La gazelle 71 - Page 114

I envie escapade I wishlist getaway I رغباتنا مغامرة
I rencontre interview I encounters interview I ‫مقابلـة‬ ‫لقــاءات‬ I rencontre interview I encounters interview I ‫مقابلـة‬ ‫لقــاءات‬ whose story evolves between France and Tunisia. I was very thrilled to see that my film was very much appreciated in my country– a very moving gratitude. La gazelle : Your film mainly revolves around a social story that takes place between two shores, of the destiny of two Tunisian and French men from modest backgrounds who will try to make it, each his way. What message did you want to convey through « Vent du Nord »? WM: In the political context that we have been putting up with for several years, marked by wars, terrorist attacks and xenophobia, my film is an urgent reminder that we all are human, that we all face the same daily problems, whether it is a heartache, a father-son conflict… In addition to the choice of the factory relocation topic, a symbol of capitalism, of the current system where the two main characters, Foued and Hervé, cannot fit. This is what brings them together beyond their cultural and race differences. My goal was to remind the audience that when it comes to facing the global system, the poor belong to one same race, that we all have the same needs of a family, of friends, of simple daily things.  Moreover, the main difficulty was to tell two stories, those of the two characters, without the film becoming too theoretical. We had to work on Foued and Hervé’s characters in order to bring them closer, so that, at the end of the film, their sadness and their powerlessness towards the system make them be only one man, the Human. Meeting Walid Mattar, 2017 JCC Tanit d’Or Scène de Vent du Nord, Hervé sur son bateau de pêche I Scene of North Wind, Hervé on his fishing boat I ’‫‘هرييف‬ ،»‫المشال‬ ‫«رياح‬ ‫فيمل‬ ‫من‬ ‫مهشد‬ ‫صيده‬ ‫مركب‬ ‫يف‬ La gazelle : Since 2011, Tunisian cinema in general has known a new international influence on the international scene. How would you explain it? WM: The feature films made after 2011 such as Leila Bouzid’s “A peine j’ouvre La Gazelle met with Walid Mattar - Tanit d’Or winner realised that I preferred making movies to sitting behind a desk. At the age of 23, for the first work, Best Screenplay Prize and TV5 I decided to leave everything behind and settle in Paris. I was able to watch a lot World Prize – at the 28th edition of les Journées Cinématographiques de Carthage (JCC), which took of films, develop my short film projects and work at the same time. This is how I became friends with Leila Bouzid, script co-writer of “Vent du Nord”, and was able to be more familiar with the world of professional cinema, mainly thanks to my job place last November. The film director deals - with as a cameraman in Hichem Ben Ammar’s documentary “J’en ai vu des étoiles” in deep realism - through his film “Vent du Nord” the 2005, to my participation in “10 courts 10 regards” in 2006, and finally to my first common destiny of two workers who have nothing professional short film, “Sbeh el Khir”, co-written with Leila Bouzid. I then had one in common. From North of France to the suburbs of project after another, which allowed me to master the different film departments Tunis, Walid Mattar has succeeded showing with great accuracy that beyond our cultural differences, we are all equal facing life. (scriptwriting writing, filmmaking and fundraising) until I finally was ready to make les yeux” and Mohamed Ben Attia’s “Hedi” have met with great success abroad. Yet, I think that Tunisian cinema in general has started targeting audiences beyond Tunisian borders before the revolution, thanks to digital technologies. Digital has since 2007 and 2008 made films without much means, and without depending on public financial support. The revolution, meanwhile, has showcased Tunisia and unveiled taboo topics, which gave access to more foreign funding. La gazelle : Most Tunisian directors are also scriptwriters of their films. Why isn’t it your case? W.M: I am a director rather than as a scriptwriter. I do have ideas but I prefer to my first long film. surround myself with screen co-writers who perfectly master the technics: create La gazelle : What cinema inspires you? pragmatic and I do not like the writing to take too much time. I was lucky to have characters, set the right pace and so on, to quickly move forward. I am very met Leila Bouzid, who could perfectly well pinpoint my world, my expectations… La gazelle : How did your passion for cinema start? W.M: This is a big question, but if I have to sum it up, I will say that I am particularly W.M: I discovered my passion for cinema at the age of 13, a bit by chance. I lived in sensitive to social, engaged, independent, unframed cinema, out of the established Hammam-Lif and I was looking for an activity to kill time. The choice was limited, so genres, even if I know how to appreciate the beautiful commercial comedies. I like I joined Hammam-Lif amateur filmmakers Club, where I had photography training brothers Dardenne’s movies, Ken Loach’s… heavy subject that the film deals wit h. directors of the Cinéclub (of the Tunisian Federation Cinéclubs) shoot his film as La gazelle : You live in France. What feeling (s) does it give you to get such a La gazelle : What are your plans for the future? part of the Kelibia festival, until the day I shot my first amateur film in 1999, “Image reward in your home country for your first feature film? et Réalité”, and “Le Cuirassé Abdelkarim” in 2003. W.M: I live in France but I have always kept a very close connection with Tunisia. For the writing of “Vent du Nord”, I also called on Claude Le Pape for the French part of the screenplay. He is very talented and has brought a lot of lightness to the and was able to see many classic movies. Likewise, I each year helped one of the I regularly go back and forth to see my family and develop my projects. I am very La gazelle : Tell us about your career happy to have received the Tanit d’Or at the JCC. This award is dramatically W.M: I studied technology, had MA in production, the equivalent of “industrial important to me, as it is my first Tunisian award. I admit I was very stressed to the engineering”. Once I graduated, I started working for Poulina group, but I quickly idea of finding out how the Tunisian audience would react to « Vent du Nord », 116 W.M: I do not have any plans, for the moment. I really want to address the issue of violence, types and origins in my next film. Working on this topic sounds very complicated for I absolutely want to remain as close as possible to my character without falling into the apology for violence. We will see… I ‫امجلهور‬ ‫لدى‬ »‫«رشش‬ ‫سيجده‬ ‫الذي‬ ‫اإلقبال‬ ‫إزاء‬ ‫للغاية‬ ‫قلقا‬ ‫كنت‬ ‫أين‬ ‫وأعرتف‬ ‫عندما‬ ‫كثريا‬ ‫تأثرت‬ ‫وقد‬ .‫وفرنسا‬ ‫تونس‬ ‫بني‬ ‫مجتع‬ ‫الفيمل‬ ‫فأحداث‬ ،‫التونيس‬ .‫بلدي‬ ‫من‬ ‫الكبري‬ ‫واالعرتاف‬ ‫اإلجعاب‬ ‫من‬ ‫الكثري‬ ‫الىق‬ ‫الفيمل‬ ‫أن‬ ‫عرفت‬ ‫املتوسط‬ ‫ضفيت‬ ‫بني‬ ‫اجمتاعية‬ ‫قصة‬ ‫عن‬ ‫فيملك‬ ‫يتحدث‬ : ‫الغزالة‬ ‫ة‬ ‫ي‬ ّ ‫خشص‬ ‫خالل‬ ‫من‬ ‫ة‬ ‫ي‬ ّ ‫االقتصاد‬ ‫اهلشاشة‬ ‫واقع‬ ‫عىل‬ ‫الضوء‬ ‫سلطًا‬ ‫م‬ ُ ‫التغلب‬ ‫مهنام‬ ‫لك‬ ‫وحياول‬ ، ‫تونيس‬ ‫واآلخر‬ ‫فرنيس‬ ‫أحدمها‬ ‫عاملني‬ ‫تريد‬ ‫اليت‬ ‫الرسالة‬ ‫مايه‬ .‫اخلاصة‬ ‫بطريقته‬ ‫االقتصادي‬ ‫الوضع‬ ‫عىل‬ ‫«رشش»؟‬ ‫فيمل‬ ‫خالل‬ ‫من‬ ‫متررها‬ ‫أن‬ ‫والذي‬ ،‫سنوات‬ ‫عدة‬ ‫منذ‬ ‫العامل‬ ‫يعيشه‬ ‫الذي‬ ‫السيايس‬ ‫السياق‬ ‫إطار‬ ‫يف‬ :.‫م‬.‫و‬ ‫ذكر‬ ‫أ‬ ُ ‫أن‬ ‫مباكن‬ ‫األمهية‬ ‫من‬ ‫اكن‬ ،‫األجانب‬ ‫وكراهية‬ ‫واهلجامت‬ ‫باحلروب‬ ‫يمتزي‬ ،‫اليومية‬ ‫احلياة‬ ‫يف‬ ‫املشالك‬ ‫نفس‬ ‫نعيش‬ ‫مجيعنا‬ ‫وأننا‬ ،‫برش‬ ‫مجيعا‬ ‫بأننا‬ ‫الناس‬ .‫ذلك‬ ‫إىل‬ ‫وما‬ ،‫وابنه‬ ‫األب‬ ‫بني‬ ‫التعامل‬ ‫صعوبة‬ ‫أو‬ ،‫احلب‬ ‫سقام‬ ‫أاكنت‬ ‫سواء‬ ‫فال‬ ،‫احلايل‬ ‫للنظام‬ ‫ورمز‬ ،‫الرأمسالية‬ ‫رمز‬ ‫املصنع‬ ‫نقل‬ ‫موضوع‬ ‫اخرتت‬ ‫وقد‬ ‫وذلك‬ .‫إليه‬ ‫يلجأن‬ ‫ماكن‬ ‫أي‬ ،»‫«هرييف‬ ‫و‬ ‫فؤاد‬ ،‫الرئيسيتني‬ ‫للخشصيتني‬ ‫يبىق‬ ‫أذكر‬ ‫أن‬ ‫هديف‬ ‫اكن‬ ‫لقد‬ .‫والعرقية‬ ‫الثقافية‬ ‫االختالفات‬ ‫عن‬ ‫بعيدا‬ ‫جيمعهام‬ ‫ما‬ ‫من‬ ‫كأمنا‬ ‫الفقراء‬ ‫مجيع‬ ‫يصري‬ ،‫العاملي‬ ‫النظام‬ ‫هذا‬ ‫مواجهة‬ ‫يف‬ ‫أنه‬ ‫املشاهد‬ ‫واألصدقاء‬ ‫األرسة‬ ‫من‬ ‫االحتياجات‬ ‫نفس‬ ‫مجيعا‬ ‫لدهيم‬ ‫وتصري‬ ،‫العرق‬ ‫نفس‬ .‫البسيطة‬ ‫اليومية‬ ‫واألشياء‬ ‫فللك‬ ،‫الوقت‬ ‫نفس‬ ‫يف‬ ‫معا‬ ‫قصتني‬ ‫أرسد‬ ‫كنت‬ ‫أنين‬ ‫يف‬ ‫الصعوبة‬ ‫متثلت‬ ‫وقد‬ ‫و‬ ‫فؤاد‬ ‫خشصيات‬ ‫من‬ ‫حد‬ ‫أقىص‬ ‫إىل‬ ‫نطور‬ ‫أن‬ ‫علينا‬ ‫واكن‬ .‫قصهتا‬ ‫خشصية‬ ‫يك‬ ‫الخشصيتني‬ ‫تقريب‬ ‫إىل‬ ‫سعيا‬ ،‫النظري‬ ‫اجلانب‬ ‫يف‬ ‫اإلفراط‬ ‫دون‬ ،»‫«هرييف‬ ‫خشصا‬ ‫لميثال‬ ،‫الفيمل‬ ‫هناية‬ ‫يف‬ ‫النظام‬ ‫مواجهة‬ ‫عن‬ ‫وجعزمها‬ ‫حزهنام‬ ‫يتوحد‬ .‫اإلنسان‬ ‫هو‬ ‫فقط‬ ‫واحدا‬ ‫دولية‬ ‫بمسعة‬ ‫تمتتع‬ ‫التونسية‬ ‫السيمنا‬ ‫أصبحت‬ ،2011 ‫منذ‬ : ‫الغزالة‬ ‫اليت‬ ‫السنميائية‬ ‫األمناط‬ ‫مجيع‬ ‫من‬ ‫األفالم‬ ‫من‬ ‫العديد‬ ‫بفضل‬ ‫جديدة‬ ‫ذلك؟‬ ‫تفرس‬ ‫كيف‬ .‫األجنبية‬ ‫املهرجانات‬ ‫يف‬ ‫متزيت‬ ‫فيمل‬ ‫مثل‬ ،2011 ‫عام‬ ‫بعد‬ ‫طرحها‬ ‫مت‬ ‫اليت‬ ‫ لطويلة‬ ‫األفالم‬ ‫حققت‬ ‫لقد‬ :.‫م‬.‫و‬ ‫كبريا‬ ‫جناحا‬ ،‫عطية‬ ‫بن‬ ‫حملمد‬ »‫هادي‬ ‫و»حنبك‬ ‫بوزيد‬ ‫لليىل‬ »‫عيين‬ ‫حلة‬ ‫«عىل‬ ‫حتقيق‬ ‫يف‬ ‫معوما‬ ‫بدأت‬ ‫التونسية‬ ‫السيمنا‬ ‫أن‬ ‫أعتقد‬ ‫ولكنين‬ .‫اخلارج‬ ‫يف‬ ‫الرمقية‬ ‫التقنيات‬ ‫مكنت‬ ‫فقد‬ .‫الرمقية‬ ‫التقنيات‬ ‫بفضل‬ ‫وذلك‬ ،‫الثورة‬ ‫قبل‬ ‫الرواج‬ ‫الوسائل‬ ‫من‬ ‫الكثري‬ ‫إىل‬ ‫احلاجة‬ ‫دون‬ ‫األفالم‬ ‫إنتاج‬ ‫من‬ 2007-2008 ‫سنة‬ ‫منذ‬ ،‫الوقت‬ ‫نفس‬ ‫ويف‬ .‫الدولة‬ ‫تقدمها‬ ‫اليت‬ ‫املالية‬ ‫املساعدات‬ ‫عىل‬ ‫االعمتاد‬ ‫ودون‬ ‫إماكنية‬ ‫أتاح‬ ‫مما‬ ،‫تونس‬ ‫عىل‬ ‫الضوء‬ ‫وسلطت‬ ،‫حمظورة‬ ‫مواضيع‬ ‫الثورة‬ ‫جفرت‬ .‫األجنيب‬ ‫المتويل‬ ‫من‬ ‫املزيد‬ ‫عىل‬ ‫احلصول‬ ‫سيناريوهات‬ ‫بكتابة‬ ‫التونسيني‬ ‫املخرجني‬ ‫معظم‬ ‫يقوم‬ : ‫الغزالة‬ ‫ذلك؟‬ ‫مرد‬ ‫ما‬ .‫أنت‬ ‫حالتك‬ ‫يف‬ ‫كذلك‬ ‫األمر‬ ‫ليس‬ ‫ولكن‬ ،‫مبفردمه‬ ‫أفالمهم‬ ‫أحيط‬ ‫أن‬ ‫أحبذ‬ ‫ولكين‬ ‫أفاكر‬ ‫لدي‬ .‫السيناريو‬ ‫كتابة‬ ‫عىل‬ ‫اإلخراج‬ ‫أفضل‬ :.‫م‬.‫و‬ ‫كتصممي‬ ‫التقنية‬ ‫اجلوانب‬ ‫يف‬ ‫باع‬ ‫هلام‬ ‫مساعدين‬ ‫سيناريو‬ ‫باكتيب‬ ‫نفيس‬ ‫قدما‬ ‫امليض‬ ‫عىل‬ ‫القدرة‬ ‫مينحين‬ ‫ذلك‬ ‫ألن‬ ،‫األحداث‬ ‫إيقاع‬ ‫وضبط‬ ‫الخشصيات‬ .‫برسعة‬ ‫أين‬ ‫مكا‬ ،‫الزمن‬ ‫من‬ ‫طويلة‬ ‫لفرتة‬ ‫الكتابة‬ ‫ركود‬ ‫أحبذ‬ ‫وال‬ ‫للغاية‬ ‫برامغايت‬ ‫أنا‬ ‫فهم‬ ‫عىل‬ ‫قادرة‬ ‫اكنت‬ ‫اليت‬ ‫بوزيد‬ ‫ليىل‬ ‫طرييق‬ ‫يف‬ ‫صادفت‬ ‫قد‬ ‫أنين‬ ‫حمظوظ‬ .»‫«رشش‬ ‫الفيمل‬ ‫سيناريو‬ ‫كتب‬ ‫من‬ ‫يه‬ ‫فاكنت‬ ،‫توقعايت‬ ‫ومعرفة‬ ‫جيدا‬ ‫عاملي‬ ‫الذي‬ »‫بيب‬ ‫لو‬ ‫«لكود‬ ‫دعوت‬ ‫فقد‬ ،‫السيناريو‬ ‫من‬ ‫الفرنيس‬ ‫للقسم‬ ‫بالنسبة‬ ‫أما‬ ‫ال‬ ‫موضوع‬ ‫عىل‬ ‫اخلفة‬ ‫من‬ ‫الكثري‬ ‫وأضىف‬ ‫قد‬ ‫أنه‬ ‫وأرى‬ ،‫كبرية‬ ‫مبوهبة‬ ‫يمتتع‬ .‫باملرح‬ ‫يتسم‬ ‫املستقبلية؟‬ ‫مشاريعك‬ ‫عىل‬ ‫طلعنا‬ ‫ت‬ ُ ‫أن‬ ‫لك‬ ‫هل‬ ،‫اخلتام‬ ‫يف‬ : ‫الغزالة‬ !‫أفاكر‬ ‫عدة‬ ‫تراودين‬ ‫ولكن‬ ،‫مملوسة‬ ‫مشاريع‬ ‫لدي‬ ‫ليس‬ ،‫الراهن‬ ‫الوقت‬ ‫يف‬ :‫م‬.‫و‬ .‫القادم‬ ‫فييمل‬ ‫يف‬ ‫وأصوله‬ ‫أشاكله‬ ‫جبميع‬ ‫العنف‬ ‫قضية‬ ‫أتناول‬ ‫أن‬ ‫حقا‬ ‫أريد‬ ‫قريبة‬ ‫عالقة‬ ‫عىل‬ ‫احلفاظ‬ ‫أريد‬ ‫ألين‬ ‫للغاية‬ ‫معقدا‬ ‫املوضوع‬ ‫هذا‬ ‫عىل‬ ‫العمل‬ ‫يبدو‬ I ! ‫انتظروين‬ .‫العنف‬ ‫عن‬ ‫االعتذار‬ ‫مأزق‬ ‫يف‬ ‫الوقوع‬ ‫دون‬ ‫خشصييت‬ ‫من‬ 117