Omar Amiralay是叙利亚最著名的纪录片导演，从70年代就开始拍摄纪录片，大多涉及到阿拉伯世界特殊而敏感的政治、宗教和民俗文化，作品多次被禁，本人也曾流亡海外多年。 　　A Flood in Baath Country 　　[TUFAN FI BALAD EL-BA'TH] 　　Directed by Omar Amiralay 　　Syria/France, 2003 　　Color. 46 min. Arabic with English subtitles. 　　In 1970, Omar Amiralay made a short documentary, Film-Essay on the Euphrates Dam, in praise of the ruling Baath party's project to construct an impressive system of dams. Today, after fatal construction flaws have been discovered, his controversial new film, A Flood in Baath Country, explores the metaphorical implications of such weakness. Without commentary or criticism, Amiralay's film exposes Baath party propaganda and its debilitating effects on the people of al-Mashi village, 400 kilometers (250 miles) northeast of Damascus. The camera moves slowly from students to teachers to government officials, with everyone reciting the exact same praises for the president and slogans glorifying the Baath party. The film is the harshest indictment yet of the regime, portraying the devastating effects of 35 years of rigid Baath party rule on Syrian society. 　　"There is nothing enigmatic, by contrast, about Omar Amiralay's documentaries. They're as outspoken as can be--and yet they, too, convey their argument through unforgettably strong images." – Stuart Klawans, The Nation 　　The filmmaker's first film is a short film to the glory of the Euphrates dam, the pride of the ruling Baath party. "I regret this youthful error". 33 years later, he unveils the indoctrination at work in the village classroom. 　　There is nothing enigmatic, by contrast, about Omar Amiralay's documentaries. They're as outspoken as can be--and yet they, too, convey their argument through unforgettably strong images. Among the most forceful of his films is A Flood in Baath Country (2003), which has the added benefit of encapsulating Amiralay's career for you. In 1970, fresh out of film school and fired with enthusiasm for the Baath regime, he made a short titled Film-Essay on the Euphrates Dam. At the beginning of A Flood in Baath Country, you see footage from this early work: brief views of dam construction, shot in expert imitation of Amiralay's beloved Dziga Vertov. Meanwhile, on the soundtrack, the present-day Amiralay speaks of his distress at having made such a film. Construction was shoddy; dams have fatally collapsed. As for the artificial Lake Assad, beneath whose waters stand inundated villages, it now seems to Amiralay to be the perfect symbol of the Baath regime, which seeks to submerge all life in Syria.

Omar Amiralay是叙利亚最著名的纪录片导演，从70年代就开始拍摄纪录片，大多涉及到阿拉伯世界特殊而敏感的政治、宗教和民俗文化，作品多次被禁，本人也曾流亡海外多年。 　　A Flood in Baath Country 　　[TUFAN FI BALAD EL-BA'TH] 　　Directed by Omar Amiralay 　　Syria/France, 2003 　　Color. 46 min. Arabic with English subtitles. 　　In 1970, Omar Amiralay made a short documentary, Film-Essay on the Euphrates Dam, in praise of the ruling Baath party's project to construct an impressive system of dams. Today, after fatal construction flaws have been discovered, his controversial new film, A Flood in Baath Country, explores the metaphorical implications of such weakness. Without commentary or criticism, Amiralay's film exposes Baath party propaganda and its debilitating effects on the people of al-Mashi village, 400 kilometers (250 miles) northeast of Damascus. The camera moves slowly from students to teachers to government officials, with everyone reciting the exact same praises for the president and slogans glorifying the Baath party. The film is the harshest indictment yet of the regime, portraying the devastating effects of 35 years of rigid Baath party rule on Syrian society. 　　"There is nothing enigmatic, by contrast, about Omar Amiralay's documentaries. They're as outspoken as can be--and yet they, too, convey their argument through unforgettably strong images." – Stuart Klawans, The Nation 　　The filmmaker's first film is a short film to the glory of the Euphrates dam, the pride of the ruling Baath party. "I regret this youthful error". 33 years later, he unveils the indoctrination at work in the village classroom. 　　There is nothing enigmatic, by contrast, about Omar Amiralay's documentaries. They're as outspoken as can be--and yet they, too, convey their argument through unforgettably strong images. Among the most forceful of his films is A Flood in Baath Country (2003), which has the added benefit of encapsulating Amiralay's career for you. In 1970, fresh out of film school and fired with enthusiasm for the Baath regime, he made a short titled Film-Essay on the Euphrates Dam. At the beginning of A Flood in Baath Country, you see footage from this early work: brief views of dam construction, shot in expert imitation of Amiralay's beloved Dziga Vertov. Meanwhile, on the soundtrack, the present-day Amiralay speaks of his distress at having made such a film. Construction was shoddy; dams have fatally collapsed. As for the artificial Lake Assad, beneath whose waters stand inundated villages, it now seems to Amiralay to be the perfect symbol of the Baath regime, which seeks to submerge all life in Syria.

《鱼树》（Treo Fiskur）讲述的是，在欧洲北部一个渔夫靠着运气无意中发现鱼群的起源的故事。短片中泛舟独特的设计和主角的衣着扮相透露着浓厚的北欧风情，片中共出现了两个矛盾点，一个是人与大自然，一个是男人与水怪。大自然的灾害让男人为了养活儿子不得不到处奔走捕鱼，而当他兴然以为自己找到了鱼群却遇到了更大的灾难。结局男人沉入海底更为之后的剧情发展留下了悬念。 　　短片《Treo Fiskur》由导演Lucie Delvaix等四个同学在法国3D动画学院 Supinfocom Valencienne就读时联合制作的毕业作品，入围英国Encounters等十余个国际电影节最佳动画短片环节，并被美国The Eye Candy Show选为年度最佳动画短片。

《鱼树》（Treo Fiskur）讲述的是，在欧洲北部一个渔夫靠着运气无意中发现鱼群的起源的故事。短片中泛舟独特的设计和主角的衣着扮相透露着浓厚的北欧风情，片中共出现了两个矛盾点，一个是人与大自然，一个是男人与水怪。大自然的灾害让男人为了养活儿子不得不到处奔走捕鱼，而当他兴然以为自己找到了鱼群却遇到了更大的灾难。结局男人沉入海底更为之后的剧情发展留下了悬念。 　　短片《Treo Fiskur》由导演Lucie Delvaix等四个同学在法国3D动画学院 Supinfocom Valencienne就读时联合制作的毕业作品，入围英国Encounters等十余个国际电影节最佳动画短片环节，并被美国The Eye Candy Show选为年度最佳动画短片。

在旧石器时代，一群性格迥异的早期人类结伴寻找新大陆。然而，当他们注意到某个邪恶的神秘生物时，不得不准备好面对从未预料到的危险。

在旧石器时代，一群性格迥异的早期人类结伴寻找新大陆。然而，当他们注意到某个邪恶的神秘生物时，不得不准备好面对从未预料到的危险。

这个不言而喻的体系塑造了美国，并记录了当今的生活是如何由人类划分的等级制度定义的。

舞台は、かつて高度な文明が栄えていた惑星アクアロイド。アクアロイドが属する星系リドは、イノガニックと呼ばれる謎の無機知性体に支配されており、住民達は片隅で細々と生き延びていた。アクアロイドに住む少年シュルギ・ナムは、ある日、光り輝く剣を手に入れる。ナムと幼なじみのラサ、そしてモンガーは、その日からイノガニックに追われることになる。その剣こそイノガニックを滅ぼすことのできる唯一の武器「聖剣」だったのである。

舞台は、かつて高度な文明が栄えていた惑星アクアロイド。アクアロイドが属する星系リドは、イノガニックと呼ばれる謎の無機知性体に支配されており、住民達は片隅で細々と生き延びていた。アクアロイドに住む少年シュルギ・ナムは、ある日、光り輝く剣を手に入れる。ナムと幼なじみのラサ、そしてモンガーは、その日からイノガニックに追われることになる。その剣こそイノガニックを滅ぼすことのできる唯一の武器「聖剣」だったのである。

“Archeology” and “Archive” share the same roots. Both words come from “Arkhé”, the Greek word for “origin”. In the ruins of buildings, lost forever by earthquakes, as in the depth of the archives, we dig. These recordings have never been seen. Unedited images of the catastrophical earthquake that destroyed Mexico City in 1985. They were dug out by the adventure of an archivist that suffered with them. He dug and suffered until he could no longer see. 　　源自：https://www.semainedelacritique.com/en/edition/2023/movie/arkhe