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Cinema Gatlif

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Kabyle and Roma, Tony Gatlif is the filmmaker who more than anyone else has told the life and culture of gypsies traveling in a continuous journey, from 'India to Spain. Born Algiers in 1848, Roma and Berber blood in the veins, Michel Dahamani (known, in fact, as Tony Gatlif) in the early sixties shares the fate of his people forced to flee their country. After leaving Algeria, he moved to Paris where he attended a course of dramatic art. Despite the new residence, Gatlif returns constantly to his true origin, the Gypsy community, in the 'passionate pursuit of itself. Without economic resources, after long years of social maladjustment and existential, which led him to repeatedly test the sad reality of the juvenile prison, the young Gatlif able to recover the passion for cinema, and the two sources is certainly a rich source of inspiration for his work as an artist even before that as a director.

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Tony Gatlif
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In 1973 he and so his first short film in 1975 comes the first feature film,''La Tête En Ruine ''. Three years later, following ''''La Terre au Ventre , which deals with the Algerian war experienced by a mother of French Algeria with his four children, and gradually a filmography level on average more than good, with works characterized by a kind of lyrical nostalgia and the great yearning for freedom of nomadic cultures, with their lifestyle, their music and dance. All the essential elements of the poetic project Gatlif, able to express the place of many words, the spirit alive the sensitive nature of the blood and gypsy people. The viewer is often forced to travel, a journey in which the place of arrival immediately became the site of a new start. A 'transit' in Gatlif invites you to discover its potential.

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Among his titles shines especially "Latch Drom" - which won numerous awards festival-goers, including the award Un Certain Regard at Cannes in 1993 - great work "documentary" that traces the long route of nomadic music, from the north-west of 'India through the regions of Turkey' s eastern Europe , North Africa and France, emphasizing the cultural cohesion of the various musical expressions, until he lands in Spain a flamenco which preserves the spiritual components of Sufi music, a kind of continuity with the ineffable ideal song Orient.

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also the splendid ''Gadjo Dilo'' ( Silver Leopard in Locarno in 1997) and'' Exils ''award for best director at Cannes in 2004, the jury headed by Quentin Tarantino. If all Gatlif's films there is a strong autobiographical component in the case of Exiles this becomes even more evident. In fact belong to the ranks of refugees in the sixties were forced to leave Algeria and leave their countries, as mentioned earlier, forty years after the director returns to the land of his childhood, trying to describe this experience in a film that is a kind of colorful road movie on the trail of two young players who leave Paris to Algiers to rediscover their roots. Theirs is a journey to the edge of memory, in the name of the music and especially rhythm.

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In all his films Gatlif has always been more than an eye for the music, and it is no coincidence that many of the scores of films have his signature. In an early scene of the Exils protagonist declares:'' music is my religion'', and following this I think the guy makes a geographical and spiritual journey that takes him from the West to the East, the European pragmatism to Sufi mysticism, from techno Paris underground to Sufi trance of Algiers, through the flamenco of Andalusia. So the beat of rock that comes out of the speakers at the beginning of a SPEAKER reflected gradually in an almost natural prosequzione, scan with a windshield wiper to tap the rain, and then come together in the energy of the''heart'' flamenco, whether it is reinterpreted in electronics, whether it is back in its traditional version, to finally turn to Middle Eastern sounds and tones in a progressive''spiritualize''which culminates in a scene from a Sufi ceremony.

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music, flamenco and blood ties are the absolute protagonists in''I come - Demon''Flamenco magnificent film of 2000 that I will soon and to whom I feel particularly affezzionato for various reasons. Given the issues involving the Roma in France in recent times it seems to me must point out at least (also) the last Korkoro''(Freedom)'' . If it is true that the film was also presented in Rome at MedFilm Festival last year - among other things, receiving the Special Mention , one of the most important prizes - frankly I have my doubts about a possible distribution that will take him (easily) in the halls of our cinema. Of course I hope to be wrong, because I for one have not yet had a chance to see him, even though I know, having read that the film is told a story inspired by a true story, particularly that of a Roma family arrived in a rural village in France shocked by the discriminatory laws of the Vichy government , with the Nazis that will lead to the arrest and deportation of about thirty thousand French Roma during the Second World War and the tragic genocide ghost "that cost 'the lives of half a million Roma in Europe, interned and exterminated in concentration camps along with Jews, homosexuals and disabled . A film, however, as mentioned above, while leaving the boundaries of history to highlight the difficult fate of many Roma still endure today.

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VENGO: DEMON FLAMENCO

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''are not a film about flamenco, but it is the same as Flamenco becomes a film.'' ''Flamenco,'' demon of life. Very apt definition, multiple meanings to one form of mental and bodily expression of the most intense. Flamenco, visceral passion, song and dance that alternates moments of tragedy to pure joy of living. Music poignant and evocative of oppression and persecution. Dance that was born from the earth and the tragedy of a people in flight. And just to make the image carved into the hearts of the Gypsy people of a country that is not there, your feet tend to remain strongly attached to the land, while the upper body moves sinuously to evoke the profound desire for freedom. Dry land, a land of colors and sounds fused from multiple traditions, Andalusia, the center energy of flamenco, gypsy homeland (Gitano: the term seems to derive from 'Egypt, where the people fleeing from Pakistan stopped long before landing in Spain through North Africa) ordered by fate, mother of the demon flamenco. Here is a film that makes flamenco a reason for living, but also passion and death. Movies that harmoniously blends folklore and modernity. Scenes between East and Andalusia open history, scoring a subtle border imperceptible. Gatlif, Gypsy Arab draws pure emotions, restoring the original value of what is just a spectacular dance to modern ears. A complete dedication, made up of scenes and music composed by the intense Gatlif himself.

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Flamenco in which you can reach out with courage involved, but that can not be assimilated if you do not create the blend of body, mind and historical memory. I remember a scene in the Australian film "Ballroom" in which the young hero must learn a choreographed dancer gypsy. Unable to acquire the technique to perfection, though, that the absence of 'inspiration that it shall be given only by living in sinbiosi with the gypsies. Flamenco, the demon of life, where passions explode in the infinite existence. A pain impossible to quell. The heartbreaking loss of a daughter and destroyed an innocent father who stuns with alcohol and flamenco. A searing pain that consumes the soul. Strong contradictions, strong passions of timeless Andalusia. Are opposed to the secular traditions of modern images without paved roads, luxury cars, mobile phones, dancing, but the devil is always waiting. A history steeped in blood, seeking revenge mutual rival families. The dramatic figure of a young disabled person (Diego), grandson of our protagonist (Caco, played masterfully by Antonio Canales, a great flamenco dancer says that on this occasion only, without moving a step dance), who lives anyway His passion, his enthusiasm, his sweet memories for a pure love that was never turned off, no matter what. The young Diego is the new soul of the tradition and no compassion alive in us, as in his family, despite the handicapped. Diego is one of them, one of flamenco's family that everything has to be taught how to deal with deep and sweet things. Lyrical moments of song and music town as if time had stopped at every piece of real life. Tender love that binds to Caco uncle Diego. Care and attention which contrast with the vengeful impulses of the families opposing a war that involved blood long before his father Diego, Mario. Mario is a gypsy on the run again from 'Andalusia to North Africa, where he took refuge, and where the family usually called by phone to listen to the music of his heart. But now, Diego is just the sacrificial victim of revenge. Blood for blood. Caco knows that this could be the fate of the 'beloved nephew and is sacrificed in the name of love, family in front of the enemy: "I will fire the world!" cries in front of the awareness of the risk of death of the grandson. Moment of tragedy of the highest level. The demon of life will accompany him to the end. With the blade embedded in the side, in a dry atmosphere, and solitary, dragging up the only instrument''flamenco''that he could never find in an area so desolate, an industrial machine that produces sounds activated metal the pistons and hammers and internal straps. Metallic sounds cool, but that evoke the rhythm of flamenco, the demon of life that no longer exists.

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The film, shown out of competition at Venice in 2000 (and closed that edition of the show), runs on a bare plot almost used to sew the pieces of music, but it is extraordinary intensity and drama, being able to transmit he plays a delicate poetic contrasts beautifully emotional-sentimental anger and sadness of a daughter who is gone and the tender love for a grandson who lives his life more intensely other people, despite everything. The actors (actually overtime) are all non-professional musicians and members of the high and pure traditional gypsy flamenco of Andalusia low, which Gatlif has taken off the road and taken on the set. He also directed music (as mentioned) that were completely appropriate. Chapeau.
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If reference can affect too and :
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• '''' Sinti and Roma (contains links and filmography)
• LATCH''DROM'' (Soundtrack)
• ''are'' ( Soundtrack)
• ''are''(or Language Film. with subt. in English)
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