How Tunisia is using cinema to combat terrorism | Little White Lies

Festivals

How Tunisia is using cin­e­ma to com­bat terrorism

11 Dec 2015

Words by Grace Banks

A woman styling another woman's hair, with two other women looking on in a room with a nature scene in the background.
A woman styling another woman's hair, with two other women looking on in a room with a nature scene in the background.
The Carthage Film Fes­ti­val once again proved that rad­i­cal lib­er­al­ism is alive and well in North Africa.

It’s rare for a sin­gle fes­ti­val to gen­er­ate a thriv­ing film indus­try, but Tunisia’s Carthage Film Fes­ti­val is liv­ing proof it can hap­pen. Found­ed in 1966 by Tunisian film­mak­er Tahar Cheri­aa and then min­is­ter for cul­ture Chedli Kli­bi, the fes­ti­val proved so pop­u­lar that by 1969 the coun­try had 165 cin­e­mas – 59 in the cap­i­tal Tunis – and a boom­ing new-wave cin­e­ma scene so pro­lif­ic that Fran­co Zef­firelli and Rober­to Rosselli­ni began shoot­ing in and around Tunis, with the same loca­tions lat­er appear­ing in four Star Wars films.

After a spell of cre­ative down­time – the result of increased pop­u­lar­i­ty in tele­vi­sion – Tunisian cin­e­ma has under­gone a renais­sance in recent years. Now in its 26th year and the biggest event of its kind in Africa, the Carthage Film Fes­ti­val is the place to expe­ri­ence rad­i­cal new cin­e­ma by emerg­ing and estab­lished direc­tors through­out the con­ti­nent as well as the Mid­dle East, from Zere­se­nay Mehari to Karim Han­fi and Emmanuelle Bercot.

This year’s fes­ti­val was char­ac­terised by a refusal to accept cen­sor­ship in any form. Tunisia is wide­ly regard­ed as the most lib­er­al and pro­gres­sive coun­try in North Africa – they even gave women the vote before France – and this rep­u­ta­tion for dis­rup­tive rad­i­cal­ism was evi­dent across the entire pro­gramme. Begin­ning with The Tal­ent of Tomor­row, a new show­case for young Tunisian direc­tors which focussed strong­ly on women, film­mak­ers Hind Shoufani (Trip Along Exo­dus), Myr­i­am El Hajj (Trêve) and Sara Fat­tahi (Coma) pre­sent­ed their films to polit­i­cal­ly engaged audi­ences across the city.

The issues affect­ing women in the Arab and North African world were a key focus and Tunisia’s sta­tus quo-defy­ing lib­er­al­ism was fur­ther wit­nessed in the doc­u­men­tary strand, where Feriel Ben Mahmoud’s The His­to­ry of Arab Fem­i­nism looked into the impor­tant cam­paign­ing by Tunisian’s for women’s rights between the 50s and 70s, with focus on legal abor­tions and the hijab.

Ley­la Bouzib’s A Peine J’ouvre Les Yeux, about an 18-year-old girl who defies parental expec­ta­tions to become a doc­tor in favour of a life of rock n’ roll, offered a glimpse into the jux­ta­po­si­tions of being a mil­len­ni­al mus­lim woman, while Nabil Ayouch’s Much Loved looked at the wider con­text of women’s rights in North Africa. The film, about a group of pros­ti­tutes in Mar­rakech, has proven so con­tro­ver­sial that no Mid­dle East­ern or African coun­try is will­ing to show it pub­licly. On the day of the screen­ing, armed secu­ri­ty guards frisked audi­ence mem­bers upon enter­ing the Le Col­isée cin­e­ma on the busy Rue de Marseille.

Cin­e­ma is the ulti­mate form of expres­sion, it com­bines pol­i­tics with cre­ativ­i­ty,” said fes­ti­val direc­tor Ibrahim Letaief, evok­ing Carthage’s ethos of no cen­sor­ship at all costs’. The suc­cess of this mantra lies in its clever engage­ment with high and low-brow cul­ture in Tunisia. Hours before films begin, locals can be seen clam­our­ing for tick­ets at box offices, and films like Dégradé – the sto­ry of a beau­ty salon that car­ries on busi­ness-as-usu­al in the wake of Gaza strip attacks – are tes­ta­ment to the gen­uine cre­ative con­nec­tion Tunisian’s have with cin­e­ma. When the Tunis sui­cide bomb­ing that killed 12 peo­ple was announced on 27 Novem­ber just pri­or to a screen­ing of Bor­ders of Heav­en, the audi­ence erupt­ed into the nation­al anthem while con­tin­u­ing to watch the film.

In the last six months the coun­try has expe­ri­enced a series of three fatal ter­ror­ist attacks. In their wake, the Carthage Film Fes­ti­val tes­ti­fies to the country’s belief in cin­e­ma as a pow­er­ful form of polemic cre­ativ­i­ty. Since the 1960s film in Tunis has always appealed to the for­ward think­ing but this year, every screen­ing was more than a film, it was an act of polit­i­cal agency.

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