#férid boughedir

[phantomladyoverparis]

La mort trouble (1970), dir. Férid Boughedir & Claude d’Anna

[cinematicjourney]

A Summer in La Goulette (1996) | dir. Férid Boughedir

[toiich]

A Summer in La Goulette (1996), dir. Férid Boughedir

[sometimes3always]

[redseasiren]

Un été à La Goulette(1996)

[dyingenigma]

Camera d'Afrique [1983] directed by. Férid Boughedir

[artfilmfan]

Pioneering Cameroonian filmmaker and #NYAFF31 honoree, Dikongué Pipa, reflecting on the desires of African filmmakers in Férid Boughedir’s seminal 1983 doc, ‘Camera d’Afrique.’

[ourlittlesister2015]

"Not only film production but also distribution in Africa has faced a ruthless and monopolistic exploitation by American, European, and Indian distribution companies. The film industry in Africa has no government protection — neither import quotas nor the freezing of box-office receipts.

[...] At the same time that African countries could not control foreign domination of distribution and exhibition, they also have not raised, as have France and Germany, subsidies for national African film production. Furthermore, foreign distributors use block-booking and other monopolistic practices so that African films are often not even seen in their country of origin. To put it in Férid Boughedir’s words, 'Fundamentally, African cinema does not exist because film distribution is not in Africa’s hands.'”

DIAWARA, Manthia. African cinema politics & culture. Bloomington and Indianapolis: Indiana University Press, 1992, page VIII.

[deepdwnbodythurst]

Un été à la Goulette (1996) dir. Férid Boughedir

[madame-the-guillotine]

Un été à la goulette (1996)  Férid Boughedir

[fettesans]

Top, screen capture from Midsommar, directed by Ari Aster, 2019. Bottom, screen capture from La mort trouble, directed by Férid Boughedir and Claude d'Anna, 1970. Via.

--

In Cronenberg’s 1988 film, “Dead Ringers,” a gynecologist muses that “there should be beauty contests for the insides of bodies,” a remark that alarms the patient lying supine on the examining table. But it made sense to my body, which longed to offer up even its offal. It was only a matter of time before the longing attacked. (...)

Most people would give anything to be turned into anything else, because most sex is mediocre, and the measure of its mediocrity is that it leaves us unaffected. No one falls ill; no one transforms into a fly or a cockroach; nothing changes. As the narrator of Norman Rush’s novel “Mating” sagely observes, “Sex can be various things, but in my experience the usual thing it is is considerate work on the part of both parties,” accompanied by the exchange of careful courtesies: “after you, no, after you, mais non.” No one has transformative sex all the time, and there is nothing wrong with sex that is merely pleasant. Indeed, a polite volley of pleasantries is probably the best thing that unecstatic sex can be. (...)

In fact, we are not impermeable packages of preformed desires, importing our likes and dislikes around with us from one encounter to the next like papers in a briefcase. An erotic craving is inextricable from the ferment that foams up when oneself is sluiced into another. Not only is it impossible for us to know whether an encounter will be deflating or transformative but we cannot know what sort of metamorphosis will ensue if the sex is as jarring as we can only hope it will be. We can have no more success when it comes to divining how we will change our partners than we can have when it comes to divining how they will change us—or, following Cummings, how their changes will change us, and how our changes will change them, iteratively and indefinitely. Maybe we will grow the wings of cherubs, but maybe we will find ourselves meshed with the coarse bristles of gigantic flies. All we can say with certainty is that sometimes, when it is working, sex carves out new bodies for our bodies, and these bodies can be both better and more brutal than the ones we could invent alone.

Becca Rothfeld, from All Good Sex Is Body Horror - The work of the director David Cronenberg proposes that transformation can attend disgust and that our desires might be elevated only when we are torn apart, for The New Yorker, February 17, 2024.

[phantomladyoverparis]

La mort trouble (1970), dir. Férid Boughedir & Claude d’Anna

[cinematicjourney]

A Summer in La Goulette (1996) | dir. Férid Boughedir

[soupedecroutons]

La Mort Trouble (Claude d’Anna & Férid Boughedir, 1970)

[filmkatt]

صيف حلق الوادي

Férid Boughedir * 1996