Six transmedia projects have been selected in the framework of the Dia Sud Med project financed by the Euromed Audiovisual III programme. A Jury comprised of experts in transmedia – tackling different subjects using different media – met in Tunis on February 2 and 3 to evaluate the 16 projects presented by students from three different schools: ESAV in Marrakech, ISAMM in Tunis and ALBA in the Lebanon. The six projects chosen will be supervised throughout their writing and pre-production phases and will be ‘pitched’ in the framework of the MEDIMED Festival, which will be held in Barcelona in October 2012.
Laâlou 1981 by Lamisse Khairat (Morocco):
Nested in the beautiful surroundings of the tombs of Rabat’s Achouhada cemetery and benefiting from an unobstructed view over the ocean, Laâlou was the enforced residence of hundreds of Moroccan resistance fighters and political militants. Among them: Allal El Fassi, Mehdi Ben Barka, Abderrahim Bouabid, Abderrahman El Yousfi…Today, five centuries after it was built, Laâlou is reuniting with its past and prepares to be transformed into a museum of Moroccan military history, while several of its former residents, which include a multitude of political detainees, wanted it to be preserved as a place of remembrance. Laâlou 1981 (provisional title) is a web-fiction documentary which will attempt to produce a portrait of the only official prison of the years of lead, by combining fiction with animation, witness reports and archives, all in an interactive format. In other words it will be a nice and entertaining way of revisiting some important events in Morocco’s history under the regime of Hassan II.
I’Moroccan by Abderrafia El Abdioui and Mehdi Bouzoubaa (Morocco) :
A web series of twenty episodes lasting 2’30, which follows the journeys of four fictitious characters: Hamed, 20 years old and crazy young environmentalist; Fakhita, 40-year-old teaser and mother-hen; Rachid, hardened 30-year-old, a university professor; and Aicha, 20, a plastically enhanced girl of good proportions and cashier in a supermarket. I’Moroccan will see these four characters confronted with several situations which will progressively reveal their personality.
Mon trajet quotidien by Imen Afli & Firas M'Zougi (Tunisia):
This project makes the most of interactive writing and will allow for the internet-user to trace the three hour daily commute from home to university of two Tunisian students, by allowing him put himself in their place and share their view of situations they meet on their long route. In the course of this interactive journey, the internet user will be put on the spot and be confronted with packed buses, sexual harassment, robbery, bus delays, instances of incivility, such as a passenger refusing to give up his seat for a pregnant lady or an elderly person as well as an affluent women’s lack of respect towards certain social classes, beggars, intolerant reactions to young couples kissing, etc.
ALL IN! By Achref Amri and Zied Litayem (Tunisia):
ALL IN is a project which aims to give internet users the chance to delve into the world of song and show business by experiencing a virtual casting on the internet.
Our Beirut by Nivine Yakzan, Mira Haddad, Elizabeth Makhoul and Elia El Haddad (Lebanon):
Before the civil war, Beirut’s city centre was the heart of the country, in which citizens from all regions and social classes lived next to each other. The war led to its destruction and property developers have today transformed it into a district of luxury and tourism. Many Lebanese people are now nostalgic of the old Beirut. OurBeirout.com is an exercise in contributory documentary which offers people the chance to share their stories and memories of the district, with the aim of shaping a collective memory.
In a country where impossible love stories come in huge abundance, a website and internet community will be created to welcome witness accounts and transform them into shorts, by means of a network of directors. These contributions and their artistic counterparts will feed into a ‘tree of love’ which will re-grow as and when the stories are transformed into films.