Anhar Salem
2021مامي، لا مولا
Anhar Salem
Fatima Guermass
Fatima, in the beginning of her twenties. She cooks, takes care of her child and does her everyday house cleaning. Gradually, her life begins to change, she worked as a cleaner, her husband abused her, she asked for help, and then escaped away to live in a social house. After escaping with the hope of having a better life, she is suddenly faced by another problem related to the status of her child. The director was shooting with an iPhone since meeting Fatima to make a semi-fiction movie. But instead, Anhar kept the footage and continued shooting with her personal phone for documenting Fatima's new dramatic changes more closely, in the sake of keeping the same relationship and distance. At the same time, the film tries to emphasize Fatima’s emotional/occasional status throughout the film by using more vivid images connected to her situation, places, and old memories as an ex-dancer back in Algeria.
Mami, La Moula
غرام وانتقام
Anhar Salem
Posing, selfies, and the imaginary freedom through a journey into a girl teen's practises on social media. The desire to exist only as an image collapsed when she lost the control over her avatar. From a distance, Anhar casts two girls who are shooting and acting for the movie as fictionalized versions of themselves. Exploring and hovering between private and public life.
Love & Revenge
محطة الشمس النائمة
Anhar Salem
Two memories of mine narrated by my nephews, asking their mother (my older sister) if the images they recall are fake or real. Being raised up by my old sister and growing up in the same place, the film reflects how everything is related, revolving around the same experiences and memories.
The Sleeping Sun Station
