This short film, shot clandestinely during the Algerian war, is based on drawings by Algerian children collected in 1961 in a refugee camp in Tunisia. Through their drawings, the children express the full horror of the war that forced them and their families to flee their country. The film was banned by the police and seized 17 times. It was not granted a censorship visa until 1974, twelve years after the end of the Algerian war. The making of J'ai huit ans is in line with the work of Frantz Fanon (an author and theorist committed to opposing colonialism, and an FLN activist from 1956 onwards), who, at the start of the Algerian war, was head physician at the Blida psychiatric hospital, As a psychiatrist, he devoted a chapter of his book Les damnés de la terre to the psychopathological consequences of war and torture), who went to the refugee camps along the Algerian-Tunisian border in 1961 to collect children's drawings. This collection, begun with René Vautier, would become J'ai huit ans.

3 Mostra de Vídeo Independent de Barcelona 1996.

J'ai (très) mal au travail

titulos: Souffrance et plaisir au travail : Maguy Lalizel, ex-ouvrière de Moulinex (43 min), Marie Pezé, psychanalyste (28 min), Paul Ariès, politologue (31 min), Christophe Dejours, psycho-dynamicien du travail et psychanalyste (110 min) Cinq hommes et un garage (un film de Basile Carré-Agostini - 55 min)

http://www.films-graindesable.com/les-dvd/

http://www.films-graindesable.com/les-dvd/

Under the benevolent shadow of Jean Genet, buried in Morocco,  this film is a dialogue between the living and the dead, an invitation to bring those realms together, between silent humanist revolt and poetic elegy. A family takes loving care of a white tomb, in a cemetery with a view of the sea. We are in Larache, south of Tangier, where Jean Genet lived the last ten years of his life.  Today, the writer is finally home, among his own. And for the locals of the city, he is a legend.Few of them actually knew him. Still fewer have read him. Most all have reinvented him for themselves. Everyone has their own story to tell. But they all agree on onething: “Jon Joney” valued them. He was on their side. Thesesimple, poor, quite frankly invisible individuals form the voiceless and futureless people of Morocco. Living incarnations of the characters in hiswork, they now keep watch over his grave.