Speakers from various fields will conduct this year four Master Classes. Based on their practical and
academic experiences, they will address a wide range of specific topics. From Cinema of the Diaspora
to cultural journalism, and from directing actors to editing, professionals and laymen will enjoy the
experience of our speakers.
The cinematic expression of the Diaspora will be handled by Pierre-Henri Deleau and Kamel Cherif. They will address the representation that cinema has about uprooted characters and also the representation that they have of themselves.
During a debate that will take place at the of the National Union of Tunisian Journalists (SNJT) headquarters, veteran journalists Khaled Tebourbi and Bady Ben Naceur will introduce "the practice of cultural journalism", a practice that keeps on oscillating between criticism and information. In the third session, Nadia Ben Rachid, Best Editing Cesar winner 2015 for Timbuktu, will talk about her craft as an editor.
Finally, Palestinian Mohamed Bakri, rich with his long acting experience, will present the views of "The actor before the camera". He will explain the subtleties that characterize and differentiate the performances of a comedian in theater and in movies.
Mourad Ben Cheikh
Master class - 1er novembre 2016
Born in Tunisia, Kamel Cherif arrived in France at the age of five.
He trained as a classically actor before entering the American Center to follow the Actor's Studio classes.
He played Molière, Shakespeare, Pirandello, Camus and Boulevard Theater with Annie Girardot...
In movies, he played under the direction of Bertolucci, Corneau, Salvadori, Lauzier, Reigueiro and Tavernier...
In 1999, Kamel Chérif directed and co-produced his first short film "First Christmas" that got more than fifty awards around the world, including the Grand Prix Cannes Junior 2001.
In 2004, he directed and co-produced "A sign of Affiliation" for which he won the Lion for Best Short film at the 61st Venice film Festival.
Deleau was assistant to Henri Langlois, before founding in 1969 the Directors' Fortnight in Cannes, which he headed for 30 years.
World renowned film festival Director, he also created the FIPA (International Festival of Audiovisual Programs) in Biarritz in 1987.
Since 1990, he is the Managing Director of the International History Film Festival of Pessac. He was assistant director for Pierre Kast and Jacques Doniol-Valcroze and also producer.
For this, he was invited as a jury member in numerous international festivals such as Berlin, Venice, Rio, Tehran and many others...
"A story in lack of images" or "pictures in lack of history"? The autobiographical dimension is a constant in films about immigration. They are stories often told in the first person, whether in the form of a documentary or a fiction, as if the film gave the filmmakers the opportunity, through their characters, to answer a central question addressed by exile: the question of identity. Indeed, in France, progress made in terms of representations related to the colonial imagination of yesterday is undeniable; we went from the Arab who was mocked to the Arab subject of fantasy and fear.
Master class - 2 novembre 2016
For 40 years, Mohamed Bakri worked in front of the camera as an actor and behind it as a director. He has played in more than 40 films and directed four feature documentaries for the Palestinian cause against oppression. Since 1986, he co-directed a film with his friend Palestinian director Mazen Ghattas and co-wrote a novel with Emil Habibi titled '' The strange factor in the disappearance of Saiid Abi Naahs Almoutashaael ''. This novel that challenges the Zionist movement and its lies, confirms the reality of the civil and historic Palestinian entity in the land of Palestine.
Mohamed Bakri, will introduce myself to the participants, my experience in theater and in movies. What does an actor do in front of a camera? What does a director do behind the camera? I think any actor should be honest... Do not play the character, be the character! That famous '' You '' is the focus of our Master Class.
Master class - 3 novembre 2016
Law degree from Tunis (1971). Trained musician in the luth and Tunisian Maluf at the Rashidiyah Classical School, with the Master Tahar Gharsa. He joined French speaking newspaper "La Presse" in 1974. He was editor in chief of the cultural department at the magazine Dialogue until 1985 and the newspaper "L'Action" from 1985 to 1987. In 1987, he returned to the newspaper "La Presse" as editor in chief and manager of the " Sunday Magazine". He is the recipient of the National Cultural Critics Award in 2000 and the Award of Music Critic from the Tunisian Association of Musicology in 2008.
Bady Ben Naceur
Is a professor of French litterature, publisher and journalist since 1972. An Art critic, he participated in all discussions on art (artist's monograph, conferences, seminars...). He contributed to the birth of Art-galleries. Self-taught painter sailors between formal and informal art, he exhibited since 1980. From 1990 he has organized cultural and artistic weeks Jibellina, Marseille, Barcelona... He published books on Tunisian painters, Aly Ben Salem, Mahmoud Sehili, Nja Mahdaoui and Lisa Séror... Now retired, he continues to deal with Art.s
What does it mean to be a cultural journalist? Inform about culture, arts and entertainment or judge works the way art critics do?
With the revolution and the end of censorship what happened to the independence of cultural journalism in public and private media?
How to explain the invasion of producers, promoters, advertisers? How does a cultural journalist behave when he is part of PR operation for an event?
Isn't his opinion oriented? "Merchandized"?
How can we preserve the ethics and credibility of this profession?
Master class - 4 novembre 2016
Nadia ben rachid
Tunisian-French film editor. She collaborated for years with Academy Award filmmaker Abderrahmane Sissako.
In 2015, she won the Cesar for Best Film Editor for Timbuktu.
She began her career editing 35 mm films, before moving to digital editing.
Nadia has also edited numerous documentaries.
She describes the editing process as the shaping of the director's idea in a harmonious and fluid way. Her editing style was described as "nimble editing" by the British magazine New Statesman.
Editing is not a mechanism that puts bits of films together.
The editor is responsible for the indefinable atmosphere present throughout the entire film. One must have a sense of rhythm, an innate ability to visualize things and understand the essence of the comic and the tragic. The editing must extract the truth of a film.
It is both a matter of instinct, intellect and emotion that experience sharpens.
A simple cut can exalt the subtlety of an acting performance, a change in angle or adjusting the pace of a sequence, can have an impact on the course of the entire film.