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la Biennale di Venezia
Main Visual Sezione Cinema EN (new)

Cinema


72nd Venice International Film Festival

Director: Alberto Barbera

2nd > 12th September 2015

Final Cut in Venice

TIGMI NIGREN (HOUSE IN THE FIELDS) - TALA HADID
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Synopsis
The film examines the life of an isolated rural Amazigh community in the south-west region of the High Atlas Mountains. The thousand-year history of the Amazigh in Morocco has been, for the most part, recounted, preserved and transmitted by bards and storytellers in oral form among Tamazight speaking pastoral communities. Tigmi Nigren continues this tradition of transmission, in an audio-visual form, in an attempt to faithfully document and present a portrait of a village and community that has remained unchanged for hundreds of years despite being confronted with the rapidly changing sociopolitical realities of the country at large. The film follows the lives of certain villagers, most specifically two teenage sisters, one who must give up school to prepare for her wedding, and the other who dreams of being a judge. The film is at once a tableau and an intimate portrait of a farming community at the crossroads of change, a portrayal of a vanishing way of life that not only is profoundly defined by the relation between man and nature, but also holds the key to an entire heritage of local dialects and culture.

• Screening reserved for Industry Gold / Trade pass holders
Director’s Statement
In essays written about his documentary work, Jean Rouch argues that realities are coconstructed, that the presence of a camera, like the presence of the filmmaker, stimulates, modifies and catalyzes, that people respond by revealing themselves. This was what was discovered during four years of living intimately as a guest with members of the farming community of this isolated Atlas Mountain valley and being allowed to film the chronicle of village life that one sees in Tigmi Nigren. The “subjects” after getting used to the camera, began to participate in the storytelling, in their own representation. This non-hierarchical and participatory aspect of the film is central to its essence.