Nacer Khemir
Nascimento : 1948-04-01, Korba, Tunisia
História
Nacer Khemir (Arabic: ناصر خمير), born in 1948 in Korba, Tunisia, is a Tunisian writer, artist, storyteller, and filmmaker.
Biography
From an early age, Khemir was fascinated by classical Arabic culture and by storytelling. He has cited the One Thousand and One Nights as a particular influence, saying, "I am a child of these stories." However, in spite of this interest and a similar, lasting passion for film, Khemir initially planned a career as a painter and sculptor - a path he has, throughout his life, continued to pursue; his art has been exhibited at, among other institutions, the Centre Pompidou and the Museum of Modern Art in Paris.
In 1966, at the age of eighteen, he was awarded a UNESCO fellowship to study film in Paris. In 1975, he completed his first film, L’Histoire du pays du Bon Dieu (The History of God's Country), shot in his hometown of Korba and featuring the desert setting and spiritual overtones that would figure prominently in his later work.
Released in 1984, his first feature film, Les baliseurs du désert (Wanderers of the Desert), garnered international acclaim. The film, which tells the story of a schoolteacher's arrival in a strange and haunting desert town, was awarded the Grand Prix at the Festival des Trois Continents.
Khemir's second feature, Le collier perdu de la colombe (The Dove's Lost Necklace), was released in 1991. The dialogue of the film is in Classical Arabic.[4] Its narrative, reminiscent of a fairy tale, concerns a young calligrapher in Al-Andalus who embarks on a quest to find the missing fragments of a manuscript that he believes will reveal to him the secrets of love. Le collier perdu de la colombe was the recipient of several awards, including a Special Jury Prize at the Locarno International Film Festival.
Les baliseurs du désert and Le collier perdu de la colombe are considered to form the first two parts of a "Desert Trilogy." The third part, Bab'Aziz: le prince qui contemplait son âme (Bab'Aziz: The Prince Who Contemplated His Soul) was released in 2005. Bab'Aziz tells the story of an elderly dervish who, accompanied by his young granddaughter, encounters several mysterious strangers as he journeys to a large and joyful Sufi gathering in the desert. Khemir has described Bab'Aziz as "a highly political film, and deliberately so," saying:
"I would explain it with this allegory: if you are walking alongside your father and he suddenly falls down, his face in the mud, what would you do? You would help him stand up, and wipe his face with your shirt. My father’s face stands for Islam, and I tried to wipe Islam’s face clean with my movie, by showing an open, tolerant and friendly Islamic culture, full of love and wisdom . . . an Islam that is different from the one depicted by the media in the aftermath of 9/11."
The film was co-produced by eight countries, including Germany, France, Switzerland, and Iran. It was the recipient of a Golden Dagger at the Muscat Film Festival.
In addition to his work as an artist and filmmaker, Khemir has performed as a storyteller at the Théâtre national de Chaillot, and has produced work for Swiss, French, and Tunisian television. He is the author of a number of books, including several for children
Screenplay
A Canadian woman of Arab descent undertakes a trip and hires a guide to help her find a specific place in the Tunisian desert. To encourage her to reveal her secret, the guide tells her Sufi stories inspired by his childhood.
Director
A Canadian woman of Arab descent undertakes a trip and hires a guide to help her find a specific place in the Tunisian desert. To encourage her to reveal her secret, the guide tells her Sufi stories inspired by his childhood.
Director
Writer
A man (played by the filmmaker Nacer Khemir) returns home to Tunis to bury his mother. After the burial, his father gives him an "amana" to be handed to a certain Sheikh named Muhyiddin. Taken by his father's request, the man immediately sets out on an epic journey to find the long lost Sheikh and deliver the "amana."
Director
A man (played by the filmmaker Nacer Khemir) returns home to Tunis to bury his mother. After the burial, his father gives him an "amana" to be handed to a certain Sheikh named Muhyiddin. Taken by his father's request, the man immediately sets out on an epic journey to find the long lost Sheikh and deliver the "amana."
Director
The collected work known as "One Thousand and One Nights" survived for centuries through generations of Arab storytellers, and is now recognized as an integral part of world literature. In this filmed performance, storyteller/filmmaker Nacer Khemir sits on chair in the middle of a dimly lit stage and deploys the magic of words to take us on a journey of the imagination. This simple set-up may not seem like much, but it offers the listener an extraordinarily colorful experience and brilliantly emphasizes the oral nature of the work. As we listen to the expertly told stories, we are equally charmed by their intricacies and entranced by their interconnectedness. Even though Khemir illustrates some of the stories with beautifully filmed sequences, the audience's ability to listen is paramount here. Sheherazade used words to avoid impending death, Khemir uses the art of storytelling to breathe a new life into this ancient masterwork.
Himself
An old woman is sitting with motionless and two eyes closed. Suddenly, a visitor shows up in the courtyard of the house while she is looking at the sunlight through a window. The turtle and a door open onto her memories and it makes her think of a memory about a rosary. The images of an unforgettable past remain in her mind with longing about her missing son.
Director
An old woman is sitting with motionless and two eyes closed. Suddenly, a visitor shows up in the courtyard of the house while she is looking at the sunlight through a window. The turtle and a door open onto her memories and it makes her think of a memory about a rosary. The images of an unforgettable past remain in her mind with longing about her missing son.
himself
Retracing the trip to Tunisia that painter Paul Klee took in 1914, Tunisian filmmaker and painter Nacer Khemir leads viewers on a journey of discovery into Arabian culture.
Writer
Inicia-se com a história de um dervish de nome Baba Aziz e sua neta espiritual, Ishtar. Juntos eles percorrem o deserto à procura de uma grande reunião de dervishes que ocorre uma vez a cada 30 anos. Tendo a fé como único guia, os dois viajam por vários dias pela imensidão. Para ajudar a suportar a viagem, Baba Aziz passa a contar histórias do príncipe do deserto que contemplava sua alma ao lado de uma pequena piscina. Conforme a história é contada, os viajantes encontram outros viajantes que também contam suas histórias. Repleto de imagens maravilhosas e uma música belíssima, Nacir Khemir criou uma fabula inédita e encantadora, filmada nas areias da Tunisia e do Irã.
Director
Inicia-se com a história de um dervish de nome Baba Aziz e sua neta espiritual, Ishtar. Juntos eles percorrem o deserto à procura de uma grande reunião de dervishes que ocorre uma vez a cada 30 anos. Tendo a fé como único guia, os dois viajam por vários dias pela imensidão. Para ajudar a suportar a viagem, Baba Aziz passa a contar histórias do príncipe do deserto que contemplava sua alma ao lado de uma pequena piscina. Conforme a história é contada, os viajantes encontram outros viajantes que também contam suas histórias. Repleto de imagens maravilhosas e uma música belíssima, Nacir Khemir criou uma fabula inédita e encantadora, filmada nas areias da Tunisia e do Irã.
Writer
O filme mostra a história de Hassan, que estuda a arte da caligrafia árabe com um grande mestre. Depois de encontrar um fragmento de um manuscrito, Hassan sai em busca das peças faltantes, acreditando que elas os levarão aos segredos do amor. Com a ajuda de Zin, ele encontra a Linda Azizi, Princesa de Samarkand. Ao se deparar com várias dificuldades em seu caminho, inclusive com a Guerra, ele se dá conta de que mesmo uma vida inteira não será suficiente para desvendar as reais dimensões do amor. Este filme tem como cenário uma mesquita da Andaluza do século XI, que tem o especial significado de ter acolhido diferentes culturas. Prêmio do Juri do Festival de Locarno.
Director
O filme mostra a história de Hassan, que estuda a arte da caligrafia árabe com um grande mestre. Depois de encontrar um fragmento de um manuscrito, Hassan sai em busca das peças faltantes, acreditando que elas os levarão aos segredos do amor. Com a ajuda de Zin, ele encontra a Linda Azizi, Princesa de Samarkand. Ao se deparar com várias dificuldades em seu caminho, inclusive com a Guerra, ele se dá conta de que mesmo uma vida inteira não será suficiente para desvendar as reais dimensões do amor. Este filme tem como cenário uma mesquita da Andaluza do século XI, que tem o especial significado de ter acolhido diferentes culturas. Prêmio do Juri do Festival de Locarno.
Abdulsalam (Teacher)
Seguindo a tradição árabe de contar histórias e sua experiência como escritor, Khemir cria um cenário especial no qual um jovem professor assume a escola de um pequeno vilarejo no meio do deserto, ensinando crianças que nunca tinham ido à escola. Nessa aldeia, apenas tem ainda os velhos, as mulheres e uma bela e misteriosa jovem. Os homens se foram.. E tem ainda toda a beleza do Deserto.... Fortemente influenciado pelas histórias das Mil e Uma Noites, o filme mostra figuras lendárias que se materializam, crianças que correm por labirintos, além do misterioso desaparecimento do professor. Neste filme é possível verificar como a lenda, a tradição e o destino estão fortemente ligados àquela comunidade. Sendo um conto sufí, uma película poema, uma busca das raízes, do amor e da liberdade.
Writer
Seguindo a tradição árabe de contar histórias e sua experiência como escritor, Khemir cria um cenário especial no qual um jovem professor assume a escola de um pequeno vilarejo no meio do deserto, ensinando crianças que nunca tinham ido à escola. Nessa aldeia, apenas tem ainda os velhos, as mulheres e uma bela e misteriosa jovem. Os homens se foram.. E tem ainda toda a beleza do Deserto.... Fortemente influenciado pelas histórias das Mil e Uma Noites, o filme mostra figuras lendárias que se materializam, crianças que correm por labirintos, além do misterioso desaparecimento do professor. Neste filme é possível verificar como a lenda, a tradição e o destino estão fortemente ligados àquela comunidade. Sendo um conto sufí, uma película poema, uma busca das raízes, do amor e da liberdade.
Director
Seguindo a tradição árabe de contar histórias e sua experiência como escritor, Khemir cria um cenário especial no qual um jovem professor assume a escola de um pequeno vilarejo no meio do deserto, ensinando crianças que nunca tinham ido à escola. Nessa aldeia, apenas tem ainda os velhos, as mulheres e uma bela e misteriosa jovem. Os homens se foram.. E tem ainda toda a beleza do Deserto.... Fortemente influenciado pelas histórias das Mil e Uma Noites, o filme mostra figuras lendárias que se materializam, crianças que correm por labirintos, além do misterioso desaparecimento do professor. Neste filme é possível verificar como a lenda, a tradição e o destino estão fortemente ligados àquela comunidade. Sendo um conto sufí, uma película poema, uma busca das raízes, do amor e da liberdade.
Director
This is a film about a man, with a peculiar itinirary, who worked hard to build a bridge between the Arab and the French cultures. A kind of testimony, alternating narration and conversations where the evocation of oneself becomes a curiosity of the other. There are men, whom by their achivements, bring shorelines closer to each other, Andé Miquel is one of them. The film tells why and how a young man from the Languedoc region in France, dreams one day of the other shore of the mediteriranean sea and is passionately interested in the language and Arab cultures to the point that it becomes a total vocation. Sometimes an encounter, a hazard, proves to be irreplaceable, indispensable and finally a destiny.
Director
Wallada, the only child of one of the last Umayyad caliphs, al-Mustakfi murdered in 1025, asserted herself throughout the 11th century as both a poetess and a free woman. The first European woman to hold a literary salon, she surrounded herself with the artistic and the cultured elite of Cordoba of the time. The film is both the portrait of this century, with its contrasts that saw both Ibn Hazm, author of ‘Tawk al-Hamama’, a manuscript on love and lovers, and the rise of the Andalusian poetry and chant, passing through the influence of Ziryab’s school on music, fashion, fragrance and the formation of a refined elite that eventually spread all over al-Andalus and beyond. The film also tells Wallada and the great poet Ibn Zaydun’s unhappy love story, while evocating the civil war and the fall of the Umayyad caliphate of al-Andalus.
Director
“In 1992 I bought a small mini-DV camera to film my diary and fix my memories, which have become “transparent” due to my nomadic life. When I returned to my village, I learned that an attempt had been made to poison my great aunt Yasmina. I went to visit her and that's how I started this movie without knowing it. Very quickly I was caught up in Yasmina's oral novel and its great secret. I was working at the time, in Europe, on my exhibition "The 60 Names of Love". My life was divided between two exiles, here and there, between the Gregorian calendar and the Hegira calendar, between the drama of Yasmina and my journey to the heart of the Arabic language and The 60 Names of love.” Nacer Khemir
