After a confinement in a harem, an illiterate Algerian takes her revenge by reinventing herself as a writer. Under the name of Elissa Rhaïs, she becomes the darling of the literary Paris of the inter-war period, in search of oriental fantasies.

After a confinement in a harem, an illiterate Algerian takes her revenge by reinventing herself as a writer. Under the name of Elissa Rhaïs, she becomes the darling of the literary Paris of the inter-war period, in search of oriental fantasies.

A true story, with multiple short stories that show human rights violations and economic exploitation within religious and government institutions.

A true story, with multiple short stories that show human rights violations and economic exploitation within religious and government institutions.

A few kilometres from Ajaccio, the burnt earth gives in to the weight of colour. The ground opens up and frees pictorial energies that take over the sky. I see the horizon disappear, but I keep it in my sights. The train continues on its way...

A few kilometres from Ajaccio, the burnt earth gives in to the weight of colour. The ground opens up and frees pictorial energies that take over the sky. I see the horizon disappear, but I keep it in my sights. The train continues on its way...

A dying woman is fighting to choose a new family to keep her four children together, after she's gone.

After the criticisms of the 1987 show’s disproportionate focus on music - and the financial disaster of its music-only Festival Of Youth weekend concert in 1988, Amnesty returned to the original formula that had been so successful in the 1976-1981 era with a primary focus on comedy. Pat Duffy was dropped from organising any further benefit events for Amnesty and for the 1989 show, Amnesty hired producer Judith Holder.

After the criticisms of the 1987 show’s disproportionate focus on music - and the financial disaster of its music-only Festival Of Youth weekend concert in 1988, Amnesty returned to the original formula that had been so successful in the 1976-1981 era with a primary focus on comedy. Pat Duffy was dropped from organising any further benefit events for Amnesty and for the 1989 show, Amnesty hired producer Judith Holder.

When the British Amnesty shows finally resumed in 1987 after a six-year hiatus, the show format was retooled in an effort to take advantage of the growing number of rock musicians supporting Amnesty. Instead of the live show being primarily a comedy show with a few musical cameos, the event made a point of giving equal emphasis to the comedy and the music.