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  • 6/29/2025
مدي 1 تي في : جيلالي فرحاتي - 28/06/2025

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Transcript
00:00Welcome to the cinema.
00:29It's not just a picture of a big picture, but it's a story and a language that sees and feels.
00:38It's something that makes us think and think about it.
00:43In today's day, we'll be able to make one of the cinema with one of the cinema cinema in the city.
00:49من آمن بأن سينما ليست وسيلة للتسلية فحسب
00:54بل هي أداة مهمة للتفكير
00:58ولإعادة طرح الأسئلة المؤجلة
01:01يسعدني في هذا السياق أن يكون معنا اليوم
01:04صاحب الأعمال السينمائية الرصينة
01:07واللغة البصرية العميقة
01:09المخرج والسيناريست جيلالي فرحاتي
01:12أهلا وسهلا بك سي جيلالي
01:14أهلا وسهلا مرحبا
01:16كما يسعدني أن يكون معنا أيضا
01:19وككل حلقة مستشار البرنامج الدكتور أحمد دافري
01:23دكتورنا العزيز أهلا وسهلا بك
01:24شكرا جزيلا لك أستاذ حسين
01:27أهلا وسهلا بكم
01:28أبدأ معك سي جيلالي
01:31إذن مشوار طويل وثري في عالم الفن السابع
01:36ولك فلسفتك الخاصة أيضا في لغة السينما
01:39ويمكن لنا أن نرى ذلك في أفلامك العديدة والمنوعة
01:45لكن قبل الحديث عن آخر أعمالك
01:48لو هو حرب الستة أشهر
01:51سأبدأ معك من مقولة باللغة الفرنسية
01:54وأنت دائما ما ترددها
01:57Le cinéma c'est le plus beau mensonge pour dire la vérité
02:00أي بمعنى أن السينما هي أجمل أكذوبة للبوح بالحقيقة
02:06هكذا ترى السينما برأيك سي جيلالي؟
02:10طبعا الحل لأنه سيناريو فيلم
02:15وكتابة سيناريست وإخراج مخرج معين
02:19ولكن نظلم بأنه في النهار العرض في القاعد
02:24كان نظلم بأنه الجمهور
02:25يشارك صفة عميقة بالنسبة للمعالفين
02:30كيتتعامل مع الفين
02:32وكيكمل كيصير هو يكتب حوار من عنده
02:37وبلما يشعر كان نوع تبادل بين الصورة والجمهور
02:44كيتكتب قصة من خيال شخصي
02:46من خيال معين
02:48ولكن هي قصة خيالية
02:52يصير الجمهور لما يرى الفين
02:54في بكاء حيث مشهد حزين
02:59ولكن في نفس الوقت
03:01صار التقيق التم
03:03فهذا المشهد الذي هو طبعا الحل
03:05نتيجة عن المتخيل
03:07يعني الفيلم السينمائي بالنسبة لك سي جلالي
03:10هو كالكتاب أو كقراءة الكتاب
03:13أو كالنظر في لوحة تشكيلية
03:17يعني يجعلك تفكر تتأمل
03:19ومن ثم يعني تصل إلى استنتاجات خاصة بك
03:25كان النوع دي الاحترام بالمنسبة للجمهور
03:29كان لحد العلاقة خاصة بين الجمهور والمبدع
03:32كان قدم له قصة
03:35ولكن كانت منها يكون حوار جدي بين الجمهور
03:40وغيابي أنا كمخرج
03:43لأن كانت رحله سؤال
03:45أثناء صور متعددة
03:48إنارة معينة
03:49تمثيل معين
03:54وتترك له الحرية
03:56يعني السنتاج والتأمل والتفكير
03:59يعني دكتور
04:01المخرج
04:03وسيناريست جلالي فرحاتي طبعا
04:05مسار طويل في عالم السينما
04:07أعمال منوعة عديدة
04:09تركت بصمة في الخزانة السينمائية المغربية
04:14يعني هو يرى السينما من هذا المنظور
04:17من هذه الزاوية
04:18وهذه فلسفة خاصة للمبدع اليوم
04:21نعم أولا
04:22إن كان لأي بلد مبدع سينمائي
04:27نعم
04:28يفتخر به
04:29فالمغرب يجب أن يفتخر
04:32بالمبدع الجلال فرحاتي
04:35لماذا؟
04:36لأنه أولا من من
04:39أسسوا
04:41لسينما مغربية
04:43رغبا أن هناك
04:43وسؤال كبير متروح
04:45هل لدينا سينما مغربية؟
04:46نعم
04:46أنا أرى بأن
04:48كانت لدينا منذ البداية
04:50السينما المغربية
04:51انطلاقا من رؤية خاصة
04:52فلسفية عميقة
04:54ومن مرجعيات
04:55لشباب مغاربة
04:58أرادوا أن يناضلوا
04:59في السينما
05:00وأن تستعملوها
05:01وتخذوها كأداة
05:03لتفكير وللوعي
05:04والاستنهاد
05:06همام الشعب
05:07لذلك فمنذ نصف الثاني من السبعينيات
05:10رأينا أعمال جدابة
05:12تتيروا لتفكير منها
05:14جرح في الحائط
05:16تبغيش دون المير
05:17بعدها
05:18البوبي
05:19يعني
05:20على رأيس من القصاب
05:22هذه الأعمال
05:23التي أنا في هذا الإطار
05:25بغيت غير
05:26سؤال بسرعة
05:27لأننا عارف
05:28بأن السياق
05:29كان شوية
05:30صعيب
05:31أنه أعمال
05:32بحل هذا
05:33بحل هذه
05:34توصل
05:34المهرجان كان
05:36في هذا الوقت
05:37اللي
05:38السينما المغربية
05:39ما كانتش
05:39إذن كيف
05:40السياق
05:41اللي جاءت
05:41هذه الأعمال
05:42هدية
05:42شاركت
05:43في بعض المسابقات
05:44الموازية
05:44لمهرجان
05:45كان ضمن
05:46السينما المغربية
05:48كانت وجدت
05:49لقيت رحتها
05:51في واحد
05:51النوع
05:52ديال
05:52تحدي
05:55بالنسبة
05:55للجمهور
05:55الجمهور
05:56كانت ينتظر
05:57أفلام شبه
05:58أفلام
05:58استعراضية
05:59فيلم فكاهية
06:01بحل
06:01السينما المصرية
06:03فيلم المصرية
06:04ولكن
06:05كانوا
06:06سينمائي
06:06اللي
06:07كانوا قبل
06:08مني
06:09واللي
06:09أعطونا
06:10لانتلاق
06:11صفة
06:11نهائية
06:14هي
06:15تركيز
06:16على
06:17الكسيكرا
06:18لازم
06:18توصل
06:20للمتفرج
06:21ماشي
06:22كفرجة
06:23ولكن
06:23كحوار
06:25مستمر
06:26وهذا
06:28ما
06:28يدعو
06:29للفخر
06:29والاعتزاز
06:30كما ذكرت
06:31دكتور
06:32لأنه
06:32عندما تجد
06:33مبدعين
06:34مغاربة
06:35يصلون
06:36إلى هذا المساوى
06:37وطبعا
06:38يقفون
06:39بجانب
06:40كبار
06:41صناعة
06:41سينما
06:41في العالم
06:42هذا يدعو
06:43طبعا
06:43للاعتزاز
06:44والفخر
06:45دائما
06:46في الحديث
06:47عن الإبداعات
06:48والأعمال
06:49السينمائية
06:49سنتوقف
06:50عند
06:51فيلمك
06:52الأخير
06:53سي جلالي
06:55وهو
06:55حرب
06:56الستة أشهر
06:57الذي كان
06:58مؤخرا
06:58في قاعات
06:59السينما
07:00لكن قبل ذلك
07:01سنتابع
07:02هذا الشريط
07:03وهو
07:04الإعلان الرسمي
07:05عن الفيلم
07:06La Bon Danance
07:07إذن
07:08مشاهدين
07:08إعلان الرسمي
07:10عن فيلم
07:11حرب
07:12الستة أشهر
07:13للمخرج
07:14لفرحاتي
07:15نتابع
07:16ونعود
07:17للحديث
07:18ونحن
07:27ما تخاف شباب
07:27I was a little scared.
07:33My mom was so scared.
07:36He was a little scared.
07:38I was so scared.
07:40I was so scared.
07:42I was scared.
07:44I was scared.
07:47His father is very contrary
07:49because he is aware of everything.
07:51Bebeka!
07:52It's not just that.
07:57I love you, mom.
08:00It will end up with me, I swear.
08:03It's not a good thing to have a baby.
08:06And the first chance to bring me one.
08:09The chance to get your face is what you want to say.
08:14I don't want to say anything.
08:17If you see everything, you'll know everything.
08:21It's normal.
08:22But you know what I'm saying, mom.
08:38What's the matter?
08:40What's the matter?
08:47We were with these films from the last one.
08:51The film is the last one.
08:53The film is the last one.
08:55The film is the last one.
08:57The film was the last one.
08:59You saw this film in the last one.
09:01You look you're looking for coming from the last one.
09:03You know, you've left it to your saturate our lives more and more.
09:04You're going to press together.
09:06You too, you've left it?
09:07You left it to your attention.
09:14You left it to your mind not for you, Sarah.
09:17You left it huh?
09:19You left it to your attention,pu Vallis…
09:22Ah!
09:23You left it up some contenchau.
09:28The dream of any person's dream is not to forget about the community, not to forget about the time he lived.
09:38The dream of my dream is that after the film, this relationship is a good relationship between the audience and the audience.
09:47And the film of the 16th century was a good thing for us to be able to do this cooperation with the government.
10:04I don't think of what is called the film, the cinema, the great spectacle.
10:15And the film would have a good performance by the film.
10:19That's the thing for the film.
10:20We didn't have a lot of performance from the film.
10:26And the film would have a lot of performance from the film.
10:29There was a lot of performance from the film.
10:31We wouldn't have to stop in the back of the world.
10:36And we would think more.
10:42and one of the things that I've done,
10:44he's doing one of the things that I've done for him.
10:46And he said,
10:48this is a two-year film,
10:50and he said,
10:52that he still tries to understand
10:55the whole of the audience.
10:56He said,
10:58that's...
11:00That's a positive thing.
11:02That's positive.
11:04He's making you look forward to the film,
11:06despite the fact that the film is
11:08great.
11:10When you see his work, he is not a pre-ta-porter or something like that, or something like that, or something like that, or something like that, or something like that, or something like that, or something like that.
11:20It is in the back of the world.
11:22This is the work in cinema, and it enters the world from the outside world.
11:28Yes, and I, with regard to cinema, this is what I managed to do.
11:35Because I still think I'm still working on a number of people.
11:43So, for example, in the children's children, which were described in the story of the bridge.
11:50There is a number of people in the village of Fatima Al-Wukili.
11:56There is a number of people in the village of Al-Wukili.
11:59These are powerful people in the village of Al-Wukili.
12:04The
12:25Yes, in the morning.
12:27Yes, in the morning.
12:29These are the works.
12:31I think that the work is very quickly
12:35compared to some of the other people in the cinema.
12:39In this area, he can give us a number of works
12:45on the number of the number of people.
12:47They are very much.
12:49In the meantime, when he said that
12:51I don't think it's a bad thing, but I don't think it's a bad thing, but it's a bad thing, and it's still a bad thing.
12:58I mean, after a period of time, I think it's one of the most important things in the country.
13:04And that's what he said now, Dr. C.J.
13:10He told you that even in my work, after the film, we'd like to stay on a relationship with me and with the government through this work.
13:19So that you'll be in the world and in the world, you'll be in the world and in the world.
13:28You'll be in the world and in the world.
13:31I mean, that's what he said.
13:34And the doctor, he's a member of the program.
13:36He's a member of the show and the films, and the films, and the films.
13:42And this is what he said, that you'll be able to give them to the films and films.
13:49It's not an an an-eat, an an-eat, an an-eat, a-eat, a-eat, a-eat.
13:53And this is the biggest reason that Dr. Ahmed Dafri still remembers the shows in the film.
14:02This is an an-eat-eat-eat.
14:04Really, it's an an-eat-eat.
14:05This is an an-eat-eat, because I was able to get into the time of the film.
14:12The film is in the way through these years.
14:16Yes.
14:19You want to defeat everyone.
14:21In the film, you want to defeat everyone.
14:25Do you think that the audience is in a way of dealing with the people who are dealing with the people?
14:32That is really helpful to you?
14:35Is it possible to bring you into a cinema or a cinema show?
14:42It's because the relationship between the people is the relationship between the people and the people.
14:50And the idea on the screen is that it takes a different way.
14:58It's not the picture of the film during the film.
15:04It's the picture between the people and the people.
15:06We don't want to be present, but we don't want to be present at the moment of the film.
15:13Yes.
15:14The view of the film is essential.
15:16Yes.
15:17The film is not possible to say that the film is the same, until we see the film after the view of the film.
15:29Yes.
15:30In this moment, the film will end up the work.
15:32Because the film is clear that the film is not the case.
15:39It's just a shape.
15:40Yes, the film is the same.
15:42Yes.
15:43Yes, the film is the same.
15:44It's the same idea of the fact that the film is the same idea of the figure.
15:50In the air, in the air, in the air, in the air, in the air, in the air, in the air.
15:56How beautiful this is, doctor.
15:58This is the cinema cinema.
16:00If we want to talk about cinema cinema, it is not going to have you these things.
16:04And this is the respect for the individual.
16:07Before you think about it, even before you think about it, in the members,
16:12you think about it that you have to do a thousand dollars.
16:17وهذا نقطة جد مضيئة في عالمنا.
16:21هنا يختلف الأمر.
16:23وهناك فرق بين مخرج لا يفكر بعقليات جارية.
16:30ولا يدخل إلى الإبداع بمنطلق أنه يريد أن يربح الأموال.
16:36وبينما دخلها بدفع الشغف وكوسيلة للتعبير.
16:41لأنه يريد أن يبرز رؤيته للوجود ولكون والمحيط.
16:47And he has a feeling in this life.
16:50And he is a thinker.
16:52And he wants to say something else.
16:55So this is the difference.
16:57So, I'm sure what he said is that he is a naturalist.
17:01He is a naturalist.
17:02Because the character and the story that he doesn't think about the thought that he sees the existence.
17:10He has a vision.
17:10He can not be able to see it.
17:12And for a second time, the idea of why he becomes in place
17:17Is also turning on the find
17:18Until he sees a lot of attention
17:20And this is the cinema
17:25So it's the cinema
17:27It's a cinema
17:28Of course, cinema
17:30The cinema
17:31The cinema
17:31Which works by the mechanics of his work
17:34And that's why the government
17:35And they're running
17:37And the cinema
17:38And that's why
17:39And that's why he works by the cinema
17:41In the cinema
17:44When you have a great relationship with the characters
17:48Or if you had a similar relationship with the characters
17:57You have to love it
17:58The antagonist
18:00You have to love it
18:01You have to love it
18:02You have to love it
18:03Ziya, that you are the one that you have to do with the cinema
18:09You have to do all your work
18:11And you say that the cinema is written for the characters
18:15So you have to read it
18:18Not to be able to become a character
18:21But to be able to have this feeling of a ghana and a ghana
18:26Is this what you have to do on earth?
18:29Is this what you have to do with the cinema?
18:31Yes, you have to read it
18:33It is one of the most difficult things that you can do with it
18:36Because the cinema is currently
18:38I am a scenerist
18:41I am a writer
18:43I am a writer
18:45I am a writer
18:47I am a writer
18:49I am a writer
18:51I am a writer
18:53I am a writer
18:55I am a writer
18:57But the songs
18:58I am a writer
19:00Is a build-up
19:01First of all
19:02Is a initiator
19:03As a supporter of the people
19:06Yes
19:07I am a writer
19:08I am like
19:09Scenario in the film
19:10There is a comic in the film
19:11There is a book
19:12There is a novel
19:13There is a poem
19:14There is a novel
19:15There is a novel
19:16There is a novel
19:17There is a novel
19:18There is a novel
19:20There is a novel
19:21I think this is a relationship between the book and the book.
19:26It takes a lot of time.
19:30The story of the book is that you saw it.
19:34You saw it.
19:36It was an old book.
19:39It was an old book.
19:41It was a daily life after the book of Scenarios.
19:46We are talking about Scenarios.
19:51We are talking about the sound in the dialogue.
19:54Do you think the sound is not a part of the dialogue?
20:00I am a part of the dialogue.
20:04And I love the sound.
20:09Why?
20:10Because the sound is in dialogue.
20:13There is a dialogue with the sound.
20:16There is a dialogue with the sound.
20:19There is a dialogue with the sound.
20:25The sound can be made of you.
20:28The sound can be made of you.
20:31So there is a dialogue between the sound and the same.
20:36Well, a kind of guy is rapping.
20:42It can be changed with the voice.
20:43It is used for the sound.
20:50The Señor can stretch the conversation between the sound.
20:56This is one of the things that can be used to human beings.
21:04People who have the ability to listen to themselves.
21:09And to listen to themselves.
21:11This is a constant relationship.
21:15It doesn't matter.
21:17There is a suspense.
21:22There is suspense.
21:24You might see that.
21:31This is the subject.
21:36There are certain things that have come in a hurry of the existence.
21:40What is it, Dr.
21:41At this issue?
21:43The human being, the inventor of his wife
21:47in the 24-year-old which he has supported.
21:50He has a better than the one he has supported.
21:53because it's not possible to talk about 24 hours or something.
21:57So, in the end, it's a part of a part of the life in which we're feeling about it, which we're feeling about it, which we're feeling about it, which we're feeling about it.
22:05All these things are life.
22:07And this is life in the cinema.
22:09It's impossible for us to do it.
22:12Why? It's not just through the words, but through the circumstances.
22:16And in this area, I think that in the last film,
22:21in the 16th century,
22:23I'm sure I'm sure I'll be able to see it in the cinema.
22:29But I'm sure I can see it in the same way.
22:33That's the same way.
22:35That's the same way.
22:37That's the same way.
22:39That's the same way.
22:41That's the same way.
22:43We don't change the bad habits.
22:45No, I don't like it.
22:47Okay.
22:48So, for you, you're the director of the cinema.
22:53What is the cinema?
22:55What is the cinema?
22:56What is the cinema?
22:57What is the cinema?
22:59The cinema cinema is a million years ago.
23:03It's a movie that's been made by it.
23:07Yes.
23:08The cinema cinema is a movie.
23:09It's an image of a cinema cinema.
23:11I'm aware of everything but it's a cinema cinema.
23:13It's not a movie.
23:14The cinema cinema is a movie.
23:15It's a movie.
23:16It's an image of a cinema cinema.
23:17That's the music cinema cinema.
23:18It's a cinema cinema cinema.
23:19Yes.
23:20When I was a student, I was able to take a seat.
23:26I was able to move further from the perspective.
23:34When the audience got to the level of understanding, he was able to understand the situation.
23:39He was able to understand the situation.
23:44The government's help is the other people who can help him.
23:55Yes.
23:56The government's help is the other people who can help him.
24:01Yes.
24:02The government's help is the other people who can help him.
24:05What was the war after the six months?
24:08I was not sure about the war.
24:13First of all.
24:15Good.
24:16Thanks for your attention.
24:18So I want you to join the first time.
24:24The films of the film were made by the cinema.
24:28But, despite all this cinema, there will be a lot of things to you.
24:33It is a lot of for us, of course, for us.
24:37It is a lot of for us and for us to work with the cinema.
24:41كل شكر لحضورك معنا اليوم سي جيلالي
24:44نتمنى دائما لك دوام الصحة والعافية
24:47والاستمرارية دائما على نهج الإبداع
24:51شكرا جزيلا سي جيلالي شرفتنا وأسعدتنا
24:55وندعو الجمهور لمتابعة في حرب 6 أشهر
25:00هو جدير بالمتابعة فعلا وهذا ليس بكلامي
25:04وهو كلام النقاذ وكل شاهده طبعا حرب 6 أشهر
25:09Of course, C.G. Lali is the last film of his last film
25:14And I hope that people will see and understand this work
25:18Thank you also for the presentation of the Dr. Ahmed Dafri
25:23Thank you
25:23So, for watching in the world of the 7th, there is a language that is a very important thing
25:29That is a lot of language that is a lot of language
25:31And it is a lot of language that is a lot of language between cinema and cinema
25:35And, as I said, C.G. Lali is a lot of language
25:38And we can't believe that what you could see on the big screen
25:42Is not just a lot of language and a lot of language
25:44But it is a lot of language and a lot of language
25:47And it is a lot of language and is a lot of language
25:48And it is a lot of language
25:49And the question is, is there a lot of », is it possible for cinema?
25:50Is it possible, cinema, to be connected to the reality and all reality
25:56And the reality and the reality
25:57And the reality behind it was a long time
26:00And the reason why it is, is it possible for a monitor
26:01And to connect to the km에서 a large scale
26:03And on a lot of chapter-and-table
26:04And the image that is a small and a small angle
26:04It is possible to be close to the bad thing
26:07And the answer is that it will stay at the exhibition of the cinema
26:12And to talk about the exhibition of the cinema
26:14Thank you and to you
26:16See you next time