film diperankan dahmane el harrachi
The artistic journey of Dahmane El...The Revolution Of El Harrachi 2014
The artistic journey of Dahmane El Harrachi, born in 1925 in Algiers, bears the mark of his experience. An attentive and vigilant observer of the environment of immigrant workers, Dahmane has always avoided falling into the ambient miserabilism. From the Algerian Chaâbi, he has kept certain melodic lines and a clear propensity for sayings drawn from the oral poetic tradition. El Harrachi uses simple language, understandable by all popular sectors of the Maghreb, which partly explains its wide success. In 1949, he went to France and it was in cafes, springboard places where people come to breathe the air of the country, that he performed regularly. Elegant, with his beautiful atmosphere, the “bluesman” of the suburbs seduces, upsets and stirs consciences. Discovered late by the new generation, the creator of Ya Rayah met a tragic end, on August 31, 1980, in a car accident, on the Algiers coast which he sublimated above all else.
Two women get on the highway...
Jacques Mesrine a loyal son and...Mesrine: Killer Instinct 2008
Jacques Mesrine, a loyal son and dedicated soldier, is back home and living with his parents after serving in the Algerian War. Soon he is seduced by the neon glamour of sixties Paris and the easy money it presents. Mentored by Guido, Mesrine turns his back on middle class law-abiding and soon moves swiftly up the criminal ladder.
Like a Candide dreaming of Eldorado...Poetical Refugee 2001
Like a Candide dreaming of Eldorado, Jallel lands in France, hoping to try his luck. From encounter to encounter, hostel to social welfare group, Jallel will make his way through a Paris of outcasts. Although failing to achieve his hopes, he discovers and shares in the solidarity felt by the destitute. –uniFrance
Discreetly zany Ya Rayah collects heterogeneous...Ya Rayah 2001
Discreetly zany, Ya Rayah collects heterogeneous objects and images. Throughout this list we find smoking shoes, errant typographies, x-rays of feet... The assembly of these materials creates a playful journey, revealing the movement of writing in the process of being written. Where we find the poetic gesture dear to the imagination of ALIS, whose work is inspired by the methods of Oulipo. The approach of ALIS, a group founded by Dominique Soria and Pierre Fourny, is not standard. It focuses on the search for a new expression using different artistic disciplines. Usually their compositions are exhibited on stage or exhibited in art galleries. After La Complaint du Progrès, this film once again opens up, to the music of Dahmane el Harrachi, a rich field of investigation into their joyful and cleverly organized words.
A dark tale of workingclass life...
A young woman falls in love...Mann 1999
A young woman falls in love with a handsome playboy, while aboard a Singapore to India cruise. They make plans to meet again, but fate may have other plans...
Film about Dahmane El Harrachi musician...Saha Dahmane 1980
Film about Dahmane El Harrachi, musician, singer and composer of the famous song "Ya Rayah", a cult song covered by Rachid Taha, which will enjoy international success. Virtuoso of the banjo, the work of Dahmane El Harrachi did not initially respond to the canons of the purists of Algiers Chaâbi song. However, he will end up establishing himself alongside great masters of the genre, El Hadj M'hamed El Anka, Boudjemaâ El Ankis, El Hachemi Guerouabi, Amar Ezzahi... He plays his own role in this film shot with his musician friends, just before his tragic death in 1980 in a car accident on the Corniche of Algiers.
Social drama about Algerian immigrant workers...
Broadcast from 1977 to 1987 on FR3 every...Mosaïque 1976
Broadcast from 1977 to 1987 on FR3, every Sunday morning, for 1h30, Mosaïque is a variety show with a set where music groups from the countries of origin of immigration perform, and which broadcasts reports on these countries and on immigrants who live in France. When it was created, it aimed to promote the cultures of origin of immigrants, but also to make them better known to the rest of the population. However, the program was never financed by public television which considers that it was aimed at a specific audience and was therefore not part of a public service mission. It received financial support from the Ministry of Labor, through its subsidy to the National Office for the Cultural Promotion of Immigrants, ONPCI (later becoming Information Culture and Immigration, ICEI, in 1977, then Agency for the Development of Intercultural Relations , ADRI). , in 1982).
