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In an extended panoramic view—an "audioscopy" of Algiers—the camera’s eye scrutinizes various buildings and city-center neighborhoods with an intimate approach. "I want to show Algerian society’s openness to the world and to modern means... as well as its contradictions regarding tradition." One might think that filming is merely about capturing images; yet for Hassen Ferhani, filming is first and foremost about welcoming presences—allowing the world to emerge with all its density, fragility, and silences. He does not frame to confine, but to liberate; he frames to offer a space where people, gestures, and voices can find their true rhythm. This kind of cinema dictates nothing: it stands back—attentive and open—allowing itself to be surprised by the most unpredictable aspects of reality, and it is in this act of letting go that beauty is born.
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Les Baies d'Alger(2006)
March 11, 2006 · 14m
In an extended panoramic view—an "audioscopy" of Algiers—the camera’s eye scrutinizes various buildings and city-center neighborhoods with an intimate approach. "I want to show Algerian society’s openness to the world and to modern means... as well as its contradictions regarding tradition." One might think that filming is merely about capturing images; yet for Hassen Ferhani, filming is first and foremost about welcoming presences—allowing the world to emerge with all its density, fragility, and silences. He does not frame to confine, but to liberate; he frames to offer a space where people, gestures, and voices can find their true rhythm. This kind of cinema dictates nothing: it stands back—attentive and open—allowing itself to be surprised by the most unpredictable aspects of reality, and it is in this act of letting go that beauty is born.
