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Going by the name of Djurjura, Djouhra Abouda started a musical career combining women’s voices with Kabyle cultural claims in the early 1970s. She began working as a filmmaker with Algérie couleurs (1970-1972) and Cinécité (1973-1974), both kaleidoscopic collages co-directed with Alain Bonnamy within the experimental film lab of Vincennes ...
Nov 17, 2021 · In Ali au pays des Merveilles, Djouhra Abouda and Alain Bonnamy blend documentary images using brief double exposure against the backdrop of the voices of emigrants and their companions, who tell of their daily lives and the exploitation and racism in complete contrast to the idealised image of the France of the Trente Glorieuses.
The creative couple made up of Djouhra Abouda, a singer, and Alain Bonnamy, a painter, formed part of the founding group of the Paris Film Coop. Their first two short films entered the canon established by Peter Kubelka in Une histoire de cinéma at the Pompidou, but Ali au pays de merveilles was rejected for its " aesthetic deviationism ...
Dec 10, 2021 · There are films one dreams of seeing for years and years after reading about them. Djouhra Abouda and Alain Bonnamy’s Ali au pays des Merveilles, which I first came across in Nicole Brenez and Christian Lebrat’s Jeune, pure et dure!
This selection celebrates Algerian filmmakers and their collaborators, Farouk Beloufa, Djouhra Abouda, and Alain Bonnamy, who captured the political complexities of the moment, as well as the rhythmic and aesthetic make-up of their diasporas, by breaking away from traditional filmic forms.
Nov 20, 2022 · ‘Ali au Pays des Merveilles’ - Djouhra Abouda & Alain Bonnamy (1975/76): In this experimental, political and radical film about the experience of immigrant workers in France in the mid-1970s, Ali Aux Pays des Merveilles calls out the exploitation and racism it ascribes to the French state, the media, capitalism and colonisation.
This selection celebrates Algerian filmmakers Farouk Beloufa, Djouhra Abouda, and Alain Bonnamy, who captured the political complexities of the moment, as well as the rhythmic and aesthetic make-up of their diasporas, by breaking away from traditional filmic forms.
