\n& Friday May 12, 2006 from 15h15 to 21h<\/strong><\/p>\n
at Universit\u00e9 Paris VIII – Saint-Denis<\/strong><\/p>\n le peuple qui manque<\/em>, in charge of film programming for the Saint-Denis Intercultural Festival, invites you to Universit\u00e9 Paris VIII on May 11 and 12.<\/p>\n Postcolonial unthinking, ostracized suburbs, creolity, subalternism: this film program sketches out a few avenues for reflection on contemporary interculturality.<\/strong><\/p>\n Film program: Aliocha Imhoff, Kantuta Quiros.<\/p>\n <\/p>\n Amphi A1 \u2013 18h30-21h<\/p>\n 18h30 \u2013 Et pourquoi pas ? by Fouad Sehabi (Story of a son who films his father giving up smoking)<\/strong> (2003, 22\u2032- Universit\u00e9 Paris VIII)<\/p>\n “As part of her filmmaking workshop, Claire Simon asked us to make a film about the idea of the end; I chose to film my father, who had just decided to stop smoking. Filmer mon p\u00e8re goes beyond his relationship with tobacco: it’s also a film about the relationship between a father and his son” F.S. in the presence of the director.<\/p>\n “I wanted to restore dignity to these North African immigrants whose past and the conditions under which they were welcomed in France have been forgotten. Ignorance is dangerous. We need to rediscover our history so that we can better understand our dual culture and make it known to native French people too. Y. Benguigui<\/p>\n \n19h50 \u2013 L\u2019evangile du cochon creole by Michelange Quay (2004 -13\u2019- Les Films \u00e0 un dollar)<\/strong><\/p>\n With Dominique Batraville. Short film about slums in Haiti. “I am the Creole pig. I am who I am, I am the pig of your ancestors. There is no pig but me, This pig of the new world Whose blood washed the slaves of their sin, Whose flesh is your flesh, until the end of time<\/p>\n Ni putes ni soumises (Neither whores nor submissives): in 2002, a handful of women from the suburbs launched an appeal denouncing the excesses of ghettos and violence against women. In 2003, they launched the “Women’s march against ghettos and for equality”, which crossed 23 towns. During the actions, debates and meetings they led throughout France, we witnessed the tremendous liberation of speech they provoked (MK2 Doc).<\/p>\n <\/p>\n Amphi B1 \u2013 15h15-21h<\/p>\n <\/p>\n 15h15 \u2013 En attendant\u2026 by Anne Sophie Lepicard<\/strong> (2002 \u2013 24\u2032 \u2013 Universit\u00e9 Paris VIII)<\/p>\n Sma\u00efl left Algeria, where his songs earned him death threats. When he came to France, he was not allowed to stay. But he stayed in spite of everything, in the hope of one day obtaining those famous papers… in the presence of the director.<\/p>\n With Khalid Ribani, Majid El Farrouj “I suggested this film to Khalid Ribani in 1999. Khalid is a childhood friend, a Frenchman of Moroccan origin. He’s a bit of a crazy boy, very exuberant and cheerful on the outside, but a bit “broken” on the inside. Khalid’s characteristic is that he can’t stand still. He’s always on the move for very long periods in France or abroad, disappearing and reappearing without warning. Rather elusive, you have to make the most of his moments of presence. Poignant interviews on a little-known aspect: the forced return to Algeria of teenagers whose parents can no longer imagine their integration in France. Brutally uprooted, they are forced to take the opposite route to the previous generation in order to integrate into a country they know nothing about (M\u00e9diath\u00e8que des trois mondes).<\/p>\n 17h10 \u2013 Interview with Pascal Blanchard, historian<\/strong>\u00a0(10\u2019, Oumma TV)<\/p>\n “The colonial divide in France is visible, just step into a suburb and look…” Pascal Blanchard is a researcher at the CNRS and co-author of “La fracture coloniale. La soci\u00e9t\u00e9 fran\u00e7aise au prisme de l’h\u00e9ritage colonial” (Oumma).<\/p>\n October 2003, Alma and Lila Levy were expelled from the Lyc\u00e9e Henri Wallon d’Aubervilliers for the sole reason that they wore headscarves. A deafening political and media debate ensued, in most cases justifying the exclusion of girls wearing headscarves at school. In February 2004, a law was finally passed by the French National Assembly, at Chirac’s request… “Un racisme \u00e0 peine voil\u00e9” looks back at this controversy since the Creil affair in 1989 (when two schoolgirls were excluded for the same reasons) and tries to “unveil” what is really behind the desire to exclude these young girls. We gave them the floor. As well as others [teachers, community activists, feminists, researchers] grouped around the collective “Une \u00e9cole pour tous-tes”, who are fighting for the repeal of this law, which they consider sexist and racist… (H prod)<\/p>\n 18h40\u2013 MIB by Reynald Bertrand<\/strong> (2003, 51\u2019, Co-production MIB\/Le compte-gouttes)<\/p>\n From September 2001 to July 2002, from Mantes-la-Jolie to Dammarie les Lys, we chronicle the autonomous struggles that took place in working-class neighborhoods in reaction to discriminatory measures such as double sentencing, or following police violence or crime. These struggles, whose future is uncertain in the face of the raison d’Etat, question police management of immigrant populations and are the expression of a fight for dignity and equality. (MIB) in the presence of the director and the MIB<\/p>\nThursday, May 11, 2006<\/h3>\n
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<\/a>19h \u2013 M\u00e9moires d’immigr\u00e9s – Children by Yamina Benguigui<\/strong> (52\u2019, 1997)<\/p>\n<\/a><\/p>\n<\/a>20h05 \u2013 Ni putes Ni soumises, Itin\u00e9raire d\u2019un combat by Margherita Caron<\/strong> (2005 \u2013 53 \u2018)<\/p>\nFriday, May 12, 2006<\/h3>\n
<\/a><\/p>\n<\/a>15h45 \u2013 Volatil(e) by Claire Ananos<\/strong> (2005, 31\u2019)<\/p>\n
\nHe often speaks of Morocco as an Eldorado. I wanted to discover this country through Khalid, to try and define his own Morocco. I suggested a filming protocol that wouldn’t be too restrictive for him: go to Morocco with him, follow the itinerary of his choice, “melt” into his way of seeing the world… and I film him. This filming protocol meant that I had to surrender myself hand and foot to my character’s will: he was the one driving, imposing his desires, his more or less eccentric ideas, knowing the country and the language. I, on the other hand, had to defend a film, and that turned out to be quite a complex task…”. C.A. in the presence of the director<\/p>\n<\/a>16h20 \u2013 Ici ou l\u00e0-bas by Diden ZEGAOUI<\/strong> (1998, 52\u2019)<\/p>\n<\/a>17h20 \u2013 Un racisme a peine voil\u00e9 by J\u00e9rome Host<\/strong> (2004, 75\u2019, H production)<\/p>\n