The Three Cultures of the Mediterranean Foundation resumes its collaboration with the Seville European Film Festival
The aim of this collaboration is to show recent works by directors from the Middle East and North Africa and Europeans from this region. Thus, as part of the Seville European Film Festival, the following films will be screened Bloody Beans by the French-Algerian director Narimane Mari; Silvered Water, Syria Self-Portrait by Syrians Ossama Mohammed and Wiam Simav Bedirxan; and The Kindergarten Teacher by Israel's Nadav Lapid.
In addition, coinciding with this edition of the festival, Tres Culturas will dedicate the 'Tuesday Film' programme in November to European directors from the Middle East and North Africa, showing a growing trend in recent years that combines an increasing number of creators from this region born in Europe or exiled there and the growing European participation, especially French, in the financing of these productions.
Despite being a prolific and quality production, these films continue to find it difficult to be distributed in European cinemas, being screened at best only in a few specialised festivals. It is a pleasure to be able to offer a representative sample of this type of cinema, a purpose we share with the Seville European Film Festival.
Bloody Beans
Narimane Mari (France, 2013, 84 minutes)
Arabic and French O.V. subtitled in English and Spanish
11 November. 20.00. Cine Nervión Sala 4, with the presence of the director.
12 November. 17.00 hours. Cine Nervión Sala 4, with the presence of the director.
Synopsis
A contagious rhythm infects Bloody BeansThe film has an air of black magic, somewhere between dream and nightmare. A group of children bathe on a beach, until the conflict begins: it is the Algerian War of Independence, reinterpreted entirely by children aged six to fourteen in a surreal journey in which the adults represent the oppressive colonial power. Watkins and Vigo go hand in hand in a film that combines reverie and revolutionary gesture. Mockumentary a documentary of his own filming, in which the nocturnal abduction of a soldier turns into a rave thanks to the cinema (and the music of Zombie Zombie) while questioning the telling of the story.
