SHOULD THE QUESTION OF 2015 BE ASKED AGAIN THIS YEAR: WHERE IS AFRICA? THE SAME ANSWER WOULD BE GIVEN AGAIN: IT IS A BIT PRESENT IN THIS TERMS OF DIRECTORS BUT IT IS ESPECIALLY THERE LIKE PRESENCE IN THE WORLD (SEE [ARTICLE No. 12957]).
VOICES OF AFRICAN DESCENT
Let’s state that even when they are absent from the official competition (it’s not Christmas every year), African directors (admittedly mostly from Northern Africa) are present in different sections. The official selection Un Certain Regard offers Eshtebak (Clash), by Mohamed Diab (Egypt). We remember the huge success of his first feature film that dealt with sexual harassment, women of the bus 678 215 000 admissions in France in 2012 (see [Critical No. 10758]). An excellent writer, Diab wrote El Gezeira (L’Ile, 2007), a story of a tyrannical drug king in an island in Upper Egypt, which is considered the most successful of Arab cinema of all time. A sequel was produced in 2014 (L’Ile 2). He also co-wrote the script with Sherine Diab of Ahmad Abdalla decor, a movie just based on the prowess of his writing that skillfully interweaves reality and fiction (see [Article No. 12788]). Having actively participated in the 2011 revolution, he wanted to come back to it in a movie. It took him four years to develop Clash, which initially dealt with the revolutionary hope then became a film about the fall of the revolution. The action takes place entirely in a police van after the demonstrations that took place on 3 July 2013, following the removal of President Mohamed Morsi. Pro- and anti-Muslim Brotherhood activists confront themselves in this enclosure.
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