{"id":50172,"date":"2025-03-17T16:54:25","date_gmt":"2025-03-17T20:54:25","guid":{"rendered":"https:\/\/www.cinemapolitica.org\/film\/a-fidai-film\/"},"modified":"2025-03-17T16:54:28","modified_gmt":"2025-03-17T20:54:28","slug":"a-fidai-film","status":"publish","type":"film","link":"https:\/\/www.cinemapolitica.org\/fr\/film\/a-fidai-film\/","title":{"rendered":"A Fidai Film"},"content":{"rendered":"\n

La bobine B75-92 montre des sc\u00e8nes de cueillette d’oranges \u00e0 Qalandia en 1957, qui, selon la description en h\u00e9breu, sont des images de \u00ab terroristes \u00bb… Elles proviennent d’une collection de films et de photos conserv\u00e9e au Centre de recherche sur la Palestine \u00e0 Beyrouth, jusqu’\u00e0 ce qu’elle soit pill\u00e9e par l’arm\u00e9e isra\u00e9lienne lors de l’invasion du Sud-Liban en 1982, et transf\u00e9r\u00e9e aux archives de l’arm\u00e9e et du minist\u00e8re de la D\u00e9fense de l’Etat h\u00e9breu. Ce n’est que dans les ann\u00e9es 2010 que les milieux acad\u00e9miques – notamment \u00e0 Tel Aviv – ont commenc\u00e9 \u00e0 s’interroger sur les objectifs de ce pillage syst\u00e9matique de toute la m\u00e9moire visuelle palestinienne, devenue un butin de guerre en partie rebaptis\u00e9 pour des raisons id\u00e9ologiques : la puissance occupante s’assurant de facto le contr\u00f4le du mat\u00e9riel captur\u00e9. Dans A Fidai Film,<\/em> Kamal Aljafari (An Unusual Summer<\/em>, VdR 2020) retourne ce pillage primordial contre ceux qui l’ont perp\u00e9tr\u00e9. <\/p>\n\n

En redonnant vie \u00e0 ces images perdues gr\u00e2ce \u00e0 son vibrant travail de montage, il lib\u00e8re le pouvoir subversif d’un contre-r\u00e9cit effac\u00e9 au fil des d\u00e9cennies, celui de la vie en Palestine avant et apr\u00e8s 1948 – en particulier pendant le mandat britannique des ann\u00e9es 1920-1930, alors que les signes tangibles de la spoliation, de l’humiliation et de la violence \u00e0 venir \u00e9taient d\u00e9j\u00e0 apparents. Le cin\u00e9aste palestinien m\u00e9dite ainsi, avec une profondeur de champ spatio-temporelle unique, sur le destin des images produites par un peuple doublement d\u00e9poss\u00e9d\u00e9, \u00e0 la fois de sa terre et de son histoire. <\/p>\n\n

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