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1975 film by Mohammed Lakhdar-Hamina From Wikipedia, the free encyclopedia
Chronicle of the Years of Fire (Arabic: وقائع سنين الجمر, romanized: Waqāʾiʿu sinīna l-jamri; French: Chronique des Années de Braise; these names both mean "Chronicle of the Years of Embers") is a 1975 Algerian drama historical film directed by Mohammed Lakhdar-Hamina. It depicts the Algerian War of Independence as seen through the eyes of a peasant.
| Chronicle of the Years of Fire | |
|---|---|
Original film poster | |
| Directed by | Mohammed Lakhdar-Hamina |
| Written by | Rachid Boudjedra Tewfik Fares Mohammed Lakhdar-Hamina |
| Starring | Yorgo Voyagis Mohammed Lakhdar-Hamina Hadj Smaine Mohamed Seghir Leila Shenna |
| Cinematography | Marcello Gatti |
| Distributed by | Arab Film Distribution |
Release date |
|
Running time | 177 minutes |
| Country | Algeria |
| Languages | Algerian Arabic French |
The film won the Palme d'Or prize at the 1975 Cannes Film Festival.[1] It was also selected as the Algerian entry for the Best Foreign Language Film at the 48th Academy Awards, but was not accepted as a nominee.[2]
The film is set between the late 1930s and 1954 and is structured in six chapters, each representing a phase in Algeria's path toward revolution. It follows Ahmed, a peasant farmer, as he becomes swept up in the nationalist movement. Through his story and the lives of other Algerian villagers, the film illustrates the harsh realities of colonialism and the growing consciousness that leads to revolt.
The film opens with a portrayal of the daily life of an impoverished Algerian village. Drought and famine ravage the region, leaving the people in a state of desperation. The villagers, like Ahmed, live in abject poverty and are exploited by French colonial authorities who impose harsh taxes and force them to labor under unbearable conditions. The drought symbolizes the desolation of their lives, as natural resources are scarce and life becomes a constant struggle for survival. French rule continues to tighten its grip, and the people are trapped in a system that offers them no hope of improvement.
As World War II rages, Algeria, though far from the European battlefields, feels the effects of the conflict. France's colonial administrators continue to exploit the local population while Algerians are conscripted into the French army to fight in a war that is not their own. The colonial authorities promise reforms after the war, fueling false hope among the people. Amidst this, Ahmed begins to develop a political consciousness, sensing that the promises made by France are empty and that true freedom must come from the people themselves.
The war ends, but the French authorities fail to deliver the reforms they had promised to the Algerian people. Instead, the colonial regime becomes more repressive, further alienating the local population. Ahmed witnesses the first sparks of resistance as nationalist movements start to form. The end of the war brings no relief, only deeper frustration as the French brutally suppress any signs of dissent. The film portrays this time as a period of growing tension, with the people increasingly aware of the need for organized resistance.
Anti-colonial sentiments reach a breaking point. The nationalist movements gain momentum, and Ahmed becomes involved in clandestine efforts to organize resistance against the French. The villagers begin to talk more openly about revolution, despite the risks. A pivotal moment occurs when French forces massacre protesters, igniting widespread outrage. This massacre acts as a catalyst for the Algerians, who now realize that armed struggle is the only path to freedom. Ahmed’s transformation from passive peasant to active revolutionary takes shape during this time.
The years of resistance grow more intense as the French military responds to the increasing rebellion with brutal force. The film shows the rise of guerrilla warfare tactics used by the Algerian fighters, emphasizing the disparity in resources between the colonizers and the colonized. Ahmed and the villagers continue their resistance efforts, suffering heavy losses but gaining inspiration from their growing resolve. Despite the violence and death surrounding them, the people find strength in their unity and shared goal of independence. Ahmed, now a committed fighter, plays a key role in organizing the local population into a resistance force.
The film concludes with the eruption of the Algerian War of Independence. By this point, the entire country is in revolt, and Ahmed is fully entrenched in the struggle. The villagers, once isolated and disconnected, have become part of a nationwide movement. The war officially begins with a coordinated uprising on November 1, 1954, known as "Toussaint Rouge" (Red All Saints' Day), marking the beginning of Algeria’s fight for independence from French rule. The final scenes show the flame of resistance spreading, symbolizing the indomitable spirit of the Algerian people and their hope for liberation. While victory is far from certain, the film ends on a hopeful note, suggesting that the future belongs to the Algerians who have risen up to claim their freedom.
The film explores themes of colonial oppression, poverty, exploitation, and the awakening of national consciousness. It portrays the Algerian people’s transition from despair and resignation to active resistance and rebellion. Ahmed, as a central figure, represents the journey of the common man from suffering to revolution, embodying the spirit of the broader national movement.
"Chronicle of the Years of Fire" uses sweeping cinematography to capture the harsh landscapes of Algeria, which metaphorically reflect the difficulty of the struggle. The film blends documentary-style realism with poetic imagery, portraying the Algerian people’s fight not just as a political struggle but as a deeply emotional and cultural one. The film also emphasizes the communal nature of the resistance, showing how individuals like Ahmed are part of a larger, collective fight for freedom.
Mark Cousins, writing for The Guardian, named it one of the ten best African films ever made. He said that "if our movie memories weren't so Hollywood-skewed, we'd think of [it] as a classic".[3]
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