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The first scene will be repeated at the end of the film, but from the corner of the police car that tried to defend the murderer. Redefining the scene at the end of the film will allow us to understand the plot of the film and tell its story and activities. Three police officers in the car who sound bullets of murder, including the policeman (C, behavior of Suleiman Bouari), go directly to the scene of the murder, face the aggressor and because the policeman (C) is slow to help his two companions, kills Ahmed and dies in the hands of), Who cries, aware of the death of his colleague because of his incapacity to perform his duties and the shooting.
Guided by feelings of guilt, Officer C turns to his childhood friend Lotfi, a member of the counter-terrorism apparatus, to accompany him on a trip into the country. Algerian Sahara in search of the terrorist (Abu Leila). After the first scene in the capital, the film turns into a kind of road trip movie, where the two friends (Si and Latfi) move through the arid desert in search of the murderer. But the two friends mistrust one another, collaborating with the terrorist Abu Laila and driving the other to death. The element of doubt between the two friends of history adds to the film an atmosphere of tension and anxiety. The main character (C) suffers from the disease, is unconscious to enter a world of hallucinations and visions, these hallucinations and visions portrayed in a distinctive production style, the film enters the style of the cinema. horror, anxiety, panic, technical level and not commercial level.
Psychological and mental visions and hallucinations
The evocation of the aesthetics of panic and anxiety cinema, and its application about terrorism and armed civil unrest in Algeria, make the film a new model of cinematic narrative of violence and of civil terrorism. With the film "Abu Laila", the viewer discovers how a horror film, primarily commercial, can be a cinematic technique in Roy's experience of a society of badbadinations, murders , terrorist operations, mbadacres and revenge. All share the aesthetics of horror cinema with the reality of violence experienced by all regions of the world. This cinematographic option offers Arab artists a model to manage in a cinematic way the violent events that are raging in many Arab regions.
For the filmmaker to make this cinematic equation, the overlap between reality and hallucinations, between the event and the dream, the scenario makes the main character of the film, the policeman C, a personality suffering from a disease that makes him enter in the world of hallucinations and dreams between artistic and other events of the film. In one of the hallucinations, C is trapped in the car in the middle of the desert, surrounded by black men with black fists, clenched fists, clasping their hands on the glbad of the car in a state of terror and fear. intimidation, a scene professionally portrayed for the worlds of anxiety and constant panic that afflicts the main character. In the film, the scene describes his mental and psychological worlds.
It is not enough to make a good film about terrorism and the spread of murders in society, evoking the aesthetics of a kind of film adapted to the narrator of this phenomenon, adds the director Amin Sidi Boumediene to his words, explaining the intellectual and moral stance of violent events that have hit communities. The film strongly condemns the phenomenon of carrying arms, the inevitability of carrying arms to everyone in case of violence, everyone being forced to take up arms. Through a scene from the childhood of the main character (C), we recognize the psychological and mental difficulty he suffers when he is forced to take up arms.
The carcbad of the animal is trained to kill
The child's memory of C's life is linked to the ritual of animal carcbades, to the slaughter of lambs practiced in Arab culture under the eyes of children. The father of the child is forced to watch the slaughter of the lamb and follow the death of the carcbad that is bleeding in the house. He declares: "You will not become strong enough to see this lamb slain and die." So that the mbadacre does not happen before him. In the play "Asen by the hands" of the Zaqak Theater, the play refers to many aspects of the violence we experience in our adult life, the violence we saw in our childhood and that we practiced on animals, especially the animal sacrifice, the sacrifice of lamb of Eid or sacrificial animal.
Wearing weapons
When the child's sensitivity to the climate of animal sacrifice, knife use and murder is revealed, the story of C. is over: it's a policeman who s & # 39; Still worried about the idea of carrying and using the weapon and who is slow to use his slug in one of the police missions. (Rachid) and dies, and C suffers from a serious feeling of guilt. His main fight throughout the film is his reluctance to bear arms despite the violence that surrounded him in the black decade in Algeria, between his peaceful desire and the need to avenge his deceased friend from the terrorist attacks (Abu Leila ).
Thus, the difficult dualism that C lives between his lack of faith in the wearing of weapons and the need to carry weapons that the violent events around him force him to use. In one of the hallucinations of this character, C sees a dream in which the positions between the sacrifice of man and that of the animal change. In the empty corridors of the desert, C sees sheep or sheep eating people, scenes of long scenes where sheep eat human body flesh, as they feared a day of vengeance for animal sacrifice for what do humans. This is how the film expresses his personal fear of being killed and of being subjected to mental and mental retaliation against him.
"Abu Laila" is the first feature film directed by Amin Boumediene after two short films won by the public during the Semaine de la critique at the Cannes Film Festival in 2019. The film quotes elements of the cinema of terror and anxiety to make an equation telling the violent and violent events of the black decade in Algeria. The actual event in the film and the hallucinations and dreams of the characters divide the structure of the story that Roy wants to connect the different parts of the film together to form the basic story. Speaking of the film's history, the filmmaker does not forget to add to all these aesthetic and cinematic styles, which is very important, the relation to the weapon, as well as the Psychological and mental ability of people to be killed in the face of civil violence, which excludes anyone when it is a social phenomenon.
(*) The film was screened during the Critics Week of the Cannes Film Festival in Beirut from July 22 to August 3, 2019. Cinema Metropolis Soufil.
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