Presented by the late literary critic Edward Said, this thirty-seven minute 1992 documentary reflects on director Gillo Pontecorvo's youth and politics in an attempt to understand his approach to filmmaking.
To commemorate the fiftieth anniversary of THE BATTLE OF ALGIERS, we revisited our edit of the film and interviews with director Gillo Pontecorvo and producer Saadi Yacef, who discuss the process of representing Algeria's struggle for independence and the challenges of presenting a balanced view of the conflict.
A neorealist tribute to the Italian resistance fighters of World War II.
Gillo Pontecorvo, who directed the insurrectionary classic The Battle of Algiers in 1966, returns to the city of Algiers to view the progress Algeria has made - for better or worse - since the departure of the French colonialist forces thirty years earlier.
A documentary on the director’s career, featuring interviews with friends, collaborators, and filmmakers.
Cheikh Djemaï looks back on the genesis of Gillo Pontecorvo’s feature film, The Battle of Algiers (1965). Through archive images, extracts from the film and interviews with personalities, the filmmaker retraces the journey of a major work - from the events of the Algiers Casbah (1956-1957) to the presentation of the Lion of 'Or causing the anger of the French delegation in Venice - which left its mark as much in the history of cinema as in that of Algeria.
This 17-minute documentary is featured on the 3-Disc Criterion Collection DVD of The Battle of Algiers (1966), released in 2004. An in-depth look at the Battle of Algiers through the eyes of five established and accomplished filmmakers; Spike Lee, Steven Soderbergh, Oliver Stone, Julian Schnabel and Mira Nair. They discuss how the shots, cinematography, set design, sound and editing directly influenced their own work and how the film's sequences look incredibly realistic, despite the claim that everything in the film was staged .
Pontecorvo is one of those Italian filmmakers marked for life by neorealism. He declares that he decided to do cinema after leaving a screening of "Paisa" by Roberto Rossellini. The future filmmaker was then in Paris, a year after a war during which he became one of the main figures of the Italian resistance and one of the founders of the Youth Front. Leaving his status as a war hero behind him, Pontecorvo made his directorial debut with "Giovanna", a short film heralding a cinematic career dedicated to what he himself calls the "dictatorship of truth."
A film of Enrico Berlinguer's funeral in Rome, briefly tracing his career as leader of the Italian Communist Party.
An incredibly dull-witted family unknowingly stumble upon an illegal weapons deal while on the trail of their "stolen" garbage.
Squarciò, a fisherman, lives with his family on a small island off the Dalmatian coast of Italy. Like his fellow villagers, Squarciò struggles against harsh living conditions, a scarcity of fish in nearby waters and exploitation by the local wholesaler. But while the other fishermen continue to use nets, he goes out to the open sea to fish illegally with bombs. But Squarciò borrows money, loses his boat, and in a moment of supreme desperation, has to bomb directly off-shore, causing the hatred and rejection of his fellow fishermen. Trying to save his family, Squarciò and his young sons sail their new boat out beyond the local waters and bomb-fish again. But this time, the sea exacts a terrible toll…
Homo Cinematographicus is a human species whose unit of measurement and point of reference is the cinema and its derivative, television. Filmed at the 1998 Cannes Film Festival, the film offers an unspecified number of statements, talking about memories and a thousand fragments of stories, titles and film scenes, the warp of a gigantic collective Chanson de geste.