A vast desert sand dunes and a military vehicle with a modern-made four-wheel drive on board masked with automatic weapons chasing a deer alone in front of them on the run from the sound he makes Canin child. One of the masked men standing under the flag is no god but Allah black and shoots at him and commented last «do not kill him ... just let him get tired ...».
This is the first scene of the film «Timbuktu» presented at Cannes this year, Mauritanian director Abderrahmane Sissako rookie, in which he proved to his arrival, especially among African filmmakers privileged status and humanitarian Bmqarepetth Haarith. The film tells about the arrival of the jihadists in 2012 to Mali and the occurrence north of the country in their grip. It sums up the experience of people of Western Sahara in Mali and the invasion of the fundamentalists for her and the city of Timbuktu and committing crimes in the name al-Shara and work on the destruction of tribal culture icons.
Fundamentalist factions stormed a tribal society multi-cultural beliefs and reflect on the humiliation and destruction of the social and cultural history, Sissako portrayed in a cartoon car surrounded by new and smart phones and black sunglasses, and video cameras, and modern weapons. All this amid a poor community lacks a minimum of public services and forced Ohloh drinking water to transfer more primitive means. Clear gangs that have significant financial resources, debt confiscated vast Banawanh and wreaked his name. Lining up in the yellow desert where no trees, no water, and automatic machine guns pointing toward anything. Ghazal towards stray or wooden statues symbolizing the beliefs of the desert tribes. Scenes may seem free, but it is not even warrant read on several levels. Although the film Avatar tired sometimes, but what he wanted Sissako saying it was not a clear bias to art as a means of resistance and an expression of inner freedom. Then the viewer poetic mobile between the desert and the river and those singer women that resemble witches voodoo, which stood middle of the road blocking the military car traffic, and boys who have been playing football despite the absence of the ball, running and adhere to signal the referee if the ball between their feet, all those scenes and human dialogues deep The film gave technical immunity coherent and kept him away from the fall in Aptmalah where many filmmakers is located in the provision of violence. He filmed the movie Sufian mortal who last year had excelled in the filming of «life Adele» French director of Tunisian origin Abdullatif Kechiche, which won the Festival Award was in 2013.
Tribal society was able to create a certain balance between tribal traditions and the Islamic religion, which seems by jihadists stage, tolerant and appropriate to the environment of the desert so that no room for fundamentalism. Women living freely and wearing the hijab except for reasons purely related to environmental desert wind blowing and carry with them the sand and dust. People expressed freely through music as well as singing and dancing. Boys playing football in the squares, and the families receive the night playing, singing and fun dialogue. Resistance to the daily nature of poverty and the harsh, dry life.
Fundamentalists
Thus it was serving head of the family are good Ataiwargi in his tent in the nearby city of Timbuktu Seitme the desert with his wife and daughter, the beautiful Tuya. Owns a herd of cows entrusted to his care Aissan, an orphan boy lost his father in the war. Toargi are good living with his family, his wife and daughter Aljamiltan in the desert. In the evening he plays guitar and sings with his family. Killed Amadou, a fisherman, one of the cows are good because they tampered Bhbake dumped in the river. Quarreled and are good hunter and off accidentally are good bullet to infect Amadou Vtguetlh. A struggle for livelihood does not take the traditional resolved to pay the ransom but purists intervene to resolve it according to Shara. Purists arrivals solution by force place tribal authorities in conflict resolution and decided are good execution. We did not wait for the victim to pardon or all are good, which said «my heart has not yet forgiven, I want more time .... maybe tomorrow.» But that will not come tomorrow are good. Crime tribes were usually solved in its own way, however, the fundamentalists have claimed interference in the end are good not only lives but also the lives of his wife. Fundamentalists intervention in the lives of people were confused and humiliated and pushed much of families to abandon their homes and their tents and leave. Began living a harsh desert experience since the arrival of fundamentalists who have begun imposing new habits on people entering the mosque with their boots and their weapons do not care what the imam of the mosque, although demand adherence to the peaceful principles of religion. -Imposed ban, which long life in the heart of the city. Prevent playing football, singing and music, as well as to impose on everyone not to stand in the street and hiking. As usual, women were the first victims of this contraband, as it forced on the wearing of headscarves and then later to wear gloves and socks.
Thus people was whipped and stoned to death. Sissako says that prompted him to write the screenplay and directed the story took place in Mali, where young men and boys buried vertically in the sand and stoned to death, their heads because of the love affair between the two resulted in a child. In Africa relations that can produce children without marriage. But it imported from abroad laws and the name of religion imposed principle of adultery and punished individuals, thus refracting pattern of tribal patterns of relationships between men and women and practiced by the sons of the desert.
Vision
Foreign join the fundamentalists. Up eyes closed with his medication and purposes. It becomes one of them. Scene is not quite clear, and it becomes bound another interpreter he says he came from Libya. It is not clear how the fundamentalists to join the people and the relationship of the economy or metaphysical ideas to their arrival here. Why join the son of a certain tribe to fundamentalists. Sissako did not try to enter into this maze: a maze to find answers to serious questions. Preferred to stay on the banks of these questions without diving in and resolved, which may take the film to the realistic directly does not possess any privacy, and on the faces of poetic account. Thus, the film did not give adequate picture of how the arrival of all of them here. Why turn someone into a fundamentalist. Maybe reply Sissako «But that's not my goal in the film.» Well, it has the right, but such answers to keep us in the orbit of the question.
It could also deal with the issue of violence without being dragged behind portray himself obsessed with violence. This needs without doubt to the very skill, high sensitivity seems to be Sissako marked out, not in his current presented at the Cannes Film Festival last May only, but also in earlier films like his movie «Bámaca» directed by 2006, through which presented his vision of globalization and their impact on the poor in the world, and to Africa, taking the shifts in Western Sahara from the increase in poverty and narrow ways an example. Sissako did not address in his new movie to the economic factors that drive a young man to join Balzmr fundamentalism, but it followed the work of the director Sissako sees that offers jobs in a coherent vision in the approach and that seemed far away.
Of other elements that characterize the film not his approach to the subject of Islam into Western in outlook to the other, but gave Western Sahara community where he was Mtaiha with moderate Islam Toath tribes in line with its environment and its history, this compared to Islam coarse harsh importer in a different language from the language of the people of the desert. Arabic language in the film is the language of «new colonial power» nor understood by members of desert tribes, so it was on the arrivals armed escort translators to be a link with the sons and tribes of the country.
Nibbling violent culture of society we see every day in Arab cities. A culture of diversity and cultural richness harbor day after day in the cities of the Arab world, Baghdad and Sana'a and Aleppo, the cities destroyed systematically of conflicting forces, we see Beirut, which continues to resist in their own way, how gnaws sectarian erosion of its society and its press and culture, art and diversity. Other cities if we entered more in her heart to see how much change such as Cairo. Change the top of the pyramid does not mean that the worst did not happen. A film about the financial and specifically about the African city of Timbuktu, but is similar to the city of cities in Algeria and Yemen in Sana'a, where the desert spacious and customs of the diverse population of shrinking diversity for the benefit of a new fundamentalist stresses on the region. As everywhere purists starts first thing is to prevent freedom of expression in all forms, and also the oppression of women, which is the first symbol of that freedom. Wearing the hijab and Alklsat then added to the veil force it to completely transform her body into a mobile tent. Fishwife came to market in the city and asked her to wear the glove during work and when intercepted flogged.
Abderrahmane Sissako has proven himself as a director can be seen inside the human self with compassion, and sees the fundamentalist group members as individuals, all his dreams and apprehensions (scene crossing to a fundamentalist He regains his love of dance is forbidden in monsters house singer that played a role gorgeous perfectly Tahitian actress Fatoumata Diawara.)
Poetic film collection and the harshness of reality and irony. Contradictory elements led to the integration of the director walked him to the end, concluding his part of the first scene, namely the deer hunt in the desert. Now the children are now chasing the desert also abandon her children.
(Paris)
This is the first scene of the film «Timbuktu» presented at Cannes this year, Mauritanian director Abderrahmane Sissako rookie, in which he proved to his arrival, especially among African filmmakers privileged status and humanitarian Bmqarepetth Haarith. The film tells about the arrival of the jihadists in 2012 to Mali and the occurrence north of the country in their grip. It sums up the experience of people of Western Sahara in Mali and the invasion of the fundamentalists for her and the city of Timbuktu and committing crimes in the name al-Shara and work on the destruction of tribal culture icons.
Fundamentalist factions stormed a tribal society multi-cultural beliefs and reflect on the humiliation and destruction of the social and cultural history, Sissako portrayed in a cartoon car surrounded by new and smart phones and black sunglasses, and video cameras, and modern weapons. All this amid a poor community lacks a minimum of public services and forced Ohloh drinking water to transfer more primitive means. Clear gangs that have significant financial resources, debt confiscated vast Banawanh and wreaked his name. Lining up in the yellow desert where no trees, no water, and automatic machine guns pointing toward anything. Ghazal towards stray or wooden statues symbolizing the beliefs of the desert tribes. Scenes may seem free, but it is not even warrant read on several levels. Although the film Avatar tired sometimes, but what he wanted Sissako saying it was not a clear bias to art as a means of resistance and an expression of inner freedom. Then the viewer poetic mobile between the desert and the river and those singer women that resemble witches voodoo, which stood middle of the road blocking the military car traffic, and boys who have been playing football despite the absence of the ball, running and adhere to signal the referee if the ball between their feet, all those scenes and human dialogues deep The film gave technical immunity coherent and kept him away from the fall in Aptmalah where many filmmakers is located in the provision of violence. He filmed the movie Sufian mortal who last year had excelled in the filming of «life Adele» French director of Tunisian origin Abdullatif Kechiche, which won the Festival Award was in 2013.
Tribal society was able to create a certain balance between tribal traditions and the Islamic religion, which seems by jihadists stage, tolerant and appropriate to the environment of the desert so that no room for fundamentalism. Women living freely and wearing the hijab except for reasons purely related to environmental desert wind blowing and carry with them the sand and dust. People expressed freely through music as well as singing and dancing. Boys playing football in the squares, and the families receive the night playing, singing and fun dialogue. Resistance to the daily nature of poverty and the harsh, dry life.
Fundamentalists
Thus it was serving head of the family are good Ataiwargi in his tent in the nearby city of Timbuktu Seitme the desert with his wife and daughter, the beautiful Tuya. Owns a herd of cows entrusted to his care Aissan, an orphan boy lost his father in the war. Toargi are good living with his family, his wife and daughter Aljamiltan in the desert. In the evening he plays guitar and sings with his family. Killed Amadou, a fisherman, one of the cows are good because they tampered Bhbake dumped in the river. Quarreled and are good hunter and off accidentally are good bullet to infect Amadou Vtguetlh. A struggle for livelihood does not take the traditional resolved to pay the ransom but purists intervene to resolve it according to Shara. Purists arrivals solution by force place tribal authorities in conflict resolution and decided are good execution. We did not wait for the victim to pardon or all are good, which said «my heart has not yet forgiven, I want more time .... maybe tomorrow.» But that will not come tomorrow are good. Crime tribes were usually solved in its own way, however, the fundamentalists have claimed interference in the end are good not only lives but also the lives of his wife. Fundamentalists intervention in the lives of people were confused and humiliated and pushed much of families to abandon their homes and their tents and leave. Began living a harsh desert experience since the arrival of fundamentalists who have begun imposing new habits on people entering the mosque with their boots and their weapons do not care what the imam of the mosque, although demand adherence to the peaceful principles of religion. -Imposed ban, which long life in the heart of the city. Prevent playing football, singing and music, as well as to impose on everyone not to stand in the street and hiking. As usual, women were the first victims of this contraband, as it forced on the wearing of headscarves and then later to wear gloves and socks.
Thus people was whipped and stoned to death. Sissako says that prompted him to write the screenplay and directed the story took place in Mali, where young men and boys buried vertically in the sand and stoned to death, their heads because of the love affair between the two resulted in a child. In Africa relations that can produce children without marriage. But it imported from abroad laws and the name of religion imposed principle of adultery and punished individuals, thus refracting pattern of tribal patterns of relationships between men and women and practiced by the sons of the desert.
Vision
Foreign join the fundamentalists. Up eyes closed with his medication and purposes. It becomes one of them. Scene is not quite clear, and it becomes bound another interpreter he says he came from Libya. It is not clear how the fundamentalists to join the people and the relationship of the economy or metaphysical ideas to their arrival here. Why join the son of a certain tribe to fundamentalists. Sissako did not try to enter into this maze: a maze to find answers to serious questions. Preferred to stay on the banks of these questions without diving in and resolved, which may take the film to the realistic directly does not possess any privacy, and on the faces of poetic account. Thus, the film did not give adequate picture of how the arrival of all of them here. Why turn someone into a fundamentalist. Maybe reply Sissako «But that's not my goal in the film.» Well, it has the right, but such answers to keep us in the orbit of the question.
It could also deal with the issue of violence without being dragged behind portray himself obsessed with violence. This needs without doubt to the very skill, high sensitivity seems to be Sissako marked out, not in his current presented at the Cannes Film Festival last May only, but also in earlier films like his movie «Bámaca» directed by 2006, through which presented his vision of globalization and their impact on the poor in the world, and to Africa, taking the shifts in Western Sahara from the increase in poverty and narrow ways an example. Sissako did not address in his new movie to the economic factors that drive a young man to join Balzmr fundamentalism, but it followed the work of the director Sissako sees that offers jobs in a coherent vision in the approach and that seemed far away.
Of other elements that characterize the film not his approach to the subject of Islam into Western in outlook to the other, but gave Western Sahara community where he was Mtaiha with moderate Islam Toath tribes in line with its environment and its history, this compared to Islam coarse harsh importer in a different language from the language of the people of the desert. Arabic language in the film is the language of «new colonial power» nor understood by members of desert tribes, so it was on the arrivals armed escort translators to be a link with the sons and tribes of the country.
Nibbling violent culture of society we see every day in Arab cities. A culture of diversity and cultural richness harbor day after day in the cities of the Arab world, Baghdad and Sana'a and Aleppo, the cities destroyed systematically of conflicting forces, we see Beirut, which continues to resist in their own way, how gnaws sectarian erosion of its society and its press and culture, art and diversity. Other cities if we entered more in her heart to see how much change such as Cairo. Change the top of the pyramid does not mean that the worst did not happen. A film about the financial and specifically about the African city of Timbuktu, but is similar to the city of cities in Algeria and Yemen in Sana'a, where the desert spacious and customs of the diverse population of shrinking diversity for the benefit of a new fundamentalist stresses on the region. As everywhere purists starts first thing is to prevent freedom of expression in all forms, and also the oppression of women, which is the first symbol of that freedom. Wearing the hijab and Alklsat then added to the veil force it to completely transform her body into a mobile tent. Fishwife came to market in the city and asked her to wear the glove during work and when intercepted flogged.
Abderrahmane Sissako has proven himself as a director can be seen inside the human self with compassion, and sees the fundamentalist group members as individuals, all his dreams and apprehensions (scene crossing to a fundamentalist He regains his love of dance is forbidden in monsters house singer that played a role gorgeous perfectly Tahitian actress Fatoumata Diawara.)
Poetic film collection and the harshness of reality and irony. Contradictory elements led to the integration of the director walked him to the end, concluding his part of the first scene, namely the deer hunt in the desert. Now the children are now chasing the desert also abandon her children.
(Paris)
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