Mohamed Ben Attia, born January 5, 1976, in Tunis, [1] is a Tunisian director and screenwriter. [1]
Born in 1976 in Tunis, Tunisia, he graduated from the Institute of Higher Commercial Studies of Carthage in 1998. [1] Then, he projected a film career and tried to enter La Femis in Paris, which he was denied access after the third and final round of selections. A few years later, Ben Attia is holder of a diploma of specialized higher studies in audio-visual communication obtained at the university of Valenciennes. [1]
After various jobs in audiovisual post-production, he was finally hired for twelve years in a commercial position and prospecting at a car dealership in Tunis. [2]
Trained at the writing workshop Sud Écriture in Tunis, he began writing and directing several short fiction films, starting with Romantisme : deux comprimés matin et soir in 2005. His second short film : Comme les autres (Kif Lokhrim) was produced in 2006. After Mouja, unveiled at the Carthage Film Festival 2010 and selected at CinemAfrica 2011 in Stockholm, he directed Loi 76 (2011), his fourth short film, then Selma (2013). [1]
He moved to feature film in 2016 with Hedi, a wind of freedom produced by Dora Bouchoucha (Nomadis Images) and co-produced by the Dardenne brothers (Les Films du Fleuve), convinced by his latest short film and script. [2]
In 2018, he participated in the Cannes Film Festival where his film Dear Son is screened at the Directors' Fortnight. [3]
The Cannes Film Festival, until 2003 called the International Film Festival, is an annual film festival held in Cannes, France, which previews new films of all genres, including documentaries, from all around the world. Founded in 1946, the invitation-only festival is held annually at the Palais des Festivals et des Congrès. The festival was formally accredited by the FIAPF in 1951.
Cinema of Africa covers both the history and present of the making or screening of films on the African continent, and also refers to the persons involved in this form of audiovisual culture. It dates back to the early 20th century, when film reels were the primary cinematic technology in use. During the colonial era, African life was shown only by the work of white, colonial, Western filmmakers, who depicted Africans in a negative fashion, as exotic "others". As there are more than 50 countries with audiovisual traditions, there is no one single 'African cinema'. Both historically and culturally, there are major regional differences between North African and sub-Saharan cinemas, and between the cinemas of different countries.
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