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Vendredi 13 novembre 2009 5 13 /11 /2009 11:04

Algerian-born, Paris Based Director  LAZHAR GATT has developped an early passion for photography but his childhood stories,told by his grand-parents in the oral tradition his culture, has led him to filmmaking in ordr to tell important things. As one of his favorite director said once : “ if Cinema doesn't tell important things, then I don't know why I shall make films” ( Jacques Audiard )

 

The first works Lazhar Gatt begun at the age of 19, on Algonquin in Canada in the Lac St-Jean, in collaboration with a tourism agency.

 

Extensive training in photography and development opens the doors of The Studio ELLE and for its prestigious magazine.


He assists the biggest names in fashion photography industry, as Jean-Marie Perier, Friedmann Hauss or Lothar Schmidt. He's been taught to have an esthetic outlook on his environment.

 

After several years working with model agencies in Paris and New York (Ford Models Europe - Ford Models New York, IMG New York mainly), he begins to advertise for clients such as Electrolux Arthur Martin, Paint The Town Red,  young fashion designers and clients to Special Events such as Folies Pigalle, the Palace.


In the early 2000s, he returned to more personal work, including reports on two European capitals, Lisbon and Barcelona and two cities in North America, New York and Washington DC ... like the work of his idol in photography, Raymond Depardon.

 

Following this work, Lazhar Gatt decided to consider cinema as a mean of communicating its ideas.

A short film test Algiers confirms his choice, and he began to work on a major project on a difficult period for Algeria, 1991-1997 and the rise of Islamic terrorism.

With the production company, Studio EPIX, he now prepares a more intimate film about a social subject, the difficulties of the Algerian youth, including the dangers of drugs and sports as a solution against the idleness of young  people.


Meanwhile, he continues to work for clients such as Cartier Foundation for Contemporary Art at the exhibition by Raymond Depardon Paul Virillo for SFR and their location in La Reunion, and for Logica and their collaboration with Microsoft...

Par ParkourSousInfluence - Publié dans : - IN ENGLISH -
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Vendredi 13 novembre 2009 5 13 /11 /2009 11:03

The risk with a film that revolves around a sport is to make a film about the sport. A pitfall to be avoided at all costs! Here, the "parkour" is seen as a prism through which we discover the current Algerian society

 

Throughout the film, the question is whether this is a drama or tragedy. In the first case, the protagonists overcome obstacles to achieve their goals despite the difficulties. The tragedy is this tower along the film, since the antagonists will fail to change the course of their lives. This is still a realistic view on social evils. Drug addiction is often fatal to people and their surroundings.

 

In the frame of action, indeed, the psychology of the characters is at the heart of the matter. The destinies mingle, still bound no matter what. It is a human frame on stage, in the heart of family and social rivalries. The viewer is plunged into a reality to which he belongs. He shall identify with the hero, take sides or await the outcome.

 

In the same order of proximity, only the main characters are played by professional actors. The other participants are not professionals, but trained on the ground a few weeks before the shooting. The method used is the same as the one that was used with the inhabitants of the favelas for the filming of The City of God.

 

For a full involvement of the spectator, ParkourSousInfluence is treated with the constant concern of realism. The film is a fiction, but it points the finger on social realities. The general atmosphere meets this criterion, so that the viewer is totally immersed in a daily events that could be his.

 

 

This choice is also  illustrated by the methods of shooting. The studio production design is deliberately excluded, to focus on authentic locations, after a careful scouting. Despite some obvious technical constraints, demanding the addition of lights, the original ambiance of the place will be safeguarded. The interiors will be in real apartments, local gyms ... The scenic integrity outweighs the artistic flourishes and stunts are real.

 

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Vendredi 13 novembre 2009 5 13 /11 /2009 11:03

Since few years, Algeria is facing serious issues with the drug addiction of younger and younger Algerians , a certain way of escaping  social and economic problems.

 

 

With a neighbour country like Morocco, producer of  60% of the world’s cannabis, Algeria has troubles making youngsters stop smoking marijuana, taking pills or even sniffing glue…

 

 

Luckily, some of the youth, though, has another sort of addiction…sport.

 

The Parkour is interesting as a sport but also as an idea of how to deal with things in a country where reality is very harsh. The Parkour teaches not only to train one’s body but also to overcome the difficulties encountered by the youngsters; no money, no reachable goals, no achievable dreams. In the Parkour, the urban equipment becomes an opportunity and not obstacles any more…

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Vendredi 13 novembre 2009 5 13 /11 /2009 11:02

 

The story takes place in Algiers, Algeria…it shows Nassim, a young man whose dream is to teach the Parkour to youngsters. The Parkour became an increasingly famous urban sport which consists of going from a place to another the most rapidly and efficiently, by jumping from a roof to another, climbing walls etc.

 

When Nassim meets Anouar, he knows for sure that he found his perfect pupil. Anouar is 14 years-old, he lives in a very modest family with his loving sister Djazia, his father, and his older brother, Sofiane.

 

Sofiane is the local drug dealer. His activity is a source of open conflicts with his sister Djazia. The father suffers from diabetes and has no influence over his children’s behaviour.

This situation puts Anouar into a difficult situation, being in the middle of a permanent tension. His friendship with Nassim and their trainings give him a way out of his everyday life.

 

However, the older brother, Sofiane, is far from being happy with his younger brother’s new passion. According to Sofiane, Anouar must help him with his “business”. Sofiane warns Nassim to stay out of his family. A warning that Nassim has no intention to take into consideration.

Things get worse when Nassim accidentally meets Djazia and instantly falls in love with her.

 

Therefore, the conflict is inevitable between Sofiane and Nassim, and the ending uncertain.

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