Director
Kyoko is 70 years old. She is a japanese calligrapher and stylist who left her native japan to live in paris. sanae is 28 and has been practicing contemporary dance since childhood. her maternal grandmother was japanese but to integrate, she chose not to pass on her cultural heritage. at the crossing of ages, sanae is in search of her japanese roots while kyoko finds a new youth. the film is a haiku, with no beginning and no end, a moment suspended in time, eternal.
Writer
A poet chooses to give birth alone at home surrounded by characters pregnant with their dreams. How to let life make its way out of the maternal womb? How to build a family when you had to leave the motherland? How to keep hope alive when even birds are hiding from bombings? Timelife is a lifeline, an umbilical cord linking each of us, no matter the color of the skin, the mother tongue or the land of birth. Timelife «homebirthes» lives, hopes and love. The narrative takes root in each moment of reality. The truth, extracted from context, is fictionalized. A way of staging life.
Director
A poet chooses to give birth alone at home surrounded by characters pregnant with their dreams. How to let life make its way out of the maternal womb? How to build a family when you had to leave the motherland? How to keep hope alive when even birds are hiding from bombings? Timelife is a lifeline, an umbilical cord linking each of us, no matter the color of the skin, the mother tongue or the land of birth. Timelife «homebirthes» lives, hopes and love. The narrative takes root in each moment of reality. The truth, extracted from context, is fictionalized. A way of staging life.
Director
How an Algerian filmmaker looks at feminity and dancing
Director
It's a story of absence, memories of absence. No matter the color of your passport, there is the land of birth and the land of becoming.
Director
Algerian director Hamid Benamra turns his focus to Mustapha Boutadjine, a charming, mercurial collage artist in Paris whose very work methods embody resistance, and celebrate those who work to liberate others. Boutadjine creates his portraits of Third World artists such as Miriam Makeba, and Algerian figures such as Assia Djebar from pieces of paper torn from high end fashion magazines and other, glossy, glitzy publications. Using this material is as much an act of rejecting bourgeois standards, which are often anti-North African in France, as much as elevating these figures and making them the social and visual standard against which we should judge ourselves, not the runway models of Chanel.
