A work in constant progress (and occasional regress).
Sara Nacer is an Algerian filmmaker based in Montreal where she also works as a digital product manager at Bell Media. After a postgraduate diploma at EM Strasbourg Business School, and a stint at La FEMIS, Laila Aoudj joined the Bejaia international festival of Rencontres Cinematographics where she became artistic director and programmer for five years. She also co-founded Dima Cinéma, a structure which aims to establish an alternative film distribution network in Algeria. His first documentary film “Let them all go”, shot in Algeria at the heart of the smile revolution, highlights the socio-cultural awakening of the young generation. Released in December 2019, the film broke records at the Cinémathèque québécoise with several sold-out screenings and great media coverage. She won the LOJIQ prize for a promising filmmaker at the Vues d’Afrique International Cinema Festival and the Best Documentary Film prize at the Images et vie Festival in Dakar. Her feature film “The Desert Rocker” was selected at the Tribeca Film Institute in 2017 and in artistic residency at the Jacob Burns Film Center in New York. She is also in production of a feature-length documentary selected for the Close-Up Initiative in 2020, an international development program for emerging filmmakers. Recognized in Montreal for her contribution to the promotion of cultural diversity, Sara has organized several events and produced several sold-out concerts, notably at Place des arts in Montreal.
Cinematography:
2019 Let Them All Go
Director:
2019 Let Them All Go
2022 The Desert Rocker
Producer:
2019 Let Them All Go
2022 The Desert Rocker
Writer:
2019 Let Them All Go
2022 The Desert Rocker
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.