Mille et une danses orientales (with french subtitles)
Mille et une danses orientales
I’m not sure we should be delighted with the Western world’s current infatuation for oriental dance, considers Moktar Ladjimi, the director of this film. While this dance (whose golden age, particularly in Egypt, is a thing of the past) is now only really performed in shows of naked bodies intended for the international clientele of luxury hotels, its origin dates back to time immemorial.
Surrounded by scholars, critics and creative and lucid dancers (Leïla Haddad, Fifi Abdou, Nagwa Foved), Moktar Ladjimi traces this history and illustrates it with many film extracts. Sacred in ancient Egypt, this dance, of which Salome is the key figure, was a powerful source of inspiration for Hollywood in the 1920s and 1930s: from Ruth Saint-Denis, Marlene Dietrich, and Rita Hayworth, to Loïe Fuller, whose intensive use of veils would become the Hollywood hallmark of oriental dance. In the 1950s, we return to Egypt with the success of musicals and the magnificent art of Samia Gamal with her interminable arms. Half a century later, it would seem that the future of oriental dance requires a return to its roots.
Source : Fabienne Arvers
Diplômé de l'Institut des hautes études cinématographiques, il commence sa carrière en tant que membre à la Fédération tunisienne des cinéaste amateurs et réalise, en 1975 à l'âge de seize ans, son premier court métrage, La voyante, en 16 mm.
Entre les années 1980 et 1990, il réalise des courts et des moyens métrages en 16 et 35 mm, dont notamment Balle de sang, Satellite 7 et La Sentinelle et le chasseur.
Il réalise également une série de documentaires parmi lesquels La Nuit du henné, L'Orient des cafés, Mille et une danses orientales et Le Cinéma colonial. Il réalise les longs métrages Noce d'été en 2004 et Dicta Shot en 2015.
Mille et une danses orientales
Artistic direction / Conception : Moktar Ladjimi
Production / Coproduction of the video work : Lark productions, La Sept-Arte
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