The Good Families (1973)

1990年代、アルジェリアの人里離れた村にある修道院では、カトリックの修道士たちが共同生活を送っていた。戒律を厳格に守り信仰に身をささげる一方、地域の診療所としても機能する修道院には、毎日地元の住民たちが訪ねてきていた。修道士たちはイスラム教徒の地元民と良好な関係を築いていたが、アルジェリア内戦による影響が出始め……。

留学先のベルギーで大失恋し、今は母国インドのTV報道局で働くジャグー（アヌシュカ・シャルマ）は、ある日地下鉄で黄色いヘルメットを被り、大きなラジカセを持ち、あらゆる宗教の飾りをつけてチラシを配る奇妙な男(アーミル・カーン）を見かける。チラシには神様の絵に「行方不明」の文字。興味を持ったジャグーはその男を取材することに。「この男はいったい何者？なぜ神様を捜しているの？」しかし、彼女が男から聞いた話は、にわかには信じられないものだった―。自分の人生に迷うすべての現代人に贈る、笑いと涙の珠玉のドラマ。

A French teacher in a small Algerian village during the Algerian War forms an unexpected bond with a dissident who is ordered to be turned in to the authorities.

DNA revolves around a woman with close ties to a beloved Algerian grandfather who protected her from a toxic home life as a child. When he dies, it triggers a deep identity crisis as tensions between her extended family members escalate revealing new depths of resentment and bitterness.

Pépé le Moko, one of France's most wanted criminals, hides out in the Casbah section of Algiers. He knows police will be waiting for him if he tries to leave the city. When Pépé meets Gaby, a gorgeous woman from Paris who is lost in the Casbah, he falls for her.

Stanislas Previne is a young sociologist, preparing a thesis on criminal women. He chooses Camille Bliss as his subject of study and begins to visit her in prison for interviews. Camille became acquainted with trouble at a young age and justifies her actions by "fate-bets." She is currently in prison for allegedly murdering one of her lovers. As she tells Stanislas of her life and love affairs, his interest in her grows to more than just professional. Can he resist her charm?

Happily married with a daughter, Marc is a successful real estate agent in Aix-en-Provence. One day, he has an appointment with a woman to view a traditional country house. A few hours later, Marc finally puts a name to her face. It's Cathy, the girl he was in love with growing up in Oran, Algeria, in the last days of the French colonial regime. Marc hurries to her hotel. They spend the night together. Then she's gone again. And Marc's mother tells him Cathy never left Algeria. She was killed with her father in a bombing just before independence...

Described as “a nightmare version of Cheers” (POV Magazine) and “one of the most captivating Australian documentaries in recent memory” (Cinema Australia), HOTEL COOLGARDIE is a gripping portrait of outback Australia, as experienced by two ill-fated backpackers who find themselves the latest batch of “fresh meat” to work as barmaids in a remote mining town. Sometimes amusing, often confronting, the film has been applauded for its no-holds-barred, fly-on-the-wall storytelling, as it explores hot-button themes around misogyny and xenophobia via its depiction of two women attempting to adapt to living and working in a hyper-masculine, foreign environment.

Fred, George, Doug and Howie are quickly reaching middle-age. Three of them are married, only Fred is still a bachelor. They want something different than their ordinary marriages, children and TV-dinners. In secret, they get themselves an apartment with a beautiful young woman, Kathy, for romantic rendezvous. But Kathy does not tell them that she is a sociology student researching the sexual life of the white middle-class male.

Candlelight in Algeria is a 1944 British war film directed by George King and starring James Mason, Carla Lehmann and Raymond Lovell. This drama follows the exploits of Eisenhower's top aide, Mark Clark, and other important Allies as they journey to an important meeting held on Algeria's coast. The precise location of this vital secret gathering is upon a piece of film which must not fall into enemy hands

The star-crossed desert romance of a cloistered woman and a renegade monk.

What happens when western anthropologists descend on the Amazon and make one of the last unacculturated tribes in existence, the Yanomami, the most exhaustively filmed and studied tribe on the planet? Despite their "do no harm" creed and scientific aims, the small army of anthropologists that has studied the Yanomami since the 1960s has wreaked havoc among the tribe - and sparked a war within the anthropology community itself.

Arguing that advertising not only sells things, but also ideas about the world, media scholar Sut Jhally offers a blistering analysis of commercial culture's inability to let go of reactionary gender representations. Jhally's starting point is the breakthrough work of the late sociologist Erving Goffman, whose 1959 book The Presentation of the Self in Everyday Life prefigured the growing field of performance studies. Jhally applies Goffman's analysis of the body in print advertising to hundreds of print ads today, uncovering an astonishing pattern of regressive and destructive gender codes. By looking beyond advertising as a medium that simply sells products, and beyond analyses of gender that tend to focus on either biology or objectification, The Codes of Gender offers important insights into the social construction of masculinity and femininity, the relationship between gender and power, and the everyday performance of cultural norms.

Two deaf and dumb children. She is the daughter of an American Oil engineer. He is the son of an Algerian farmer. They meet and manage to communicate, transcending all the cultural barriers that separate them.

On an Algerian beach, kids splash about, sleep, squabble - and then suddenly go to war. And it’s neither Lord of the Flies nor La Guerre des boutons. In her first film, full of grace, Narimane Mari films this childish freefor- all closely, at the irregular pace of an imagination inspired by the highest form of reality, national History — actually, nothing less than the Algerian War of Independence. When their make-believe induces a general upheaval, we follow the flock of children as they stamp their feet up the stairs, invade houses, cross village squares, in a whirlwind of shouts and empty words. Time is stretched like in a dream, through a choreography of belligerent shadows or the night-time explosion of the cemetery, as so many warning signs of dangers to come.

The beginings of the Algerian Revolution as seen through the eyes of a peasant.

An old man about to die gives all his fortune to a young beggar he meets in an Arabian town. He takes him to his house (now the poor man's property) and he strongly advises him not to open one of the doors, the seventh door. "I could throw the key into the sea" says the young lad" No use, you'd dive to get it back". The young man is curious and he cannot resist temptation: he opens the forbidden door. A strange world is waiting for him where a girl, Leila, will be his guide .

Mounir Mekbek lives with his family in a small village in the heart of the Algerian countryside. Very proud and sure of himself, he has only one dream- to finally be appreciated by his fellow villagers. Screwing up his carefully maintained image is his headstrong, narcoleptic sister Rym who falls asleep anywhere and whom the village is convinced will end up a spinster. One evening, Mounir returns from town drunk and announces that he's found a suitor for his sister. The fake story snowballs and snowballs until the suitor morphs into a rich, blonde Australian. The village begins preparing for the wedding in earnest - but without a bridegroom in sight.

In Algiers in 1993, while the civil war is starting, Mrs Osmane's tenants have to endure her bad temper. Her husband left her and the fear to lose her respectability haunt her. The former member of the Resistance during the Independence War persists in controlling the slightest moves of the households rather than struggle against her own frustrations. Learning her daughter is in love, the possibility of finding herself alone will push her to the limit: The symbolical Mrs Osmane "harem" is about to collapse.