrew Haigh)

Blitz (Steve McQueen)

Memory (Michel Franco)

The Killer (David Fincher)

Nekrokosm (Panos Cosmatos)

Killers of the Flower Moon (Martin Scorsese)

The Perfumed Hill (Abderrahmane Sissako)

The Kitchen (Alonso Ruizpalacios)

Cuckoo (Tilman Singer)

The Beast (Bertrand Bonello)

The Zone of Interest (Jonathan Glazer)

All Dirt Roads Taste of Salt (Raven Jackson)

El Conde (Pablo Larraín)

Club Zero (Jessica Hausner)

Cerrar los ojos (Victor Erice)

Civil War (Alex Garland)

Music (Angela Schanelec)

Humane (Caitlin Cronenberg)

Knock at the Cabin (M. Night Shyamalan)

Leave the World Behind (Sam Esmail)

Evil Dead Rise (Lee Cronin)

Heroic (David Zonana)

Foe (Garth Davis)

Problemista (Julio Torres)

Doesn’t exist:

The Brutalist (Brady Corbet)

Might exist!:

What Happens (Andrey Zvyagintsev)

Stone Mattress (Lynne Ramsay)

Is it a short or is it a feature because I have concerns either way

Strange Way of Life (Pedro Almodóvar)

[nacapito]

Mali Blues

The West African country of Mali is a birthplace of the blues, a musical tradition later carried by the transatlantic slave trade to America's cotton fields. Yet today, the music and musicians of Mali are in grave danger. As fundamentalist Islam and sharia law become more widespread, dance and secular music are prohibited, musical instruments are destroyed, and musicians are forced to flee their homeland.

The vibrant documentary MALI BLUES follows four artists: Fatoumata "Fatou" Diawara is a rising star on the global pop scene (memorably featured in Abderrahmane Sissako's acclaimed drama Timbuktu). Bassekou Kouyate is a celebrated ngoni player and traditional griot. Master Soumy is a young street rapper influenced by hip-hop. Ahmed Ag Kaedi is the leader of the Tuareg band Amanar and a guitar virtuoso. Each combines rich musical traditions with contemporary influences, using their music to stand up to extremism and inspire tolerance and peace.

+ A shameless display of the time I watched and enjoyed Ahmed Ag Kaedy's music ✨

[toxioinc]

Top 100 Films

I made this list a few days ago after feeling irritated at the predictability and staleness of the Sight & Sound list, but really I think this a good moment for me to make this list for myself. As you will see from my end of year list in a month, the emergence of a continuous type of filmmaking - Tiktok and Douyin filmmakers posting every day, Youtubers posting every few days - presents a new kind of problem for me who actually wants to make lists that do justice to beautiful filmmaking movements. So this may be the last time to even really want to make an all time list that focuses on the indvidual works rather than the directors filmographies as continuous entities. Although I couldn’t make a normal top 10 poll, and it was better in the end to have a 100 poll as an alternative to the full list, I have put in bold 7 films which I would definitely put in a top 10.

Hypocrites (dir. Lois Weber, 1915)

7th Heaven (dir. Frank Borzage, 1927)

Themes and Variations (dir. Germaine Dulac, 1928)

The Seashell and the Clergyman (dir. Germaine Dulac, 1928)

City Lights (dir. Charlie Chaplin, 1931)

Le métro (dir. Georges Franju & Henri Langlois, 1934)

The Story of the Last Chrysanthemum (dir. Kenji Mizoguchi, 1939)

Bambi (dir. David Hand, 1942)

Now, Voyager (dir. Irving Rapper, 1942)

Meet Me in St. Louis (dir. Vincente Minnelli, 1944)

Spring in a Small Town (dir. Fei Mu, 1948)

Song of Love (dir. Jean Genet, 1950)

Awaara (dir. Raj Kapoor, 1951)

Gate of Hell (dir. Teinosuke Kinugasa, 1953)

Sansho the Bailiff (dir. Kenji Mizoguchi, 1954)

The Night of the Hunter (dir. Charles Laughton, 1955)

Pyaasa (dir. Guru Dutt, 1957)

The Cranes are Flying (dir. Mikhail Kalatozov, 1957)

Vertigo (dir. Alfred Hitchcock, 1958)

Gertrud (dir. Carl Theodor Dreyer, 1964)

The Young Girls of Rochefort (dir. Jacques Demy, 1967)

For My Crushed Right Eye (dir. Toshio Matsumoto, 1969)

Everything Visible is Empty (dir. Toshio Matsumoto, 1975)

Atman (dir. Toshio Matsumoto, 1975)

In the Realm of the Senses (dir. Nagisa Oshima, 1976)

House (dir. Nobuhiko Obayashi, 1977)

¡Que viva México! (dir. Sergei Eisenstein, 1979)

Spacy (dir. Takashi Ito, 1981)

Drill (dir. Takashi Ito, 1983)

Ghost (dir. Takashi Ito, 1984)

Nausicaä of the Valley of the Wind (dir. Hayao Miyazaki, 1984)

Sabishinbou (dir. Nobuhiko Obayashi, 1985)

Alice (dir. Jan Svankmajer, 1988)

Gang of Four (dir. Jacques Rivette, 1989)

The Stranger (dir. Satyajit Ray, 1991)

A Scene at the Sea (dir. Takeshi Kitano, 1991)

Cardiogram (dir. Darezhan Omirbaev, 1995)

The Neon Bible (dir. Terence Davies, 1995)

Kids Return (dir. Takeshi Kitano, 1996)

The River (dir. Tsai Ming-liang, 1997)

Monochrome Head (dir. Takashi Ito, 1997)

April Story (dir. Shunji Iwai, 1998)

The Silence (dir. Mohsen Makhmalbaf, 1998)

Histoire(s) du cinéma (dir. Jean-Luc Godard, 1998)

Star Wars: Episode I - The Phantom Menace (dir. George Lucas, 1999)

OH! Super Milk Chan (dir. Kiyohiro Omori, 2000)

Brother (dir. Takeshi Kitano, 2000)

Spirited Away (dir. Hayao Miyazaki, 2001)

Mulholland Drive (dir. David Lynch, 2001)

Atanarjuat: The Fast Runner (dir. Zacharias Kunuk, 2001)

A.I. Artificial Intelligence (dir. Steven Spielberg, 2001)

Avalon (dir. Mamoru Oshii, 2001)

Dolls (dir. Takeshi Kitano, 2002)

Star Wars: Episode II - Attack of the Clones (dir. George Lucas, 2002)

Father and Son (dir. Aleksandr Sokurov, 2003)

Waiting for Happiness (dir. Abderrahmane Sissako, 2003)

3-iron (dir. Kim Ki-duk, 2004)

Tie Xi Qu: West of the Tracks (dir. Wang Bing, 2004)

Tropical Malady (dir. Apichatpong Weerasethakul, 2004)

Celestial Subway Lines/Salvaging Noise (dir. Ken Jacobs, 2005)

Star Wars: Episode III - Revenge of the Sith (dir. George Lucas, 2005)

Seven Intellectuals in Bamboo Forest, Part III (dir. Yang Fudong, 2006)

Fantascope 'Tylostoma' (dir. Yoshitaka Amano, 2006)

Lady in the Water (dir. M. Night Shyamalan, 2006)

Inland Empire (dir. David Lynch, 2006)

United Red Army (dir. Koji Wakamatsu, 2007)

Paranoid Park (dir. Gus Van Sant, 2007)

City of Ember (dir. Gil Kenan, 2008)

Assault Girls (dir. Mamoru Oshii, 2009)

AKB48 - Heavy Rotation (dir. Mika Ninagawa, 2010)

Jewelpet Twinkle (dir. Takashi Yamamoto, 2011)

Spring Breakers (dir. Harmony Korine, 2013)

'Til Madness Do Us Part (dir. Wang Bing, 2013)

The Tale of the Princess Kaguya (dir. Isao Takahata, 2013)

EXID - UP&DOWN (dir. Digipedi, 2014)

Tokyo Tribe (dir. Sion Sono, 2014)

Garm Wars: The Last Druid (dir. Mamoru Oshii, 2014)

88:88 (dir. Isiah Medina, 2015)

Creepy (dir. Kiyoshi Kurosawa, 2016)

Daguerreotype (dir. Kiyoshi Kurosawa, 2016)

Before We Vanish (dir. Kiyoshi Kurosawa, 2017)

Idizwadidiz (dir. Isiah Medina, 2017)

Ending (dir. Isiah Medina & Philip Hoffman, 2017)

TWICE - LIKEY (dir. NAIVE, 2017)

Blade Runner 2049 (dir. Denis Villeneuve, 2017)

Ready Player One (dir. Steven Spielberg, 2018)

The Grand Bizarre (dir. Jodie Mack, 2018)

Eden is a Cave (dir. Alexandre Galmard, 2019)

OH MY GIRL - The Fifth Season (dir. Yoo Sung-kyun, 2019)

TWICE - FANCY (dir. NAIVE, 2019)

Alita: Battle Angel (dir. Robert Rodriguez, 2019)

OH MY GIRL - Nonstop (dir. Yoo Sung-kyun, 2020)

IZ*ONE - Secret Story of the Swan (dir. Ziyong Kim, 2020)

s01e03 (dir. Kurt Walker, 2020)

The Last of Us Part II (dir. Neil Druckmann, Anthony Newman & Kurt Margenau, 2020)

Eternal Love of Dream (dir. Yang Xuan, 2020)

おはようございます～ (dir. 小柔SeeU, 2020)

bande fucking annonce (dir. Rafael Cavallini, 2021)

高能来袭～准备好了吗？ (dir. 小柔SeeU, 2021)

NewJeans - Hurt (dir. Shin Hee-won, 2022)

[m2024a]

La pugile delle polemiche colpisce ancora la Carini: "Mi conosce da anni..." Nel manuale del pugilato, la definizione di colpo potente racchiude in sé la combinazione degli elementi di forza, velocità e precisione. Più del destro in pieno volto ad Angela Carini, il colpo ben assestato di Imane Khelif lo assesta a parole. La pugile algerina da fisionomia e contributo ormonale androgino, ha incassato per giorni jab e montanti che l'ambiguità del Cio le ha rovesciato addosso con il suo spannometrico approccio normativo. Ora, però, Khelif cerca di prendere in contropiede e portarsi a casa la vittoria a punti, con buona pace del verdetto unanime. Per farlo argomenta concetti e fa propri valori sui cui sa di poter trovare alleati al di là del fronte: bullismo, olimpismo, fede. «Invio un messaggio per sostenere i principi olimpici, per astenersi dal bullizzare tutti gli atleti, perchè questo ha delle enormi conseguenze», sono le parole di Khelif. «Può distruggere le persone, può ucciderne i pensieri, lo spirito e la mente. Per questo chiedo di mettere fine al bullismo». La 25enne algerina dice di trovare conforto nel confronto con la famiglia: «Sono preoccupati per me ma se Dio vuole tutto questo culminerà in una medaglia d'oro e sarebbe la risposta migliore». Un approccio morbido che fa un po' a pugni con le parole riservate a Carini («Mi conosce da anni, hanno usato questa campagna diffamatoria per indebolirmi») e con i toni meno soft di Abderrahmane Hammad, ministro algerino dello Sport. Che spiega come il Paese nordafricano abbia accantonato «risorse straordinarie per perseguire legalmente chiunque voglia minacciare o diffamare. Risponderemo a ogni provocazione con severità e forza. Continuano gli attacchi contro la nostra eroina Iman Khelif da parte di un organismo che non è riconosciuto dal Comitato olimpico internazionale», le sue parole, con riferimento all'Iba, l'Associazione internazionale della boxe. A fare quadrato, solo poche ore prima, era stato anche il presidente algerino Abdelmadjid Tebboune: «Congratulazioni per la qualificazione, Imane Khelif. Hai onorato l'Algeria, le donne algerine e la boxe algerina. Saremo al tuo fianco qualsiasi sarà il tuo risultato. Buona fortuna per i prossimi due round e avanti, Imane». Per Khelif, dopo l'esordio con Angela Carini anche la vittoria nel quarto di finale contro l'ungherese Hamori per verdetto unanime (5-0), con avanzamento in semifinale. Grazie a quel successo si è già assicurata una medaglia nei 66 kg. Oggi incrocerà i guantoni con la thailandese Suwannapheng per l'accesso alla finale. Ma l'Iba insiste: «Imane Khelif e Lin Yu-Ting», pugile di Taiwan, «sono uomini»

[samw3000]

The False Mirror

How perceptive was I ...The apple withered on the treeThrough frosted windows The soul you cannot seeA deceptive beauty The False Mirror by Rene Magritte – 1928 Photo by Abderrahmane Meftah on Unsplash © 2024 Samantha Williams. All Rights Reserved. OpenLinkNight #360 Thank you, Grace and the dVerse team!

[isaac--r]

Not that this sums up my whole opinion of the movie but one thing that's absolutely bonkers stupid about Poor Things is when all the french characters in the (parisian) brothel start speaking english to one another. To Bella, I would understand, but why would you use a foreign language to tell one of your french workers to blow a guy for free? Why not speak your own language? Why are english speaking audiences so allergic to subtitles?

In comparison: in Black Tea, Abderrahmane Sissako tells the story of a woman from the Ivory Coast who leaves her unloving fiancé at the altar and moves to China. Almost the entire movie is in chinese; there are only a handful of french lines (cape verdian as well at one point :) ). In Anatomy of a Fall, which is set in France, nearly half the movie is in english, because the main character isn't fluent in french. Nina Mélo is a french actress, and she spoke chinese for a whole 1h49 minutes movie. Sandra Hüller is a german actress and she spoke english and french in her movie. Nobody questionned it. The context demanded it. It just makes sense. I don't understand why movies like Poor Things can't do the same, why movies from english speaking countries often use "character speaking english with a foreign accent" as a substitute for "character speaking their own language in their own country". It's just stupid and so, so anglocentric.

[byneddiedingo]

Ahmad Mazhar in Saladin the Victorious (Youssef Chahine, 1963)

Cast: Ahmad Mazhar, Salah Zulfikar, Nadia Lutfi, Hamdy Gheith, Layla Fawzi, Ibrahim Ehmarah, Zaki Tolemat, Mahmoud Al Meleji, Umar El-Hariri, Ahmed Louxor. Screenplay: Youssef Chahine, Abderrahman Charkawi, Naguib Mahfouz, Youssef El Sebai, Mohamed Abdel Gawad. Cinematography: Wadid Sirry. Film editor: Rashida Abdel Salam. Music: Angelo Francesco Lavagnino. 

Youssef Chahine's Saladin the Victorious is not quite like any other historical epic about the Crusades that you've seen, and not just because it looks at its subject from the "other side" of the usual Hollywood versions. Oh, it has the usual cast-of-thousands battle scenes, the romantic subplot, the hissable villains,  the stirring soundtrack, the opulent sets and costumes. And it has the historical inaccuracies and anachronisms we've come to associate with the genre. There's no evidence, for example, that the Arabs used Greek fire against siege towers in defending Jerusalem. Handheld telescopes were not commonly used to spy on the enemy until 500 years later. And in a scene set at Christmas, the muezzin's call to prayer segues into Christians singing "Adeste Fideles" ("O Come All Ye Faithful"), the tune of which has been traced to the 18th century but no earlier. Chahine also departs at one point from the conventional documentary style of storytelling and shows simultaneous meetings of the opposing camps not with a split screen but by putting them side-by-side on an obvious soundstage set, using the lights to switch back and forth between the two groups. It's a neat trick, but a theatrical, not a cinematic one. Chahine obviously wants his movie to do more than to tell a rousing story, and he's helped by an attractive performance by Ahmad Mazhar in the title role. It's a film designed partly to promote Arab unity in the mid-1960s, when Egypt and the Middle Eastern countries were flexing their muscles and taking on the colonialist powers. Chahine ignores the fact that the historical Saladin was a Kurd, not an Arab, but even that serves his more humanistic aim, to persuade people to set aside religious and ethnic differences in favor of peace and human unity. Saladin's chief opponent, Richard I of England (played by Hamdy Gheith in an unfortunate red wig) loses his bigotry and hot-headedness in the face of Saladin's peace-making. Yes, it's a message movie, but a watchable one.