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Abu Dhabi

Nisimazine Wednesday 20 October

‫ أكتوبر‬٢٠ ،‫األربعاء‬

.»‫صحيفة مهرجانية تصدر عن ورشة للنقاد الشبان من تنظيم الشبكة الأوروبية لسينما الشبان «نيسي مازا‬

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#6/

A festival gazette published in the framework of a workshop for young critics by NISI MASA, European network of young cinema

‫افتتاحية‬

‫عيش السينما ألخر لحظة‬ ‫ شئ ما‬،‫االقتراب من هذه الصفحة‬ ‫ مهرجانات السينما تجعلني‬:‫يهمس لى‬ ‫ نعم أنا‬-- ‫ أنا أحب السينما‬..‫سعيدة‬ ،‫ انها ليست شئ غير عادي‬، ‫أعرف‬ ‫ لذلك يجب ان‬،‫عند هواة السينما‬ .‫ مرة‬1000 ‫نسمعها‬ ‫وهذا امر رائع رائع حول المهرجانات‬ ‫ أليس كذلك؟ نسير في‬، ‫السينمائية‬ ‫ا‬،‫الواقع الملئ بالضحك والحلم والحب‬ ‫نكون فى قاعات السينما نشاهد االفالم‬ ‫ ونحن‬، ‫عندما يظلم ويضيء الشاشة‬، ..‫نحمل كل االنفاس للتواصل معها‬ .‫فهى السحر‬ ‫مشاهدة األفالم تجعلني أشعر بأني‬ ‫ وأطلع‬،‫ فعندما يطفئ النور‬.‫مختلفة‬ ‫ أصبح‬،‫فيمن حولي بشكل أكثر حدة‬ ‫ وكأننى‬.‫أسرع مثل الواقع فى الحب‬ ‫أهرب من يومى وهمومه بالذهاب‬ . ‫الي السينما‬ ‫لقد اكتشفت لمسة شاعرية من األفالم‬ ‫ والتى شاهدتها من مواهب‬،‫المحلية‬ ‫ انوهو ما يجعلنى سعيدة‬.‫الخليج‬ ‫بإزدهار صناعة السينما في منطقة‬ .‫الخليج‬ ‫وال ننسى كرم الضيافة الذي التقيناه‬ ‫ مع لقاءات حميمية‬، ‫فى خيمة الشاطئ‬ ‫وأتذكر أن‬..‫مع ضيوف المهرجان‬ ‫التنقيب عن الكنوز في منطقة الشرق‬ ‫ النجوم‬، ‫االوسط من حفل االفتتاح‬ ‫فى االحتفال علي‬ ..‫وصداقات‬ ،‫ وبالمهرجان‬،‫السجادة الحمراء‬ ‫ونصل بعد ذلك الي خلق تعاون‬

‫فيلم اليوم‬

FILM OF THE DAY /

EDITORIAL by Samira Mesbahi, aged 34 (France)

Living it up, the cinematic way

Come closer, I have to whisper something: Films festivals make me happy. I love cinema - yeah I know, it’s not an extraordinary statement when cinema enthusiasts are legion here and you must have heard it 1001 times but this is what’s wonderful about film festivals, right? We walk, laugh, dream and sometimes have love-at-first-sight moments with cinema together all day long. At screenings when the movie theatre darkens and the screen brightens, we all hold our breath in a synchronized communion. It’s magic. Plus, films make me feel different. When the light is back on, I look around me more acutely. Reality is zoomed-in even though I love to escape from it during a film because it allows me to forget about my daily worries and fall in love. Yesterday, I fell for The Life of Fish’s main actor, Santiago Cabrera - I felt like I’d hung out with him in Chile. I’ve discovered the poetic touch of local films and Gulf talents. I’m proud to embrace the blossoming Gulf film industry. Not forgetting the unmissable hospitality and gatherings with guests at the beach tent and industry events. The themed parties cast a spell as much as Aladdin’s flying carpet. Remember that exploration of middle-eastern treasures of the opening gala, the fallen stars of the Bedouin beach party, and note down the up-coming Bollywood celebration tonight. In such spaces and times, we get to bump into fellow cinema fanatics and end up building film collaborations or friendships between two steps on the dance floor. Guess who I’d like to meet tonight...

Gesher Vahid Vakilifar, Iran, 2010 - New Horizons

I

ran is at the forefront of the filmmaking industry when compared with its neighbours, with a series of productions frequently finding new audiences through the international festival circuit. This trend, which began in earnest during the mid-nineties with the explosion of Iranian Kurdish cinema, seems to be far from over. One of the most recent and challenging examples coming out of Iran is Vahid Vakilifar’s controversial debut film Gesher, currently in competition in the New Horizons section at the ADFF. Shot in a documentary style lost somewhere between fiction and reality, this is a portrait of the everyday lives

of three immigrant workers in Iran. The film seems to take shape as a collection of snapshots, as if they were postcards from a world vacant of any shred of hope: a recurring theme throughout the movie. Immediately, one particular thing that stands out in Gesher is the unnervingly powerful sense of quiet desperation permeating the characters’ expressions. One character, a toilet cleaner, is particularly brilliant at communicating this, moving at a zombie-like mechanical pace as he completes his chores. The camera alone appears to capture this sense of hopelessness as dialogues are kept to a minimum. The photography by M. Reza Jahan Panah is mind-blowing to say the least,

REVIEW /

After San Sebastian, Rio de Janeiro and Pusan, Gesher seems to be continuing its path to success with a fourth presence at a major festival. And deservedly so, as this is probably one of the most interesting revelations of the year.

‫تعقيب‬ Virgin Goat (Laadli Laila)

‫صورة اليوم‬

K

alyan Singh had to sell all his land and goats to pay for his daughter’s wedding. All he has left is one goat. Her name is Laila and she is barren. Singh, however, refuses to accept this and goes in a desperate journey to find a mating partner for his beloved goat.

Photo by TINA REMIZ

The film is not without its faults, particularly in terms of pace and timing, dragging unnecessarily at points. On the other hand this lack of pace seems to be compensated by the rhythmic mechanical sounds in the background which, accidently or not, provide a fitting soundtrack to the story.

by Fernando Vasquez aged 30 (Portugal)

www.nisimazine.eu PICTURE OF THE DAY /

using static wide shots that in some way reflect the emptiness of the characters and their lack of future.

20/10 Cinestar 2 04:30 PM

Besides our daily at the festival in print, you can also find all our coverage online at

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)‫ سميرة مصباحي (فرنسا‬: ‫بقلم‬

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Virgin Goat (Laadli Laila) is much more than a simple “goat matchmaker” story though. Murali Nair uses his film to reflect the social, sexual and political challenges Indians like Singh face. The barren goat, in many ways, represents Singh and his inability to give and to move forward.

Murali Nair, India, 2010 Narrative Competition

ticism, to lighten the weight of his message. He also cuts his film into different sequences, so similar to a TV series that I was almost expecting to see an ad break. This, together with the weird characters and dreamlike scenes, makes the story distant and unreal; it is as if the filmmaker was trying to remind his viewers that Singh is just a made-up character. The story goes far beyond him to delve into the lives of rural Indians. When Singh has to confront the fact that Laila is barren, he loses his mind. It’s a rather predictable end for such an untypical story.

by Nadia Muhanna aged 26 (Syria)

It’s not all doom and gloom though. Nair uses a lot of humour, spiced up with Indian mys20/10 Cinestar 2

07:30 PM


INTERVIEW /

‫مقابلة‬

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Maher Abi Samra

REVIEWS /

‫تعقيب‬

Photo by TINA REMIZ

director of We Were Communists (Sheoeyin Kenna) Lebanon, France, UAE - Documentary Competition

Carlos (Theatrical cut)

W

In We Were Communists director Maher Abi Samra “opens a door to his past”, as he says in the beginning of the film, in order for it to be closed at the end. He gathers his ex-comrades from the Lebanese Communist Party and generates a dialogue around the political situation of the country after the long civil war and the Israeli occupation. This dialogue becomes a tough physical and mental journey for himself and each of his subjects, going from politics and the country’s situation to how all this has affected their everyday realities.

Did gathering this people that day have something to do with nostalgia? No, not at all. I believe nostalgia doesn’t take you anywhere. Look, I left Lebanon and then I was always coming and going; all my films are actually about Lebanon. I heard that “once you leave a place, when you come back, you search for the memories you left, the things that you left”. I left the country in 1990 and came back 2004, so it is as if the present doesn’t belong to me; what belongs to me is the past. I have a relationship with the past, and my past is my friends, my neighbourhood.

And you wanted to live in the same house? I knew the comrades had begun to separate from one another but every time I came back I used to gather them all. We would talk about the war [...] wondering who had decided its end all of a sudden, and this feeling that it all happened as if the Djins had taken over to fight against each other, and as if we, the Lebanese never had any relation with what was going on when actually the militias leaders had changed their militia clothing for suits and ties, and taken over the government. When I came back in 2004 and everything began again, the international law imposing that the arms from Hezbollah had to be taken, all the demonstrations... the smell of war approached and I saw that all the discussions revolved around trying to find out who killed (former president) Al Hariri, around who killed this or this other person. We were not asking ourselves how we got to this point in the first place, so I felt that the discussion was going in the wrong direction again. I wish that we had actually begun to talk about the fact that the “peace period”, from 1991 to 2004, was probably just the time we used to rearm ourselves again, to create a new war. On a political and personal level I actually found that there was no space where I could breathe. Every official or job position in Lebanon is religious; you can get one position or another in the

University or in a newspaper depending on your religion, or sect in that religion.

So why did you decide to ask each of the characters to specify their religion at the beginning of the film? I did it because during one period in Lebanon they started to ask you to write your religion on your Communist party ID. I also wanted to make the point that this group of people had had the same goals, shared the same dreams of a non-sectarian country. We dreamt, not necessarily having actually read Marx, we just believed in social justice, in a better situation for all, in equality in gender, in the importance of the Palestinian resistance. But all these dreams, and not only in the Arab arena, but across the whole world, shattered and the people divided between themselves, and each of us became like a single person in the middle of the desert.

And how has this idea affected the way of shooting it? Throughout the whole shooting I led every character to become enclosed in the space they were in. Also, as always in my films, I go from the general to the individual, to show a person, not a piece of something bigger. Like in Women of Hezbollah, where I focus only on two characters, what I am interested in is in how they live their everyday lives. In Shatila Roundabout, I did the same; this singling out of the characters is because I don’t like anybody to consider me as just a part of a whole thing. Any individual, even belonging to a certain group or ideology should be considered for what he is himself. He continues to be an individual, to practice and face things from a personal and unique approach.

by Laila Hotait Salas aged 30 (Lebanon/Spain) 20/10 Cinestar 2 21/10 Cinestar 2

10:00 PM 04:30 PM

‫الرجاء زيارة موقعنا اإللكتروني‬

* www.nisimazine.eu *

‫لالطالع على مدونة الفيديو وغيرها من املواد املتعلقة باملهرجان‬

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Olivier Assayas, France/Germany, 2009 Narrative Competition

hen Carlos, a biopic of storied Venezuelan terrorist Ilich Ramírez Sánchez, premiered at Cannes in its original five and a half hour long television miniseries edition, it was greeted by generally rapturous reviews. Now, it arrives at the ADFF in a dramatically shortened theatrical cut. Either the new version is a betrayal of the old, or Carlos is not the masterpiece expected. The film follows the title character from his initial involvement with the FFLP in 1973 to his capture in Sudan in 1994. The director, French cinematic polymath Olivier Assayas, handles the logistical challenges of staging a globetrotting, multilingual story with characteristic élan, and his lead, Edgar Ramirez, delivers a convincing

study in preening, hyper-sexualised selfassurance. However, the film as a whole is more travelogue of 70s bourgeois leftism than genre-changing auteur thriller. It lacks both the kinetic energy of the Bourne trilogy and the committed intellectual sincerity of Munich. Instead, it has much in common with the disappointing Baader Meinhof Komplex. Whilst the film’s centrepiece, a bravura recreation of the 1975 OPEC siege, is a dramatic success, much of the action feels rushed and uncontextualised, a failing which is presumably less evident in the original cut, which must be the one to seek out.

by Michael O’Regan aged 29 (Ireland)

REVIEW /

‫تعقيب‬

Bathing Micky (Micky Bader)

M

icky is as old as cinema itself. I’m not sure what this means, but then, how could I ever imagine what a hundred years feel like? Mathematically, it’s a year times one hundred, but as a lifespan, how many memories and souvenirs - good and bad - does is represent? How do you reminisce about a hundred years? These thoughts are just a quantum of the many questions old age in general raises for me. Life for my grandparents’ generation was surely moving at a much slower pace than mine. I was born in the midst of the wildest imaginations of the future that they had imagined. But while everything seems to go faster today - we’ve never absorbed as much information per day before in history - time is still

PROGRAM 3 20/10 Cinestar 4 04:00 PM 22/10 Cinestar 4 01:00 PM

Frida Kempff, Sweden, 2010 Short Film Competition

time, a second is still a second. And a hundred years must be lived to be understood. The old lady in Bathing Micky (Micky Bader) says just that. In this 14-minute documentary, the actual time span depicted is about a year. Steady shots show her taking a brief daily swim at her bathing club on the beach. It’s summer and Micky says a few words about her childhood. Autumn comes, and she remembers the German invasion of Denmark. In winter she has her late husband in mind, then spring arrives, and Micky says: “We’re all born, and we’ll all die…“ What Micky reveals in a year she could probably have in a one day interview, but it’s the turning seasons that finally give depth and weight to her recollections.

by Maximilien van Aertryck aged 21 (France/Germany)


In the shorts line-up presented this year, the main fact that calls our attention is the lack of similarity, both in cinematographic language and in their subject matters. Stories navigate from the Diaspora to the war and occupation, passing by the hidden secrets of families and the lack of communication between men and women. Actually, by mapping such different themes, this selection is a panorama which proves that the films made in the Arab countries cannot be lumped together.

from The Rodba

Our attention goes to Hafsia Herzi’s The Rodba, a comical drama chronicling the first day of French language class of a Palestinian woman in Paris and the problems she has to deal with due to her nationality. Worth mentioning as well are First Lesson, by Areen Omari and Wave by Mohammed Ben Attia.

from First Lesson

by Laila Hotait Salas aged 30 (Lebanon/Spain) The Rodba and Wave: Program 1 First Lesson: Program 3 See screening times below

REVIE W

/

‫تعقيب‬

West is West

Andy De Emmony, UK, 2010 - Showcase

E

ast is East’s commercial and cultural impact was something of a phenomenon back in 1999, making it one of the most successful British films in decades. For this and other reasons it was always going to be a tough act to follow.

ral heritage. But Khan’s past mistakes come back to haunt him and soon enough he sees himself losing a grip on his life yet again.

Nevertheless, TV director Andy de Emmony, most famous for his work on Father Ted and Spitting Image, embraced this sequel with open arms and a fresh new pair of eyes.

Funnier and sillier in many ways, West is West’s script lacks some of the charm and drama of its predecessor. The writing of Ayub Khan-Din, from whose life both films are inspired, is for some brief moment’s lazy and careless, miles away from the sharpness of his first venture.

West is West tells the story of George Khan, a well-intentioned but authoritarian patriarch whose “empire” was shredded to pieces in the earlier chapter. This time around he is determined not to make the same mistake by taking his youngest to Pakistan, in order to defend his family’s cultu-

20/10 Cinestar 6 06:30 PM

Om Puri’s immense talent is definitely on display here once again, at points carrying the entire film virtually on his own.

Yet somehow the film pulls off quite a stunt, as it is big enough to stand on its own. Far from the brilliance of East is East, but with enough strength to make it a refreshingly uplifting view.

by Fernando Vasquez aged 30 (Portugal)

W

from Muscles

In fact, the number of short films from the Arab world is increasing radically each year. One of the reasons is the appearance of film schools and festivals in the different countries of the region. It is

true however that they are quite isolated, without much relation with other parts of the world or with the rest of the Arab countries.

ith a selection of nearly three dozen shorts from twenty five countries all around the globe, this year’s short film competition programme has something for every taste. Consisting of documentary, narrative and animated short films (as well as a number of cross-genre examples), stretching the notion of short from a couple of minutes up to over a half an hour, the selection might be a challenge to judge, but it’s certainly a treat to watch.

Traditionally seen as a platform for emerging talents making their first steps into the industry, this year’s competition is a reminder that the short film is a genre on its own. Award-winning actress Hafsia Herzi presents her directional debut Le Rodba, while established feature-film director Carlos Cuaron needs less than ten minutes to tell a playful story of a couple making an attack on a fast-food restaurant to save their marriage. The cast as well has some acclaimed names and is a special treat for those interested in Tunisian cinema scene, as Mouna Noureddine plays a leading role in the Wave and Anissa Daoud appears in the Album. In contrast with the documentary competition, the majority of the short films address less widely-discussed issues, drawing attention to subjects underrepresented in the current media. UK director Peter King presents an insightful story of the isolated Karosta region in postsoviet Latvia. The film combines a photographic approach to filming the half-demolished city together with short encounters with its inhabitants. As we are guided through the place by one of the young residents of Karosta, the story becomes more personal, thus more universal, allowing each viewer to relate to the subject. On the contrary, the animated short films selected for the festival tend to follow the recently established practice of addressing the socio-political issues in the genre of cartoons. Made in China is a motion-painting comment on the recycling of world history into a range of mass-produced goods. Esterhazi looks at the events related to the fall of Berlin Wall in 1989 from the perspective of a rabbit who makes a curious comment that “without the Wall Berlin it is not so cosy anymore". Tussilago tells a story of the West German terrorist Norbert Krocher’s ex-girlfriend from the time they met until the day she was arrested.

from Divino Freestyles

T

he Abu Dhabi festival undoubtedly cares in maintaining a balance between the number of Arab and non-Arab films shown. In that respect the range of short films presented in competition are a good fit. Another strongest point is the fact that Arab filmmakers of different generations find it easy to network, allowing for a real exchange to happen.

Short Film Competition:

from Ask the Wind

FROM DIASPORA TO LOVE: ARAB SHORT FILMS

‫بقعة ضوء‬

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FOCUS /

It is fair to note that the festival presents a fairly diverse selection of short films from around the globe, giving a broad overview on the different film schools and cinematic trends. I was pleasantly surprised to see a high number of Iranian shorts united by their innovative and brave approach to filmmaking. Predictably enough, the majority of them address questions of social injustice and women’s’ rights. However, by offering a fresh perspective on those issues they invite us to join the discussion on the current socio-political situation in Iran. The creators of The Pool Party use the metaphor to talk about social inequality, while Ask the Wind is set up as a detective story in which a carelessly loosened veil leads to a murder. It is interesting to see that many Iranian filmmakers create highly conceptual artistic pieces, and even though there is enough room for further development, I believe that those films are promising sketches for high future achievements.

Program 1 21/10 Cinestar 4

01:00 PM

Program 2 21/10 Cinestar 4

07:00 PM

Program 3 20/10 Cinestar 4 22/10 Cinestar 4

04:00 PM 01:00 PM

Program 4 20/10 Cinestar 4 22/10 Cinestar 4

10:00 PM 04:00 PM

RITA by Fabio Grassadonia and Antonia Piazza, reviewed in Nisimazine #5, is screened in Program 1, 21 October 1 PM, Cinestar 4

With such great diversity, I found it curious to see that at least half a dozen of films present the world from the perspective of a child. A Gentle Push is a metaphor for a series of tragic events that collapse on little Robbie one afternoon, but turn out to be an essential step in the boy’s growing-up. An image of a whale dying on the seashore is beautifully incorporated into the film, gradually building an atmosphere of upcoming tragedy. The story of a Richard rebelling against his sister’s dream to become a bodybuilder, Muscles offers an intimate look at femininity from a perspective of a little boy. Fabio Yamaji whose short Divino Freestyles was included in the festival selection affirms that “short films are a great opportunity for experimenting, taking risks and being creative”. Each film presented at the festival is a confirmation of this statement.

byTina Remiz aged 21 (Latvia/UK)


Photo by TINA REMIZ

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PORTRAIT /

‫بورتريه‬

by Nesreen El-zayat (Egypt)

‫ مصر‬،‫بقلم" نسرين الزيات‬

Fawzi Saleh

‫فوزى صالح‬

Living Skin: 2000 children dreaming to get out from behind the fence

‫ طفل يحلمون بالخروج من السور‬2000 ‫حكاية‬... »‫«جلد حى‬ ‫ لذلك رفض‬،»‫«اإلساءة لسمعة مصر‬ ‫أن تتولى إحدى شركات اإلنتاج فى‬ ‫ بعدما‬، ‫ مهمة إنتاج الفيلم‬،‫مصر‬ ‫إشترطوا عليه عدم عرض الفيلم‬ ،‫ حفاظًا على صورتها‬،‫خارج مصر‬ ‫لكى تقوم الحكومة المصرية بتحسين‬ ..‫نلك الصورة القبيحة‬ ‫حال اإلنتاج السينمائى السائد فى‬ ‫ يجعل إنتاج هذا النوع من‬،‫مصر‬ ‫األفالم – التى أعتبرها أفالم تعري‬ ،‫ صعب للغاية‬-‫المجتمع المصرى‬ ‫خاصة وأن معظم جهات اإلنتاج‬ ‫فى مصر تخشى الكشف عن نتاج‬ ‫ فلم يجد المخرج فوزى‬،‫سياستها‬ ‫صالح جهة تتحمس إلنتاج فيلمه‬ ‫ سوى شركة إنتاج‬، »‫«جلد حى‬ ،»‫يملكها الممثل «محمود حميدة‬ ‫بعدها حصل الفيلم علي منحة دعم‬ ‫للفيلم الوثائقى من الصندوق العربى‬ ‫ فالفيلم كان ذو تكلفة‬،‫للثقافة والفنون‬ ‫ فقد تجازوت االربعين الف‬،‫عالية‬ .‫دورالر‬ ‫«فوزى» كانت لديه رغبة فى عمل‬ ‫ يميزه عن غيره من‬،‫فيلم حقيقى‬ ‫ فهو يحتفى‬،‫المخرجيين الموجودين‬ ‫بالطفولة والحب وقدرتهم علي الحياة‬ ‫ مثلما‬،‫فى مكان يحلمون بسلخه منهم‬ .‫تسلخ الجلود من الحيوانات‬

5

2-minute documentary Living Skin is the debut feature-length film of filmmaker Fawzi Saleh, after his short experimental work named Mocha in 2006. It is the follow up of earlier attempts by the director to reveal a world that the ordinary viewer does not know about. He remarks: “When I decided to make the film, it was just a sequel to my amateur experimentation in this area; I’ve made many documentaries in run down areas of Egypt.”

The title Living Skin reflects the shocking and cruel environment of the children who live and work in the Magra el-‘Uyun neighbourhood in Cairo (where the wall known as the “wall of eyes” is found). It’s a place only suitable for wild animals to live in. These kids are human beings of flesh and blood who make shoes, bags and coats from animal skins for the rich to wear. The consumers wear them without realizing what the workers have been through to

“When I decided to make the film, it was just a sequel to my amateur experimentation in this area” make them and how they are the victims of imprisonment and sicknesses that sometimes only death puts an end to. The subjects of Living Skin represent over two thousand children who work in the tanneries. In the film, the carts loaded with leather and metal drums show us that the area is engulfed with toxic chemicals. Fawzi Saleh was born in the city of Alexandria in 1982, and having had personal experience of the situations in the tanneries, was determined to make the film Living Skin to raise awareness of child labour, especially of the deaths of those working in the profession. Talking about child labour in Egypt is not easy; many consider that it tarnishes the image of the country. But the insistence of Fawzi Saleh in making this film is a strong stand against the excuse that it “harms the reputation of Egypt”. He even refused to collaborate with one production company after it tried to force him not to show the film outside of his country.

Nisimazine ABU DHABI 20. 10. 2010 / # 6 A gazette published by the association N I S I M A S A with the support of the Abu Dhabi Film festival

Recent statistics indicate that there are more than two million child labourers in Egypt, according to a study conducted by the National Centre for Childhood and Motherhood. Because of the fear of controversy, it wasn’t easy to get financing for the film. The only other production company willing to take on the task was one owned by actor Mahmoud Hamida, after the project won a scholarship for the support of documentary film from the Arab Fund for Arts and Culture.

‫ بالطفولة‬،‫فى فيلمه يحتفى المخرج‬ ،‫ألنه يعتبرهم أبطال حقيقة نعيشها‬ ‫خاصة فى ظل أخر إحصائية فى‬ ‫مصر تشير إلى وجود أكثر من‬ ‫ وذلك طبقًا‬،‫ مليون طفل عامل‬2 ‫آلخر دراسة أجراها المركز القومى‬ . ‫للطفولة واألمومة‬ ،‫ قرر فوزى صالح‬2008 ‫و فى عام‬ ‫ وفى النفس‬،‫عمل فيلم عن المدابغ‬ ،‫الوقت لم تكن لديه قصة مكتملة‬ ،‫وال رابط درامى واضح فى الفيلم‬ ‫فإختار ان يكون العربجى – من‬ ‫ هو الخيط الذى‬-‫لديه عربة كارو‬

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‫أتى الفيلم الوثائقى الطويل‬ Living - »‫«جلد حى‬ ،‫ دقيقة‬52 ‫ ومدته‬-Skin ‫ليكون أول أفالم مخرجه‬ ‫ بعد فيلم تجريبى‬،‫فوزى صالح‬ .2006 ‫قصير إسمه «موكا» عام‬

‫يعتبر تكملة‬ »‫وفيلم «جلد حى‬ -‫لمحاوالت مخرجه – فوزى صالح‬ ،‫السابقة فى الكشف عن عالم ال نعرفه‬ ‫ «عندما أردت عمل الفيلم‬: ‫ويقول‬ ‫ فقد كان مجرد تكملة لتجاربى‬، ‫ فقد‬،‫الغير ناضجة فى هذا المجال‬ ‫سبق وانا وان قمت بعمل العديد‬ ‫من البرامج التوثيقية فى مناطق‬ ‫ تفتقر الكثير من اإلحتياجات‬،‫بمصر‬ ..»‫الضرورية والالزمة للحياة‬ ‫ويعكس إسم الفيلم «جلد حى» صورة‬ ‫ تصل لحد األلم‬،‫صادمة وقاسية‬ ‫والغضب ألطفال يعيشون ويعملون‬ »‫فى منطقة «سور مجرى العيون‬ ‫فهو مكان ال يصلح إال ان‬..‫بالقاهرة‬ .‫ال للحيوانات المفترسة‬ ً ‫يكون معق‬ ‫ يصنعون‬،‫هناك بشر من لحم ودم‬ ‫ احذية وحقائب‬،‫من جلود الحيوانات‬ ‫ دون‬،‫ يستخدمها األغنياء‬،‫ومعاطف‬ ‫أن يشعروا بالملمس الحقيقي لمن‬ ‫ فى مقابل تعرضهم‬،‫أعدوها لهم‬ ‫ ال‬،‫ واإلصابة بأمراض‬،‫للسموم‬ ..‫ينهيها سوى الموت‬ ‫ هم الشخصيات‬،‫ثمانية أطفال‬ ‫ يمثلون‬،»‫الحقيقية فى فيلم «جلد حى‬ ‫ طفل‬2000 ‫نماذج عدة لما يقرب من‬ ‫ يعملون‬،‫ألطفال فى مثل أعمارهم‬ ‫ فى منطقة سور‬،‫فى دبغ الجلود‬ ..‫مجرى العيون بالقاهرة القديمة‬ ،‫ يسردها فوزى‬،‫لكل منهم حكاية‬ ‫من خالل عربة الكارو المحملة‬ ‫ التى نري من خاللها تلك‬، ‫بالجلود‬ ‫المنطقة الغارقة فى المواد الكيماوية‬ ..‫السامة‬

‫ فقد كان مجرد تكملة‬، ‫عندما أردت عمل الفيلم‬ ‫لتجاربى الغير ناضجة فى هذا المجال‬

The scenes which begin and end the film are the only real link to the capacity of these child workers in take part in normal social life. Ironic given the name of the film, because the children are in fact also themselves Living Skins. For those children, playing and running across the top of the wall, the game is changing. You start to wonder whether they are living inside or outside of the world, and where the boundary between the inside and outside of the fence begins. (Abridged version in English)

‫عاش المخرج‬ ‫فى منطقة عين‬ ‫للمدابغ – أثناء‬ ‫فهو يعرف جيدًا‬

‫فقد‬..‫يبدأ به الفيلم‬ ‫ مايقرب من عام‬، ‫ المجاورة‬، ‫الصيرة‬ ‫ لذل��‬-‫فترة دراسته‬ .‫األهالى هناك‬

‫ الذى بدأ وإنتهى به‬،‫مشهد المولد‬ ‫ ما هو إال الرابط الوحيد‬،‫الفيلم‬ ‫والحقيقى علي أحقية هؤالء األطفال‬ ‫ والذى يعكس لعبة التجدد‬،‫فى الحياة‬ ‫ وهى المفارقة التى يقوم‬،‫الدائم‬ ‫ ألن األطفال فى‬،‫عليها إسم الفيلم‬ .»‫الحقيقة هم «جلد حى‬ ‫ يلعبون‬،‫حكاية هؤالء األطفال ممتدة‬ ،‫كثيرًا فوق سور مجرى العيون‬ ‫ وال يدركون هل هم‬،‫واللعبة تتغير‬ ‫ وذلك‬، ‫يعيشوا خارج العالم ام داخله‬ ‫فى الحد الفاصل بين خارج وداخل‬ ‫السور؟‬

‫ فريق التحرير‬/ EDITORIAL STAFF

Muhanna, Michael O’Regan, Tina Remiz, Elisabeth Renault-Geslin, Laila Hotait Salas, Maximilien van Aertryck, Fernando Vasquez.

‫« هؤالء األطفال منسيون و مهمشون‬ ‫ يستطيعون رغم‬،‫خلف سور المدابغ‬ -‫الظروف االقتصادية – السيئة‬ ‫أن يمارسوا بعضا من انسانيتهم‬ ، ‫عبر عالقات الحب و الصداقة‬ ‫وإحتفائهم بالحياة بتعبيرهم عن‬ ‫ذلك بالرقص والغناء» هكذا يقول‬ ‫ « فالمكان بطل موازى فى‬،‫فوزى‬ ،‫ فهو القاتل‬،‫الفيلم لباقى الشخصيات‬ ‫والبشر فيه مفعول بهم وليسوا‬ ‫ فاألطفال واألهالى هناك‬،‫فاعلين‬ .»‫محكوم عليهم باإلعدام‬ ‫الحديث عن عمالة األطفال فى‬ ‫ ألن الكثير‬،‫ ليس أمرًا هينًا‬،‫مصر‬ ‫ لكن‬.‫يعتبره تشويه صورة مصر‬ ‫ علي صناعة هذا‬،‫إصرار فوزى‬ ‫الفيلم ما هو إال وقفة ضد شعار‬

LIVING SKIN 20/10 Cinestar 1 04:45 PM 21/10 Cinestar 2 02:30 PM

‫ مدير التحرير‬/ Director of Publication: Matthieu Darras ‫ احملرر املسؤول‬/ Editor in Chief: Jude Lister ‫ ترجمة‬/ Translators: Nadia Muhanna, Laila Hotait Salas, Nesreen El-zayat ‫ التصميم وتنضيد الصفحات‬/ Design and Layout: Maartje Alders ‫ املساهمون‬/ Contributors: Nesreen El-zayat, Samira Mesbahi, Nadia

‫«فوزى صالح»المولود فى مدينة‬ ‫ كانت له‬،1982 ‫اإلسكندرية عام‬ ،‫لشخصيات فيلمه‬ ‫تجربة مشابهة‬ ‫ لذلك يصر في‬،ً‫ال عامال‬ ً ‫فقد كان طف‬ ‫فيلمه «جلد حى» علي رفض عمالة‬ ‫ خاصة الذين يعملون فى‬،‫االطفال‬ ..‫مهنة ال تجلب لهم سوى الموت‬

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Nisimazine Abu Dhabi Issue#6