Mapping Subjectivity: Experimentation in Arab Cinema from the 1960s to Now, Part I
October 28–November 22, 2010
This first installment of Mapping Subjectivity is organized in clusters that reflect thematic and aesthetic kinship rather than considerations of chronology and geography, specifically highlighting intangible connections and conversations between works. Showcasing thematic areas that can loosely be described as “Mummies, Memories, and Mischief,” these films and videos—which hail from Algeria, Egypt, Iraq, Lebanon, Morocco, Palestine, and Syria—range from acclaimed masterworks to the rare and recently rediscovered. Together, they are sure to inspire new ways of thinking about and appreciating modernity in art and cinema from the Arab world. All films are in Arabic with English subtitles, unless otherwise noted.
The program is organized in association with the Abu Dhabi Film Festival. We are grateful for additional support from the Cultural Services of the French Embassy in the United States.
ArteEast receives additional funding from The Andy Warhol Foundation for the Visual Arts, the New York State Council on the Arts, and New York City’s Department of Cultural Affairs.
Related Film Screenings
Al Zaman al Baqi (The Time That Remains)
2009. Palestine/Great Britain/Italy/Belgium/France. 109 min.
Segell Ikhtifa’ (Chronicle of a Disappearance)
1996. Palestine/France/USA/Germany/Israel. Elia Suleiman. 88 min.
Yadon ilaheyya (Divine Intervention)
2002. Palestine/France/Morocco. Elia Suleiman. 92 min.
2003. Algeria/France. Ahmed Zi. 15 min.
Abna’ el-Reeh (Sons of the Wind)
1981. Algeria. Brahim Tsak. 71 min.
Al-Rajol al-Lathi Kan Yanzhor Ila al-Nawafith (The Man Who Was Looking at the Windows)
1986. Algeria. Merzak Allouache. 85 min.
Wa Laou fil Seen (La Chine est encore/China Is Still Far)
2008. Algeria/France. Malek Bensmaïl. 120 min.
Massa’ibu Qawmon… (The Misfortunes of Some…)
1981. Syria/France/Lebanon. Omar Amiralay. 52 min.
Al-Hobb al-Maw’ood (Love Aborted)
1985. Syria/France. Omar Amiralay. 52 min.
Ana Alati Tahmol Azouhour ila Qabriha (I Am the One Who Brings Flowers to Her Grave)
2006. Syria/France. Hala Alabdalla, Ammar el-Beik. 110 min.
An Evening with Hala Alabdalla and Omar Amiralay
Omar Amiralay and Hala Alabdalla present a screening of the documentary Nuron wa Thilal (Light and Shadows, The Last of the Pioneers: Nazih Shahbandar) (1991), which Amiralay codirected with Mohammad Malas and Oussama Mohammad. This portrait of Nazih Shahbandar illuminates his role as a pioneer of Arab cinema production in the 1930s and 1940s. He wrote scripts, built sets, set up a studio fitted with film equipment that was almost entirely of his own fabrication, produced and directed the first Syrian film with sound, and chased his dream of making a 3-D film. This documentary is an ode both to the man and to early Arab cinema, and it provides a fitting prelude to a conversation with two of the most influential and inventive artists of the region during recent decades.
Amiralay was a driving force in the establishment of the Arab Film Institute, a collaborative project uniting young and independent filmmakers in the region that organizes workshops and offers other support. His films have earned a number of awards worldwide, and his cinema has become canon for generations of documentary filmmakers in the Arab world. As the general director of Ramad Films, Amiralay’s France-based production company, Hala Alabdalla has executive-produced many of Amiralay’s films. I Am the One Who Carries Flowers to Her Grave is her directorial debut.
Domestic Tourism II
2009. Egypt. Maha Maamoun. 62 min.
Al-Moumia’ (The Mummy/Night of Counting the Years)
1973. Egypt. Shadi Abdel Salam. 110 min.
El-Fallah el-Fasseeh (The Eloquent Peasant)
1970. Egypt. Shadi Abdel-Salam. 17 min.
El-Chergui, al-Samt al-‘Aneef (The East Wind/The Violent Silence)
1975. Morocco. Moumen Smihi. 90 min.
Mina’ al-Thakira (Port of Memory)
2009. Palestine/Germany/ France/United Arab Emirates. Kamal Aljafari. 63 min.
Sheoeyin Kenna (We Were Communists)
2009. Lebanon. Maher Abi Samra. 84 min.
1972. Iraq/Syria. Qays al-Zubaidi. 95 min.
Al-Hayat Ba‘ad al-Suqut (Life after the Fall)
2008. Iraq/Great Britain. Kasim Abid. 100 min.
2010. Morocco. Hicham Ayouch. 75 min.
Sayf Sab‘een/Un film girato nell'estate '70 (Summer 70)
1970–71. Egypt/Italy. Nagy Shaker, Paolo Isaja. 63 min.
El-Film el-Mafqood (The Lost Film)
2003. Lebanon/France. Joana Hadjithomas, Khalil Joreige. 42 min.
2005. Lebanon/France. Joana Hadjithomas, Khalil Joreige. 26 min.
Baddi Shoof (Je veux voir/I Want to See)
2008. Lebanon/France. Joana Hadjithomas, Khalil Joreige. 75 min.
Ashbah Bayroot (Phantom Beirut)
1998. Lebanon/France. Ghassan Salhab. 113 min.
Yawmon Akhar (A Perfect Day)
2005. Lebanon/France. Joana Hadjithomas, Khalil Joreige. 88 min.
An Evening with Joana Hadjithomas and Khalil Joreige
Filmmakers Joana Hadjithomas and Khalil Joreige perform Aida, sauve-moi (Aida, Save Me). This lecture-performance is inspired by an extraordinary event that took place during the 2006 Beirut premiere of their film A Perfect Day, an event that interrupted that film’s release and resonates strangely with the entirety of their work. Aida, Save Me tells a story that measures the distance between recognition and representation of oneself, and recounts an adventure wherein fiction suddenly takes on the appearance of documentation.
Beirut natives Joana Hadjithomas and Khalil Joreige are filmmakers, artists, and university teachers. They have directed several feature films, including Around the Pink House (1999) and I Want to See, which was named Best Film of 2008 by the French syndicate of critics. They are also accomplished short-film makers, and their numerous photographic installations and videos, including the Wonder Beirut Project and Lasting Images, have been exhibited in museums and galleries around the world.