CANALALGERIE — La chaine publique algerienne
20260813 050000 UTC
2299 transcript segments
Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking
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Machine transcription. Treat it as a searchable index of what was broadcast, not a verbatim quotation record.

[00:00:03] Rest in you about the relationship that you had
[00:00:06] with El Zahi, because
[00:00:08] opened it for her. I seek refuge in Allah from the accursed
[00:00:11] I have to go to But we traveled from we had a session, Sheikh, forgive me, we had a session, you and I, and you said a very beautiful word on the internet
[00:00:14] do this? Oh, and on social media, social networks,
[00:00:18] that caused a stir. You said about El Zahi, you told them, "El Zahi is not
[00:00:21] poor, he is not not poor, he is
[00:00:24] not a beggar, he is
[00:00:26] and didn't come to not poor." You told him, "He is not poor." You told them,
[00:00:30] "He gave away the world with his back." People say,
[00:00:34] that even in "Poor him," but he is not poor. He is not poor, he gave away the world, he is
[00:00:36] well-off. You said a beautiful word, we would like you to clarify
[00:00:39] for us, because
[00:00:44] in the emergency room, as Omar was a man. If you were with me,
[00:00:47] he was my
[00:00:50] friend. But he used to choose only you with him. Before I worked
[00:00:52] with him,
[00:00:54] you came to tell me and then when we worked
[00:00:55] take you to the together, we had fun, we scored
[00:00:58] goals. We played like
[00:01:00] footballers. And the smell of the hoba,
[00:01:04] the hoba of Omar,
[00:01:06] it was a huge
[00:01:09] thing. But, Sheikh, they say
[00:01:11] Omar doesn't
[00:01:13] That's right. Yes, that's deal with everyone, but he did a lot with you. Weddings and so on.
[00:01:16] What is the wisdom behind this? What
[00:01:19] is the secret? We spent
[00:01:22] evenings
[00:01:24] The character is a heroic character in together.
[00:01:25] get out of this matter? What
[00:01:25] forgive me. Don't right away. for nothing. Honestly, they were formidable. But why with you, Sheikh? Why with you?
[00:01:28] With me, it's because he's
[00:01:36] And I am with
[00:01:45] other than to supervise this segment of there is no, there is no, Is this what you came up with? Yes, this
[00:01:45] a screen to see the
[00:01:50] kind and does good deeds. I did five weddings for him. He did
[00:01:53] a little dizzy. Don't five weddings for you. Yes, five weddings for you.
[00:01:57] Do you really have to scare me For my home, circumcision.
[00:01:59] It is the For the family, circumcision of the boys.
[00:02:01] And then his marriage. And
[00:02:04] then the circumcision
[00:02:06] "youyou" sounds and she starts dancing, she sets of his children. The aqiqah of his children. My daughter
[00:02:10] got her baccalaureate. He did
[00:02:12] my interest and my family's interest perfectly. Don't the wedding. What's there? He said
[00:02:15] sinner. Do not I am. It was my daughter. He used to respect you a lot, Sheikh. He used to
[00:02:19] respect you a lot. So,
[00:02:22] oh, peace. Do not I thank you, Sheikh, for that word. He gave the world his back.
[00:02:25] That is to say, he withdrew.
[00:02:29] yourself. What is He gave the world his back. You told us that he doesn't care about this world.
[00:02:32] Something that doesn't concern him, neither
[00:02:33] I was, I did materially. He doesn't care, my brother.
[00:02:37] By God, he was
[00:02:40] Let it be ruined. May God a great
[00:02:42] not bless you. May God person, truly. game, that's right, of We truly missed him, Mr. Omar. He was a great person. By God,
[00:02:46] he was a world
[00:02:48] at the hospital, and they'll bother us champion. Thank you.
[00:02:50] little bit, I did Look, I circumcised my son.
[00:02:53] Ah, I circumcised my son.
[00:02:56] I lost my form. He collected for me.
[00:03:07] Let's go to the
[00:03:10] go from me you can live
[00:03:14] servant in
[00:03:18] recommended him to me. Don't drive me crazy. Don't
[00:03:30] Yes, it's impossible. It's impossible. Thank you, Sheikh. And also, for the testimony
[00:03:34] you gave us, because we love him very much, our Sheikh. Sheikh,
[00:03:38] The beloved, all from let's change something. You know how to cook well, Sheikh. Do you cook a little or not?
[00:03:41] I cook, no, I love
[00:03:43] he works for me, but he didn't come to
[00:03:44] stop her. Neither food. I know you love food. Sheikh,
[00:03:47] I love potato with mint. Who cooks potato with mint? Potato
[00:03:50] with mint.
[00:03:53] wow. Oh my, what I have a musician here, and sometimes he brings us dishes. He'll give us
[00:03:56] God at the hour, at potato with mint now. Cut and throw. Cut and throw. He'll come now
[00:04:00] and explain to us.
[00:04:03] far from, far from the, far from Tariq, do you cook a little or not?
[00:04:05] resistance, but not in Ah, today, just Charif, and I. They said, "Remove for me, the two of them don't cook. of resistance, we saw works on
[00:04:08] with whom? With A round of applause for Marwan, who brought us
[00:04:10] a recipe.
[00:04:14] Come on, Asma, answer the Sheikh, watch out, watch out so he doesn't the rope deceive me. I don't
[00:04:17] tailor, how he lived this know.
[00:04:20] Welcome, Marwan. I heard
[00:04:23] period. This
[00:04:23] And lived this what the Sheikh said. In the name of God, he said
[00:04:24] Salem, don't he loves potato with mint. Do you know how to make it? See to your work.
[00:04:27] and I Is it like that or with Potato with mint, it's good. Marwan, do you know how to make potato with mint? Give it
[00:04:34] books or in a good stir. Cut some garlic, a little
[00:04:38] comes to the oil, salt,
[00:04:38] don't stretch your hand, my son. pepper, and paprika. Let it fry
[00:04:43] understand what I'm telling you. Don't slowly. Then add a little potato inside. There,
[00:04:47] cook it well. When the potato is cooked,
[00:04:50] Abu Leila. When I read the add the mint from the top, cover it, and that's it. That's all. The potato. Did you understand a little,
[00:04:54] The leader, perhaps he went to me the second one. Away from
[00:04:55] liked the way Sheikh? And the potato must be
[00:04:56] Come on, hurry But acting in covered with
[00:04:57] of yourself for sending your mother to the Sheikh's fat. Yes, covered.
[00:05:01] Come on, come on. We're putting it on
[00:05:07] was unprecedented in at the first opportunity, sent your mother to
[00:05:08] is this woman who knows him and entered his
[00:05:54] a fish. I cut it, remove the fillet. I put two pieces
[00:05:57] in a pan. I leave it for a little while
[00:06:00] in the fridge, not margarine.
[00:06:04] That's right. And then I mark it with garlic, that's all. A clove of
[00:06:08] garlic. And then I sauté it on both sides for three
[00:06:11] to four minutes.
[00:06:42] Mary, I continue to stir and melt in another
[00:06:46] saucepan 150 grams of butter. I stir
[00:06:50] slowly over low heat and start pouring
[00:06:54] that butter slowly, like mayonnaise. And I keep whisking
[00:06:57] it until it becomes thick. And then I add a
[00:07:01] lemon juice from the top. I squeeze my lemon juice and a little
[00:07:05] parsley. Chopped.
[00:07:08] I take that plate of the fillet and pour that oil
[00:07:11] over it.
[00:07:23] Sheikh, an hour is very short. An hour flew by
[00:07:26] so fast. It was sweet with you.
[00:07:30] It started to fly by so fast. Now I would like
[00:07:33] to hear Tariq in another
[00:07:37] song. After that, Sheikh, we would like
[00:07:40] a beautiful melody.
[00:08:36] Lonely, a stranger, I live alone.
[00:08:39] A stranger, I live alone.
[00:08:43] You address the homeland,
[00:08:46] the beloved homeland. The beloved.
[00:08:51] the homeland. The beloved. The beloved.
[00:08:55] The beloved, Algeria, the beauty of all lands.
[00:08:58] Algeria, the beauty of all lands.
[00:09:13] Hello, hello.
[00:09:16] Please, call me the Kasbah. Hello,
[00:09:19] hello. How are you, neighbors?
[00:09:22] Hello, hello.
[00:09:26] How is the dome near you? How is
[00:09:29] so-and-so? How is the dome near you?
[00:09:33] How is so-and-so? Tell
[00:09:37] him I am in exile, longing
[00:09:40] has worn me out. You miss
[00:09:49] lonely, a stranger. I live alone,
[00:09:52] a stranger. Alone, a stranger.
[00:09:56] You address the homeland. The beloved
[00:09:59] homeland. The beloved.
[00:10:02] The beloved, all from the beloved homeland.
[00:10:05] The beloved. The beloved.
[00:10:09] Algeria is the most beautiful of countries.
[00:10:13] Near the country,
[00:10:13] the country.
[00:10:19] I remembered, and my tears flowed, increasing my
[00:10:22] pain.
[00:10:25] A mark on my cheek, it left me
[00:10:39] and remembered the days and nights
[00:10:43] and the time of Eid.
[00:10:45] I remember Ramadan in Bejaia, the loved ones
[00:10:49] of Sara.
[00:11:01] Oh, how I long for where I am. Throwing
[00:11:05] far away. To whom does the throwing belong?
[00:11:08] He visits me and brings good news.
[00:11:11] I missed
[00:11:13] the garden. I will make
[00:11:16] a house.
[00:11:39] I remember how I used to walk and stroll
[00:11:42] in it. It is all white,
[00:11:46] all doves. Oh, how
[00:11:48] beautiful it is.
[00:11:54] God.
[00:12:01] the loved ones in peace, and let the night
[00:12:04] be long. How can this heart
[00:12:07] endure it?
[00:12:09] And then the eloquent sheikhs
[00:12:13] singing, chanting, and saying,
[00:12:17] music and شعار, give me more sadness, the oud
[00:12:20] with it. I missed
[00:12:23] the garden.
[00:12:27] The children, and I missed the garden.
[00:12:30] God, I won't prolong it. I'll describe the house.
[00:12:43] Tariq, you amazed me today. You amazed me.
[00:12:46] Thank you. Plus, you have the eloquence of a storyteller.
[00:12:50] Exactly. You are an eloquent sheikh, and you even have
[00:12:53] his laugh.
[00:12:56] Thank you. Thank you. Thank you.
[00:12:59] God bless. If you have any last words, please
[00:13:02] remember the name Tariq Ayyad. He is already well-known
[00:13:06] here. And may God grant you great success.
[00:13:09] May you follow your path, of course.
[00:13:12] And
[00:13:14] frankly, I really, really liked it. And the Sheikh was singing with you, you know,
[00:13:18] it's rare for the Sheikh to sing with you. The Sheikh already saw me.
[00:13:21] Ah. Yes, yes, the Sheikh. He cherished it.
[00:13:38] He used to pray for them, if they would only stay. God
[00:13:40] willing.
[00:13:44] Thank you.
[00:13:49] Anyway, and we thank the orchestra. I tell them,
[00:13:53] thank you. And I greet the family, from
[00:13:57] near and far, and my little ones. Thank
[00:14:00] you. You don't have that, like on Eid, and the little chick,
[00:14:03] and she left in the city. Thank
[00:14:06] you, Mandek. Anyway, thank you, Tariq Ayad. Applaud
[00:14:10] him very, very, very, very much. Thank you. I will come back to
[00:14:14] you, Sheikh. Do you have any last words before we finish
[00:14:17] with the last one? My dear brother, by God,
[00:14:20] by God, it was beautiful with you. I enjoyed
[00:14:23] the conversation, Sheikh. And the audience, God bless.
[00:14:27] Truly, it's magnificent, the youth.
[00:14:30] Here are the youth of Algeria, this is it. Thank you.
[00:14:33] Applause for our Sheikh, applause. Thank you, Sheikh. It's
[00:14:36] marvelous, it's marvelous. Sheikh, forgive me, let me ask you something. When
[00:14:40] you speak, Sheikh, you're gentle. And you're gentle, gentle, Sheikh.
[00:14:44] You have such tenderness, you have such wisdom when
[00:14:46] you speak.
[00:14:51] time? Simple. Thank you,
[00:14:55] Sheikh. By God, I am simple.
[00:14:58] I've known you for a long time, Sheikh, and we met once on the plane, Sheikh. And I was
[00:15:02] selling on the plane, Sheikh. The plane.
[00:15:04] And
[00:15:07] once upon a time, when I was young, I met you. You came
[00:15:10] to Canada. You came to Canada on a
[00:15:13] flight. I went to meet you, my brother. And I was smoking, and the world
[00:15:17] I couldn't smoke, I couldn't move.
[00:15:20] I came to tell you the first time I met you, Sheikh.
[00:15:24] We met on the plane, and you took me, as usual.
[00:15:27] And you talked with me, Sheikh.
[00:15:31] And
[00:15:33] what did you tell me that stuck in my mind? You told me you were afraid of flying. We were
[00:15:36] going down. I started telling you we were going to sell you, we were
[00:15:40] going to Montreal
[00:15:43] in Ramadan.
[00:15:46] Algeria, we stopped in
[00:15:48] London. London, London.
[00:15:52] London. The plane, the
[00:15:56] correspondence.
[00:15:59] To Montreal. Why, Sheikh? We were
[00:16:02] looking for something, or we went out,
[00:16:04] we went out. We spent a night.
[00:17:07] of mine, and you came to me and honored me today, Sheikh.
[00:17:10] Truly, Sheikh, if you have a word for
[00:17:13] the end, the last one.
[00:17:16] The invitation. You honored me, Sheikh. Sidi Ali.
[00:17:19] Also, my brother, it's a pleasure.
[00:17:22] That's it. And I tell you, thank you.
[00:17:26] Until next time, God willing.
[00:17:29] We thank Tariq Ayad very, very much, and we thank, of course,
[00:17:32] those who welcomed us here and took good care of us at the Atlantis
[00:17:34] Hotels. We thank all the technical staff,
[00:17:38] the musicians, under the leadership of
[00:17:41] Fateh Akili and the great musician Mouloud
[00:17:44] Mouloud, who is
[00:17:45] with us.
[00:17:48] Our friend, who just joined us, is with us, and we hope he will be with us
[00:17:51] tomorrow as a guest. And, of course, we thank the sound
[00:17:55] team,
[00:17:57] the lighting, and, of course, our director Rostom. Thank
[00:18:01] you.
[00:18:03] Thank you.
[00:18:48] From my longing
[00:18:50] to good.
[00:18:56] For good, behind,
[00:18:57] behind.
[00:19:00] Muhammad,
[00:19:02] my beloved.
[00:19:10] Oh, my master,
[00:19:12] beloved
[00:19:14] of hearts.
[00:19:18] Muhammad,
[00:19:20] beloved
[00:19:28] of God. Oh, my master, beloved
[00:19:31] of hearts.
[00:20:23] burned or
[00:20:35] rested.
[00:20:53] the morning.
[00:21:03] Oh, my master,
[00:21:05] pour.
[00:21:12] Like from outside,
[00:21:14] far away.
[00:21:18] Far away, oh, Tara,
[00:21:22] oh, Tara. Bound
[00:21:26] by
[00:21:35] Oh, my master, by the rope of
[00:21:38] sins.
[00:21:43] Bound
[00:21:43] by something.
[00:22:25] What judges except
[00:22:28] what
[00:22:33] crimes?
[00:22:37] How many stood
[00:22:40] at the door?
[00:22:44] At the door of peace.
[00:22:47] Peace.
[00:22:49] Mustafa.
[00:23:02] Peace
[00:23:04] be upon him.
[00:23:09] Oh, master,
[00:23:12] oh, Messenger of God.
[00:23:16] Oh, most generous of creation.
[00:23:21] My creation is with God.
[00:23:44] Your status is great.
[00:23:47] Oh, beloved of God.
[00:23:51] Your face
[00:23:53] is dear. Oh, Prophet of God.
[00:24:17] God will intercede for us.
[00:24:22] Oh, Prophet of God.
[00:24:26] A dignity that accepts
[00:24:28] from you, from you, the door of
[00:24:31] God.
[00:24:37] Oh,
[00:24:38] country.
[00:24:42] Thousands
[00:24:42] prayed.
[00:24:46] And the armies.
[00:25:02] Blessed by whom,
[00:25:06] oh, say.
[00:25:10] Yes.
[00:25:26] Oh,
[00:25:26] who.
[00:25:34] For us but
[00:25:34] Him.
[00:25:41] Your status is great.
[00:25:45] The means to
[00:25:46] God. All.
[00:25:52] What
[00:25:52] do you see?
[00:25:57] And the servant seeks
[00:26:00] the kingdom.
[00:26:04] To the door of
[00:26:05] God.
[00:26:09] Hayara.
[00:26:13] Only to the door of God.
[00:26:16] Gabriel came to him at night
[00:26:19] with the Barzakh.
[00:26:24] And he ascended from seven
[00:26:27] good things.
[00:26:32] And he drew near to his Lord
[00:26:34] to meet. Then he greeted
[00:26:37] the believers
[00:26:38] with peace.
[00:26:44] The day he lived, and the believers with peace.
[00:26:48] And at the hour between Zamzam,
[00:26:52] Gabriel stood before him.
[00:26:54] God. God, my master.
[00:26:57] And
[00:26:59] thus Ridwan sanctified
[00:27:07] him with pure greetings.
[00:27:09] Oh, Hilal.
[00:27:12] As long as the driver is there, and as long as
[00:27:13] the doves.
[00:27:18] As long as the driver is there with the sleepy
[00:27:21] eye. The hour between them
[00:27:25] and the station. The caller called
[00:27:28] him.
[00:27:34] Oh, Messenger of God, approach and do not
[00:27:37] fear.
[00:27:41] And there is Paradise, truth, and the chambers
[00:27:45] there. Then the guide rose, a lamp
[00:27:48] of darkness.
[00:27:52] Today the guide rose, a lamp of
[00:27:55] darkness. And an hour between
[00:27:58] Zamzam.
[00:28:00] Oh, my God, forgive us. Oh,
[00:28:03] Majestic.
[00:28:07] By the status of Taha and Abraham,
[00:28:10] the friend.
[00:28:15] Have mercy on the son of Yusuf, the misguided
[00:28:18] punish me for my deeds,
[00:28:25] punish me for my deeds,
[00:28:28] oh, peace.
[00:28:33] If he loves he intensified
[00:28:36] and
[00:28:39] yes, yes, yes, Sheikh. If not for the Sheikh, go ahead. And multiply
[00:28:43] your prayers upon
[00:28:45] Muhammad.
[00:28:51] How can you win, my brother, and
[00:28:54] not be happy? Ibn Anisa said,
[00:28:58] he said, "Oh, masters."
[00:29:04] What did Ibn Anisa say?
[00:29:08] Oh, masters, the love of our master
[00:29:10] Muhammad. His head
[00:29:13] is mine. I am his poor
[00:29:17] the afterlife.
[00:29:24] The effectiveness.
[00:29:30] Yes.
[00:29:33] My Lord, my God, forgive
[00:29:36] us. And the knowledge
[00:29:38] of my state
[00:29:40] and my circumstances.
[00:29:45] It is the knowledge of my state
[00:29:49] and my circumstances. The love of our master
[00:29:51] Muhammad. His head is mine. The servant
[00:29:55] prays and remembers
[00:29:59] the hour. God will bring relief.
[00:30:03] Stay
[00:30:15] well, my brother. And for the deceased.
[00:30:19] May God return every stranger
[00:30:22] to his home. Goodbye.
[00:30:25] to the
[00:30:32] Oh,
[00:30:32] Sheikh.
[00:30:38] And goodbye, red beard.
[00:30:41] And Sidi El-Khel. And Sidi
[00:30:45] Yahya.
[00:30:51] Oh, well.
[00:31:00] Allah, Allah. The sanctuary, O Messenger of
[00:31:04] Allah. Allah, Allah, how did I escape from
[00:31:08] your love?
[00:31:10] O people of intercession, glory to Allah.
[00:31:14] Allah, Allah.
[00:31:19] With Allah. Allah, Allah, He made me small.
[00:31:23] He made me small. Allah, Allah.
[00:31:27] O foreign woman.
[00:31:29] Allah, Allah. The sanctuary, O Messenger of Allah.
[00:31:32] Allah, Allah. The sanctuary, O beloved of Allah.
[00:31:36] Allah, Allah, O beloved
[00:31:39] of Allah.
[00:34:45] Ladies and gentlemen, dear viewers, welcome
[00:34:47] to your show Cine Spot, your meeting point for
[00:34:50] the cinema industry, but not only that. You were
[00:34:54] many, yes, indeed, many of you asked me to add another
[00:34:57] chapter dedicated to acting, and
[00:35:01] it will be done, and we will be joined by
[00:35:05] an immense actor, I say an immense actor, and I weigh my
[00:35:08] words, Slimane Benouali will be with us just
[00:35:12] after this short jingle. Thank you for accepting the invitation. I would say, finally, you need to know, dear viewers,
[00:35:25] that for more than 3 years, 3 years
[00:35:29] that I've been trying to get Slimane
[00:35:32] Benouali on this very set. I didn't dare, frankly.
[00:35:36] I don't know, since Abu Leila, since Abu Leila, I was trying
[00:35:39] to get Benouali on this very set, and I say
[00:35:42] finally, thank God.
[00:35:47] Once again, thank you for accepting this invitation, and welcome
[00:35:50] to the show Spot. Thank you for
[00:35:53] the invitation, and sorry for the "no"s.
[00:35:57] I know you were around several times, it didn't happen, and all that. There were
[00:36:01] several, there were several. Once you were
[00:36:05] I was talking about the last one. He had the film
[00:36:07] of Amin. I would say, that's right. He
[00:36:10] that's right. Even there was even. He will come
[00:36:14] back.
[00:36:21] And that's it, but we will try to make up for the time
[00:36:24] when I didn't have the pleasure of hosting you. So, when
[00:36:27] doing research, Slimane, uh, of course, to prepare this
[00:36:31] interview, I noticed that you have played in several theater plays.
[00:36:34] Uh, that's right. Do you feel
[00:36:37] more like a theater actor, an actor to make this difference,
[00:36:41] than an actor?
[00:36:43] Yes, I started in, in, in
[00:36:46] theater, and I played quite a few theater
[00:36:49] plays, whether it was not a few, but many, many, especially where there was
[00:36:53] my colleague Fouhim.
[00:36:56] And, uh, and I was,
[00:37:00] uh, a young leading man for perhaps 5 years at the
[00:37:04] National Theater. An eternal young leading man for some actors like him.
[00:37:07] That's right, I was young at the time, and,
[00:37:11] I consider myself, I consider myself as an
[00:37:14] actor. Uh, basically, I am a theater
[00:37:17] actor. That's right, basically. And then you were, I would say, called upon to
[00:37:21] embrace, I would say, the profession of actor. But we don't leave. We are
[00:37:25] on two fronts, as I like this term. On two fronts, because sometimes there
[00:37:29] is this form of duality, precisely this form of duality, we will talk about
[00:37:32] it for the interpretation. So, where does it come from, precisely, you
[00:37:36] are from where does this visceral need come from to go on stage, even when you shoot
[00:37:39] a film? This visceral need, I have the impression to go on stage when I
[00:37:43] see this strength that you give, that
[00:37:46] you try to have to embody the characters, to interpret the characters on
[00:37:50] stage. Where does this need come from? Do you need to nourish
[00:37:53] yourself? First of all, it's the direct link
[00:37:57] with the public. There is a direct
[00:38:00] relationship in the theater,
[00:38:03] yes, on stage, and there is,
[00:38:06] there is no safety net, there is no,
[00:38:10] we don't need
[00:38:13] actor. And I think that
[00:38:16] this relationship is a direct thing
[00:38:20] between the public and the
[00:38:23] actor himself, and I think it's
[00:38:26] it's... uh, it's a feeling that
[00:38:30] we always look for. Those who
[00:38:32] who did theater always need
[00:38:36] this sensation. That's right, which is sometimes inexplicable. It's a
[00:38:40] need. That's right, that's right. I think that, ah,
[00:38:43] exact, exact. Tomorrow, the cinema.
[00:38:47] There is no tomorrow for the soul.
[00:38:51] But
[00:38:54] on stage, it's different. It's in the moment. That's right. We can't
[00:38:58] cheat, we can't cheat. It's
[00:39:01] live, it's that's right. Even the moments of, I mean, of
[00:39:04] worry, or I would say, we don't want to cheat. That's right. Well then,
[00:39:08] you are, I would say, because I follow
[00:39:12] you, you are a lover of words, that is to say, of poetic text. I see a little
[00:39:16] bit of what you recite and all that. You make me think of those famous Shakespearean
[00:39:19] actors, uh,
[00:39:22] where, where, I would say, doubt and contradictions feed the
[00:39:26] monologues. He has doubts and contradictions, he has this kind of
[00:39:30] duality that is always present in Shakespearean actors.
[00:39:33] So, the characters, that is to say, do not seem
[00:39:36] to be interested,
[00:39:38] that is to say,
[00:39:41] by, I would say, smooth roles.
[00:39:44] You need this form of duality.
[00:39:48] I think that comes, it also comes from theater,
[00:39:50] uh,
[00:39:52] in theater, we need to go through the universal
[00:39:56] texts. Uh, Shakespeare, Molière,
[00:40:00] and others. So, we
[00:40:02] always, we always need, need to
[00:40:06] have profound texts or characters
[00:40:09] who are not superficial, yes, and
[00:40:12] uh, and I think it's necessary
[00:40:15] for an actor to have this
[00:40:18] psychological
[00:40:20] side, uh,
[00:40:23] to interpret different
[00:40:26] characters. That's right,
[00:40:30] the outside. So, so, to say, that's it, we will
[00:40:34] open the cinema chapter. Uh,
[00:40:38] your first big role, because the public knew you for this first big role.
[00:40:41] I'm talking about cinema. It's through the film of Amin Sidi-Boumédiène,
[00:40:45] Abu Leila. Uh, your performance was praised
[00:40:49] by cinema professionals before the critics. There were also glowing
[00:40:53] reviews for you. Again, how did you embrace the
[00:40:57] costume of this complex character in Abu Leila?
[00:41:00] This complex character where there was again this form of duality, this
[00:41:04] questioning from beginning to end. That is to say, how did you embody the
[00:41:08] character? How, that's right, the work done to embody
[00:41:12] the character, the costume of the character. Speak about
[00:41:17] script, uh, I really
[00:41:22] Amin treated the subject, and...
[00:41:26] sujet et...
[00:41:40] same age, yeah, and uh, and it, it really, uh, it speaks
[00:41:44] to you, it speaks to me a lot. Uh, we were
[00:41:47] we were the same age at that time,
[00:41:50] and, uh, and here I find a
[00:41:53] very difficult character, uh,
[00:41:57] it's a, it's a, uh, it's a character who suffers
[00:42:01] from psychological problems, and uh, talking with
[00:42:04] Amin to see what Amin
[00:42:07] looks like for an actor.
[00:42:54] And that's it, he chose to go deeper and work on the
[00:42:57] emotions and the transitions. That's it.
[00:43:01] It was like a color palette, but it was a
[00:43:04] palette.
[00:43:07] There was no break, no passing from one emotion to another.
[00:44:04] So, this is where I can ask you the next question. Finally, thank
[00:44:07] you again. I say we find. It was a
[00:44:10] real character role. That's it, we're composing,
[00:44:14] because you're talking to me about a palette, about colors, about
[00:44:17] a mixture of this form of contribution without necessarily
[00:44:21] falling into cliché. That's it, it's a role, that's what we call a
[00:44:25] character role, it's this feeling and
[00:44:29] difficulty, difficulty too. It's, uh, it's this
[00:44:32] character, he's almost erased. He's
[00:44:35] more
[00:44:38] And and and we must. And we must, he is
[00:44:42] erased but he must exist. That's it, he always exists but he is almost
[00:44:46] erased. And it was very, very
[00:44:49] hard to
[00:44:53] interpret, but
[00:44:56] with Amin's direction, he's someone who
[00:44:59] really knows, uh, whom we salute in passing. He's on a second film, I
[00:45:03] know, that's it, I think he finished
[00:45:07] or is in post-production, that's what I all that. And there,
[00:45:11] in passing, we saw you in Mass's short film,
[00:45:14] he will come back, notably also
[00:45:17] in a series that is close to cinematic writing,
[00:45:19] Karim Moussaoui,
[00:45:21] uh, we see that he has, he has a way in you
[00:45:25] of occupying the space of a
[00:45:28] narrative silence, translated, that is to say, that silence is narrative in you,
[00:45:31] translated, in the end, into a posture, I would say,
[00:45:34] uh, dialogue-ready. That is to say,
[00:45:38] your posture, this silence, it has a form of dialogue that is established in the
[00:45:41] silence. Is it, I would say, is it something
[00:45:45] we work on? Is it a work? What we
[00:45:47] call it makes a form of introspection, what we
[00:45:51] call in theater, a bit in actor's studio, it has this form of introspection.
[00:45:54] Does it serve you? What is the tool you use in acting or
[00:45:58] comedy in general? It's not just the
[00:46:02] text. It's not just the
[00:46:05] text. It's everything. It's
[00:46:09] the action, the reaction. So, how
[00:46:12] is it? The actor is not
[00:46:15] playing a role, but living a certain
[00:46:18] situation. These are situations you live
[00:46:21] , not play, but live them.
[00:46:24] Sometimes, sometimes we might see
[00:46:27] actors off
[00:46:30] script. He's lost,
[00:46:33] fallen. general is
[00:46:37] action, action, action. And action has types:
[00:46:40] psychological action, physical action, verbal action. Verbal action
[00:46:44] might come last. It
[00:46:47] is
[00:46:50] verbal action. The action
[00:46:54] is the last thing. The last thing is verbal action. There are
[00:46:57] many things we can express with, which are inner feelings
[00:47:01] and facial expressions.
[00:47:04] The training I did, I studied acting.
[00:47:08] I went to Linad Institute and theater.
[00:47:11] Theater makes you live
[00:47:14] situations. You are in a
[00:47:17] period of a
[00:47:19] show.
[00:47:22] It makes you always live the moment in its instant, meaning in its time.
[00:47:43] I spoke with the police and they told me I could keep the child
[00:47:46] until his father appears
[00:47:48] and returns.
[00:47:51] Your children are asleep.
[00:47:57] His mother passed away
[00:47:58] a year ago. She won't talk.
[00:48:16] She talks.
[00:48:27] at the
[00:48:32] shop. Something made him think his father
[00:48:35] would come.
[00:48:40] And this is perhaps what helped me to perform in this
[00:48:44] way that makes people live with you
[00:48:47] and believe you.
[00:48:51] fact that in theater, we say,
[00:49:11] verbal action is a result, meaning in the end, it's just a
[00:49:14] result in certain necessities. In cinema, perhaps the image
[00:49:18] is what expresses.
[00:49:22] Let's say,
[00:49:52] what was I going to say as a comedian and actor, because he has these
[00:49:56] two facets, uh, often, there you go, that you go
[00:50:00] from the, is it easier for you to
[00:50:02] the actor to the comedian or from the comedian to
[00:50:06] the actor? It's easy to go from
[00:50:09] comedian to actor.
[00:50:12] To come back is a little difficult. For example,
[00:50:16] I stopped doing theater in
[00:50:18] 2015. It's been a long time. Uh, I have
[00:50:48] this fear because I haven't worked in the theater for a long time due to circumstances that
[00:50:51] are not.
[00:51:06] you were in films that marked, I would say, the cinema, this renewal of our cinema. You worked with this new
[00:51:09] generation.
[00:51:13] There you go. You contributed. There are plenty of films, even if I talk about the
[00:51:16] film of films
[00:51:19] that were
[00:51:38] I wouldn't say in relation to what exactly. It's to say a little bit,
[00:51:41] salute the performance and all. I hope that the
[00:51:44] film, people will be able to see the film and judge it for themselves and
[00:51:47] all. Precisely, in the long run, meaning, there you go, it has this
[00:51:50] form of freedom that we want or not, it has other entries, it's another story. When
[00:51:54] I talk about Abou Laila, when I talk about Aljs, when I talk about Massas and
[00:51:57] all. Uh, but in dossier of
[00:52:00] costumes of characters having truly existed, especially
[00:52:04] historically. Are we confined, does the costume
[00:52:07] tighten because we are not limited, but I would say it doesn't have
[00:52:11] I don't like the term. It's very difficult, I
[00:52:14] would say, to portray these characters, especially from this period of
[00:52:17] revolution.
[00:52:19] existed. It's difficult to evoke these
[00:52:23] characters or to get into the skin of these characters. It's
[00:52:27] very difficult to embody historical
[00:52:30] characters.
[00:52:31] Uh,
[00:52:35] I mean, during the revolution period, and they are great personalities
[00:52:39] the collective memory of the Algerian society,
[00:52:43] everyone has an image in
[00:52:46] their imagination of this character.
[00:52:49] It's difficult for an actor to imagine the movements,
[00:52:53] the temperaments, the behaviors of this
[00:52:56] character, how they acted, because
[00:53:00] we don't have the archives, meaning we don't have
[00:53:02] many archives about the
[00:53:06] When I say archives, I mean we don't have, perhaps we
[00:53:09] don't have many pictures, we don't have
[00:53:12] videos
[00:53:15] that might make it easier for the actor to see
[00:53:18] the posture, already the exterior of the
[00:53:22] character. Second, the expectations
[00:53:25] of people.
[00:53:29] the collective memory, so this is a responsibility.
[00:53:33] Exactly.
[00:53:46] that he tries to live these
[00:53:48] situations, not to play them, but to live them, meaning
[00:53:52] he gives it from his feelings,
[00:53:55] from his inner self, he gives it everything
[00:53:59] he has with sincerity,
[00:54:02] because if the actor was sincere.
[00:54:10] not to cheat with the character, not to overplay and
[00:54:14] there you go, now I would like to ask a question to the actor,
[00:54:18] I saw you in a series that was presented on another
[00:54:21] channel, Fatma, a series where, I mean, the
[00:54:25] sets were important, I had the pleasure of receiving Fai Gasmi talking about the set
[00:54:29] and its importance in cinema to narrate, I mean,
[00:54:33] to tell a story of... the costumes, we feel a
[00:54:36] budget, we feel, there were actors, there was another story that we
[00:54:40] propose, another era and all, was it again
[00:54:44] during the month of Ramadan, and where there are dramas, it's a form of
[00:54:47] drama, but from another era and all, which deals with sensitive
[00:54:51] topics, even a topic that we can deal with today, there you go,
[00:54:55] uh, is it this kind of, I
[00:54:59] would say, of a series or a series where we must
[00:55:02] still, that is to say, establish. for the public during the month
[00:55:06] of Ramadan or during
[00:55:10] a story that resembles the series that we can see in other, I would say, on
[00:55:13] platforms, on platforms, perhaps we should
[00:55:17] propose, perhaps at first it won't necessarily work, perhaps
[00:55:21] open a door to series that talk about
[00:55:24] our series, is Fatma part of this genre,
[00:55:28] is
[00:55:28] it
[00:56:05] We saw perhaps the aspects
[00:56:10] drama, but we didn't see anyone who
[00:56:14] would tell how the society lived at that time,
[00:56:17] I mean, the simple greengrocer or the ordinary
[00:56:22] colonialism, how he
[00:56:28] change that came to him from abroad
[00:56:31] colonized a whole country. How was this
[00:56:34] change? I mean, we can't read about it in
[00:56:39] schools. I think drama must
[00:56:43] address these topics so that we can see these periods again or see Algerian
[00:56:47] society in a different way and see our culture.
[00:56:51] We see our culture to see that we were not
[00:56:54] savages as
[00:56:57] the colonizer portrayed us.
[00:57:01] We were a country existing on its own, with its culture.
[00:57:13] Perhaps at a time when perhaps the French didn't know who their father was. Uh,
[00:57:18] Algeria had a great cultural diversity.
[00:57:22] If the people of cinema
[00:57:25] or television generally
[00:57:28] don't work on these
[00:57:32] topics, who will work on them? Ain al-Janah from
[00:57:35] another side, meaning that we see
[00:57:39] Algerian society
[00:57:41] far from the big
[00:57:44] cities. Algeria is not just the city.
[00:57:48] Algeria is not just the city. Algerian cinema is not just Algerian cinema.
[00:57:51] Algerian cinema is also not just
[00:57:55] the big cities. I mean, I know that big cities are
[00:57:59] the biggest gatherings where people gather,
[00:58:02] but there are topics that concern the
[00:58:06] capital. There is
[00:58:09] a lot of wealth
[00:58:12] in Algeria
[00:58:15] and its diversity. Algeria is a large continent, so it has topics that concern
[00:58:19] everyone, especially humanitarian topics. I mean,
[00:58:22] that when the topic is humanitarian,
[00:58:26] it no longer
[00:58:28] concerns only Algerian society. It can even be marketed abroad. The
[00:58:32] universal thing is that it addresses a
[00:58:35] humanitarian topic
[00:58:37] far from his race or his religion or his ideology. Far
[00:58:41] from this, when I see international
[00:58:45] films, why do I limit myself inside?
[00:58:49] I feel myself as a human being
[00:58:52] in this film because it deals with a humanitarian topic
[00:58:55] that concerns me and concerns humanity in general, far from
[00:58:59] orientation, far from ideologies, far from
[00:59:02] such topics that concern Algerians
[00:59:05] and are humanitarian, meaning we can even market them abroad.
[00:59:09] Sulaiman Benouari accepted this invitation again and
[00:59:12] I am very happy to have received you on this set. So for another
[00:59:16] episode. It will be soon, with that I bid you
[00:59:20] farewell and see you very soon.
[01:00:55] He travels from Kabylia, where he is from, to Oran
[01:00:58] in search of daily bread.
[01:01:10] Fate willed that his life take an unexpected path by
[01:01:14] meeting men united by principles and convictions.
[01:02:21] With his group, he works in absolute
[01:02:23] secrecy, so as not to be unmasked by the intelligence
[01:02:27] services that dismantled in one night, a
[01:02:31] group of 83 fedayeen led
[01:02:34] by Hammed, the leader of the fedayeen
[01:02:36] operations in Oran and its
[01:02:38] surroundings.
[01:02:44] Salmani Chaban leads in the city center one
[01:02:48] of the most perilous operations. He
[01:02:51] is convinced of the success of this important armed
[01:02:54] action.
[01:03:00] If it hit the soldiers and had a great
[01:03:03] impact on the French army, it killed about
[01:03:06] 45 people, between wounded and dead,
[01:03:10] and that's why they rushed to finish him off
[01:03:14] they say, they passed him, condemned to death.
[01:03:18] He was
[01:03:24] arrested and prosecuted for
[01:03:26] the operation.
[01:03:30] to death by the military tribunal
[01:03:32] of Oran.
[01:03:41] In death row, he meets many
[01:03:43] nationalists, who sacrificed everything for a free and
[01:03:47] independent
[01:03:48] Algeria.
[01:03:56] And he had a laugh, his cheeks wanted to become.
[01:04:30] Great is his satisfaction and his
[01:04:33] pride to know that his sacrifice,
[01:04:36] in the company awaiting death for more than 3
[01:04:39] years, will be engraved in golden
[01:04:41] letters.
[01:04:49] This terrible night marked forever the mind of his cellmate.
[01:04:53] He remembers it as if it
[01:04:56] were yesterday. And when we entered cell
[01:05:00] 13, they started praying. I asked them what
[01:05:02] was going on. They said, "This is our last night." I told them, "Do you have
[01:05:05] a problem?" They said, "No, because our lawyers told us
[01:05:09] that they rejected you." The three
[01:05:13] companions
[01:05:16] prepare to face
[01:05:18] death.
[01:05:25] He doesn't know that the guillotine will spare him and allow
[01:05:29] him to witness these tragic
[01:05:31] moments.
[01:05:41] At this precise moment, at the dawn of this glacial January
[01:05:45] 28, 1958,
[01:05:48] he thinks that his fate will not be different from that of his cellmate.
[01:05:51] At
[01:05:54] 4 AM, they attacked. The prosecutor,
[01:05:58] the prison director, the imam, the mufti of the Arabs,
[01:06:01] and the guards opened
[01:06:05] the second gate,
[01:06:08] and even the third gate. They attacked
[01:06:10] us and found us standing, waiting for them.
[01:06:26] We were standing, three people: Salmani
[01:06:29] Chaaban, Charif Ali
[01:06:32] this man." They removed me, and two
[01:06:36] remained. They talked to Salmani Chaaban. They untied him from
[01:06:41] and removed his chains. Then
[01:06:45] they started talking to him
[01:06:47] in French. "Today you will die."
[01:06:51] He kept answering them in French, saying, "I
[01:06:54] will pass away and go to Paradise,
[01:06:57] will be in Paradise and everything. See how you will die."
[01:07:02] Driven to the guillotine, an image comes to his
[01:07:06] mind, that of
[01:07:09] paradise.
[01:07:14] Under the invocations of God, these last steps on
[01:07:17] earth taste like the first steps in paradise.
[01:07:30] The guard told us that
[01:07:34] the death they died
[01:07:37] the world because of their great courage and strength. May God have mercy on the
[01:07:40] martyrs.
[01:07:45] As a hero, not fearing death,
[01:07:49] he bids farewell to his companion Ali
[01:07:51] Sheriff.
[01:07:56] Courageously, he lays his head on the block,
[01:08:00] and prepares to join paradise.
[01:08:03] His soul soars
[01:08:06] to float in the sky of the proud mountains of
[01:08:09] Djurdjura, having welcomed the revolution
[01:08:13] until the supreme
[01:08:14] victory.
[01:08:18] Long live Algeria, free and independent.
[01:11:16] Asma, I think you should go and finish your university
[01:11:20] matters. If Omar needs help, I'm here.
[01:11:22] Honestly, I have time later. And I'm
[01:11:25] curious to know what this issue is. The truth is that Jenar has been found
[01:11:29] finally. Thank God that she's back to
[01:11:32] her children. Really, she's been found. This is great
[01:11:36] news. So how is she? Is she well? If
[01:11:39] there's anything I can do, uh,
[01:12:12] Because suddenly, you don't know when your end will come,
[01:12:16] Jenar. Even if I'm
[01:12:20] in prison, there's a world out there
[01:12:23] waiting for you, Asia. Poyraz kidnapped me and tried
[01:12:26] to kill me.
[01:12:36] You should be proud
[01:12:39] prison. Look.
[01:12:43] Jenar, whom I pitied so much
[01:12:46] prison. David, open your eyes.
[01:12:49] Open them.
[01:12:59] What happened, David? Tell me. I found Farhat. My men are working
[01:13:03] now. They are looking for Farhat everywhere.
[01:13:06] the company, and if anything happens, I'll let you know. You
[01:13:10] go home for the children, okay?
[01:13:13] Yes, David, before I go home, I want to see my mother again. It doesn't
[01:13:17] seem like she's well at all.
[01:13:20] Exactly. Okay, then go see her and tell her
[01:13:24] as soon as possible.
[01:13:46] She's tired, stressed, that's what she told me. And yesterday she stayed with her at the hospital. How is she today? Good. Thanks. She's
[01:13:49] better now.
[01:13:58] I can't believe it, Mom. This day has finally come.
[01:14:02] My siblings won't miss their mom anymore. Wait a second, let me talk to them
[01:14:06] right away.
[01:14:09] I'm afraid they won't accept this, my
[01:14:11] daughter. But I hope
[01:14:15] they believe me so they can
[01:14:20] worry about anything, Mom. I am sure they will believe you,
[01:14:24] and my grandmother is not here, so there's no need to be afraid of anything. And from now
[01:14:28] on, all your children will be around you, and tomorrow you will
[01:14:31] see them.
[01:14:35] Oh, my daughter, if you only knew, even if
[01:14:37] I told you, there would still be something missing in my life.
[01:14:41] I won't be able to tell Qudra that he is my son and embrace him. If
[01:14:45] you knew that I am depriving you of your brother,
[01:14:48] would you forgive me then?
[01:14:49] I wonder.
[01:15:03] Here, your friend has arrived.
[01:15:17] What happened to you, Nawal? David still hasn't found a way
[01:15:21] to get me out of here. I mean, he's trying very
[01:15:24] hard, Mom. But God willing, he'll catch Farhat. What is he
[01:15:28] going to do
[01:15:28] with Farhat?
[01:15:32] He will convince Farhat and make him take full responsibility for the matter.
[01:15:35] And this way, you will get out of here, Mom.
[01:15:38] That's
[01:15:42] right. Mom,
[01:15:44] I know it's not the right time, but I
[01:15:48] want to tell you something else
[01:15:49] important.
[01:15:52] Jenar is determined this time. She wants to tell
[01:15:55] the children everything. She's going now to meet them. What are you
[01:15:59] saying? What are you doing here then? You have to go
[01:16:02] stop her by any means. Nawal, do something proper.
[01:16:06] Come on. The snake, no matter what happens,
[01:16:09] must not be heard. Unbelievable, my grandchildren are believing her lies and hypocrisy.
[01:16:13] Do you understand, Nawal? Mom, but what can I do?
[01:16:16] I mean, Jenar was silent because she was afraid of you, but
[01:16:20] she won't be afraid of me now. And then she might have
[01:16:23] seen them and told them everything. I mean, do you think, smarty, why
[01:16:27] am I here now? As long as Jenar is going to talk to the children,
[01:16:31] what did I gain from what I suffered?
[01:16:34] Listen to me. Do anything, just
[01:16:39] Yassin nor Asma should
[01:16:43] know that this snake is their mother. Do you understand? You have to
[01:16:46] stop her. Go now, do your
[01:16:48] job.
[01:16:54] Come on.
[01:17:05] I hope I'm not late.
[01:17:09] phone.
[01:17:12] Yes, Auntie. Where are you, my daughter? My sister
[01:17:16] called us. We need to meet at Aunt Aisha's house
[01:17:18] today. Okay, Yassin, is that
[01:17:21] something you have? Yes, why? What's wrong? No, go
[01:17:25] now. Call Sahar immediately and tell her that
[01:17:28] you're not coming. Your grandmother is waiting for you, and you have to come here
[01:17:31] quickly. Okay, we'll pass by her and then
[01:17:35] we'll come. My daughter, you don't
[01:17:38] let your grandmother wait because she'll be upset with you.
[01:17:41] You scared me. What's this urgent matter? I don't understand. Didn't I
[01:17:45] say my grandmother went to visit a sick person? What's wrong? It seems something happened. My daughter, I'm
[01:17:48] telling you to come, and you're asking a hundred questions. Come on, don't waste time
[01:17:52] and come right away. If it wasn't important, I wouldn't tell you to come quickly. Okay,
[01:17:56] Auntie, we'll finish and come back right away. Tell my grandmother, and she'll surely
[01:18:00] understand.
[01:18:05] She hung up.
[01:18:08] No, it's not normal how stubborn she is. Who will she
[01:18:12] take after? Her mother, of course.
[01:18:13] And now, what am I
[01:18:17] going to do?
[01:18:19] What did you do, Fateh? Tell me. You couldn't find
[01:18:21] Farhat?
[01:18:25] Okay, I'm waiting for
[01:18:26] news from you. Yes, there's
[01:18:29] an appointment.
[01:18:37] What's wrong, Khalil Effendi? What are you doing here? I just
[01:18:40] came to tell you a couple of words. If I don't say them, I won't be at peace. Look, Khalil,
[01:18:44] if you want to open old wounds, get out of here
[01:18:47] quickly. You don't need I heard that Jenar is a traitor.
[01:18:51] Despite everything that happened to her, she held on to
[01:18:54] life. Yes.
[01:18:58] And what's it to you now? So
[01:19:02] that?
[01:19:03] No.
[01:19:07] I came to tell you to take care of her. We
[01:19:11] stole 20 years of her life and deprived her of
[01:19:14] her children for our own benefit. We tortured her without
[01:19:17] mercy.
[01:19:19] From now on, you are responsible for protecting her.
[01:19:22] Otherwise, you know very well what I will do, Mr. Dawood. What
[01:19:26] do you mean, Khalil? Are you threatening me in a
[01:19:30] polite way? Understand it as you wish. And I
[01:19:33] warn you, if this woman gets hurt again, then
[01:19:37] nothing will
[01:19:38] stop me.
[01:19:47] Don't worry, Khalil. From now
[01:19:50] on, I will protect Jenar very well, but not out of
[01:19:54] fear of you at all, because
[01:19:56] after this, I won't be able to bear another sin
[01:19:58] on my conscience.
[01:20:07] There she is, my sister.
[01:20:08] Hello.
[01:20:16] Where have you been, Aunt Aisha? We missed
[01:20:18] you.
[01:20:26] How are you, Aunt Aisha? Give
[01:20:27] me your hand.
[01:20:30] Thank you. After seeing you, I feel
[01:20:33] better.
[01:20:42] Aunt Aisha, what's wrong with you? Are you
[01:20:44] okay? Nothing. A small
[01:20:47] accident. Nothing
[01:20:50] important, thank God. You're fine, thank God. We wish
[01:20:54] you had told us.
[01:20:58] Thank God you're safe. If anything bad happened to you, we would have
[01:21:01] been upset.
[01:21:07] You're very dear to us. Look how
[01:21:10] sweet we are together. And we really missed you a lot.
[01:21:23] Mom,
[01:21:26] don't look ahead. You almost made me fall. You're
[01:21:29] at this age and still haven't learned to walk like a normal person. Mom, is something
[01:21:33] wrong with you? Mom, you're the one who can't see what's in front of you, and on top of that, you hit
[01:21:37] me. Your tongue is always long, and you keep
[01:21:39] answering me back. Now, I don't know why
[01:21:43] you're angry, but there's no need to take it out
[01:21:45] on me.
[01:21:48] Excuse me, my son. I'm a little tired because I didn't
[01:21:51] sleep, that's why I'm angry. Okay, Mom, no
[01:21:55] problem. Tell me, where is my grandmother? Is she still staying with her
[01:21:57] relatives?
[01:22:00] I expect her to stay there for a few days. Okay then, I
[01:22:04] have to go. Come here and let me kiss you. Aha.
[01:22:09] Take care
[01:22:09] of yourself.
[01:22:18] Welcome, Nawal Khanum. Hadiye
[01:22:20] Khanum just arrived and asked about Aisha Khanum. She went to Sahar and
[01:22:24] didn't find her there, and she was worried about her and came here. As if her only concern
[01:22:28] is Hadiye and Aisha. Go
[01:22:30] do your job.
[01:22:37] So, Hadiye doesn't know where Aisha is?
[01:22:41] That's strange, really. That means she didn't tell
[01:22:44] her anything. I wonder if she talked to the children or
[01:22:48] not yet. I hope something happens and she can't tell them,
[01:22:51] because Mother Asia would kill me.
[01:23:05] It's unbelievable how good it is. This is truly the second best cake I've eaten
[01:23:09] in my entire life. Who made the first cake? What kind
[01:23:13] of question is that, brother? Aunt
[01:23:15] Aisha's cake. Really, Asma is
[01:23:18] right. I mean, the food you make is something else, Aunt
[01:23:21] Aisha.
[01:23:26] I think now's the time, Mom. Come on, speak.
[01:23:40] My children,
[01:23:43] for a long time I wanted to talk to you about something
[01:23:45] important.
[01:23:48] It wasn't easy at all to make
[01:23:51] this decision.
[01:23:55] If I hadn't made you, maybe I wouldn't have been encouraged.
[01:23:59] I hope you understand me and believe
[01:24:01] me too.
[01:24:06] What's wrong, Aunt Aisha? Is there
[01:24:10] a problem?
[01:24:31] Life has everything.
[01:24:34] The bad
[01:24:36] and the good.
[01:24:39] Depending on your
[01:24:40] perspective.
[01:25:01] Oh, Sahar, oh, you burned us
[01:25:04] with what you did. What do I do now? Ugh,
[01:25:07] ugh.
[01:25:10] A short while ago, a
[01:25:13] few months ago, life was not fair to me at all.
[01:25:16] I thought I would never laugh again, and I lost
[01:25:20] hope completely.
[01:25:23] But I thank God for showing
[01:25:25] me all of you.
[01:25:29] You are amazing. And your hearts are very
[01:25:33] kind.
[01:25:36] And honestly, the best thing that happened
[01:25:39] in my life is that I met you all.
[01:25:42] And that you opened your warm
[01:25:44] hearts to me.
[01:25:47] And we loved you very much, Aunt Aisha, and you mean a lot
[01:25:50] to us. And we also thank God for sending us
[01:25:54] a person like you, with a pure and kind heart.
[01:25:57] In the worst of times, you stood by me, and you even
[01:26:00] supported me. I will not forget this.
[01:26:02] By God.
[01:26:09] I don't want to bother you or disappoint you, but
[01:26:12] honestly,
[01:26:16] there are some things I need to say, Aunt Aisha.
[01:26:21] Your nose is bleeding. Look, Aunt Aisha, are
[01:26:24] you okay?
[01:26:27] hospital.
[01:26:32] I'm fine, don't worry. Maybe
[01:26:35] my blood pressure went up. I'll go wash my face and I'll definitely
[01:26:38] feel better.
[01:26:45] All is well, God willing. What happened
[01:26:47] until now?
[01:27:50] Oh God, I've been waiting for this day for a long time. Bring me
[01:27:53] strength so I can talk to
[01:27:55] my children.
[01:27:59] If I don't talk now,
[01:28:00] I'm afraid
[01:28:03] I won't be encouraged again after
[01:28:05] today. Bring me help.
[01:28:24] Something must have happened, girls, because it's taking too long. I'll go see her.
[01:28:27] I'm coming with me. There's no need for you to stay
[01:28:29] here.
[01:28:53] Mom, Mom,
[01:28:55] what happened to you, Mom? Are you
[01:28:57] okay?
[01:29:01] Get up.
[01:29:16] Nothing, my daughter. The floor is wet
[01:29:18] and I slipped. But the floor is not wet, Mom.
[01:29:22] It's clear you fainted, Mom.
[01:29:25] You're not well. Let me
[01:29:27] hospital.
[01:29:35] My daughter, there's no need to go to the hospital for a small
[01:29:39] dizzy spell.
[01:29:42] Maybe it happened because I was stressed.
[01:29:46] If I talk to your siblings, I'll definitely feel better.
[01:29:49] Mom, your health is more important than anything else. Let's
[01:29:52] go for my sake,
[01:29:54] Mom.
[01:29:59] Okay, my daughter.
[01:30:07] They haven't returned yet. What do you think if you go
[01:30:09] and see them?
[01:30:16] Aunt Aisha, are you okay? Your condition doesn't
[01:30:19] look good to me. I'm fine.
[01:30:23] I just got
[01:30:26] mind me. I made you worried. Aunt
[01:30:29] Aisha is probably a little tired. We're going to the hospital. You guys stay
[01:30:33] here. Then let's go together. I'll take you. Come on, let's go.
[01:30:36] No, there's nothing. Important. We'll measure her blood pressure.
[01:30:39] And we'll come back as you wish.
[01:30:42] Aunt Aisha, take care of yourself.
[01:30:46] Thank God you're safe. Thank you. Goodbye.
[01:30:50] Goodbye.
[01:30:58] Oh God, how unfortunate this woman is. It must be because of
[01:31:01] the accident she had. I hope it's nothing serious.
[01:31:05] I hope so.
[01:31:16] Now they'll do a lot of tests
[01:31:20] for nothing. My daughter, what's the matter? Let me
[01:31:24] rest a bit and I'll feel better. Stop insisting. My mom, we have
[01:31:27] to go. At least I'll be reassured
[01:31:29] about you.
[01:31:50] My grandmother is waiting. I'll call them. Right, she wanted
[01:31:54] us.
[01:32:11] Oh my! Now she's going to make a scene.
[01:32:27] Hello, Asma? Hello? My aunt, my brother and
[01:32:31] I are done. We're coming right away. Where's
[01:32:33] my grandmother?
[01:32:38] Thank God, that means they didn't talk. Hello? What? Where
[01:32:42] did you go? I'm listening, Asma.
[01:32:45] Look, your grandmother just left the house
[01:32:49] because her relative got sick again. It's fine now. You can talk later.
[01:32:52] Go on.
[01:32:55] Goodbye.
[01:33:02] But why didn't she tell them, I
[01:33:04] wonder?
[01:33:07] What are you planning,
[01:33:08] Gulnar?
[01:33:11] What happened to them? What's wrong? They're acting
[01:33:14] strange. They said there's no need for you to come. Finish your work.
[01:33:18] Strange. Just leave them alone. Okay, brother, if
[01:33:21] you have time, can you drop me off? Of course, Madam Lawyer. I always have
[01:33:25] time for you.
[01:33:25] Let's go.
[01:33:42] Hurry up, guys. Call him now and relieve me. The earth didn't crack
[01:33:46] open and swallow him.
[01:33:54] Hello? Yes, Fatih. Tell me what happened. Did you manage to find
[01:33:57] Farhat? Fatih. Very
[01:34:01] good. Oh,
[01:34:04] Osman. Tell me what you want. Uncle, prepare the car.
[01:34:08] We need to go urgently. I'll prepare
[01:34:09] it right away.
[01:34:21] My daughter, you're making a big deal out of this. I just felt a little
[01:34:23] dizzy, but I'm fine now. Let's not waste time for nothing. Come on,
[01:34:27] my daughter. Mom, what's wrong with you? We're not leaving here until they do all
[01:34:31] the tests.
[01:34:33] Excuse me, we need to see the doctor quickly. You can rest here, and the doctor will come now.
[01:34:37] Come on. Go,
[01:34:39] Mom.
[01:34:49] Mr. Omar, welcome. Hello. Why are you back so early?
[01:34:53] I thought your work would take longer. We finished early. What happened
[01:34:57] to you?
[01:35:06] Nuran Hanim's words affected me a lot.
[01:35:09] And I decided not to accept Mr. Serhan's invitation at all.
[01:35:13] And that's right. There are other problems.
[01:35:17] Believe me, if you supported him leaving her and her son halfway
[01:35:20] through, I would have been upset. Right. I hope
[01:35:23] I never have to contribute to such a matter in my life.
[01:35:27] Amen. My trust in you is great, and you didn't surprise
[01:35:30] me at all.
[01:35:31] Thank you.
[01:35:40] Mr. Omar told me that I have no right, so he won't accept
[01:35:43] the invitation. It's okay, my dear. May God make
[01:35:47] it the biggest of calamities. There's nothing more than a lawyer. I'll
[01:35:51] talk to my lawyer tomorrow. And she'll
[01:35:54] take care of the case.
[01:36:06] Now go home and pack all your things
[01:36:09] quickly and go to the hotel I told you about.
[01:36:12] Okay. I'll take care of everything.
[01:36:16] Don't worry at all.
[01:36:33] Maybe the kebab
[01:36:34] guy came.
[01:36:43] Sir.
[01:37:22] Get inside. We need to talk a bit. Come on.
[01:37:26] And you, wait by
[01:37:27] the car.
[01:37:32] Come on, go in front of me. Come on, sit here.
[01:37:36] Let me see.
[01:37:39] Sir, what's wrong? I've told you everything I know.
[01:37:43] What else do you want from me? Do you want to take my soul? Look, my mother is
[01:37:47] in jail because of what
[01:37:48] I did.
[01:37:52] I just followed orders. I did everything Aunt Asia told me to do word for word.
[01:38:20] You'll take all the blame.
[01:38:23] And since you listen and you did everything
[01:38:27] my mother told you to do, you'll bear all the responsibility and be punished,
[01:38:30] Farhat. Do you understand?
[01:38:33] And I'll pay money for you
[01:38:35] and your family.
[01:38:38] Okay? Tell me, we agreed, didn't
[01:38:40] we?
[01:38:49] Okay, sir. I'll take all
[01:38:52] the blame.
[01:39:05] Oh sister, these are really
[01:39:06] expensive.
[01:39:11] But bravo to your friend. He seems very generous.
[01:39:13] Yes, look, on Thursday it's my cousin's wedding,
[01:39:17] and I want to borrow something from these. But you have to take good care of them.
[01:39:21] If you only knew how expensive these clothes are. He paid a lot
[01:39:24] of money, and he even told me the store is yours, and you can buy whatever you want. And what
[01:39:28] did I do? I bought all of these.
[01:39:31] Yasmine, but honestly, you're shameless. If I were
[01:39:34] you, I would have been embarrassed and only bought one or two pieces. My dear, why should
[01:39:38] I be embarrassed? Where would he find a beautiful
[01:39:40] woman like me? We consider them expensive, but
[01:39:44] for him, they're nothing at all. If he couldn't
[01:39:47] afford them, he wouldn't have taken me.
[01:39:50] You're right, you're right.
[01:39:54] I'm really surprised how much you've changed, Yasmine. Is this really
[01:39:58] you? Is this the same person I used
[01:40:00] to love?
[01:40:05] What happened? Is something stuck? Oh,
[01:40:08] stuck? What, Yasmine? My mom told me to bring rice, and I forgot to bring
[01:40:12] it to her. Sibel, you really scared
[01:40:15] me. Okay, go get the rice
[01:40:18] and come back
[01:40:20] Don't be long.
[01:40:54] to death today? For this reason, Yasmine?
[01:40:58] Because of two expensive pieces of clothing, you left me? I was ready
[01:41:02] to give my life for you, but your heart was tied to these rags, wasn't
[01:41:06] it?
[01:41:10] Yaseen, go. I don't want to see you. Answer me quickly,
[01:41:13] Yasmine. Was your love really that cheap? So
[01:41:17] you would give your heart to anyone who provides for your needs?
[01:41:20] Is that why you couldn't love me? Is that why you left
[01:41:24] me, Yasmine?
[01:41:29] So these are the ones who will make you happy, right? The ones who bought you
[01:41:32] these expensive clothes. Will they be able to give you the value I gave you
[01:41:36] and the pure love I gave
[01:41:38] you? Come on, look who's talking about
[01:41:42] love. You're the last person who can talk about
[01:41:45] love in front of me, Yaseen. Your love was also
[01:41:48] a lie. Right. Without
[01:41:51] wasting any time, you met a rich woman.
[01:41:55] What happened to you, Yaseen? You used to say money isn't everything.
[01:41:58] Didn't you used to tell me that love
[01:42:01] satisfies? Didn't you tell
[01:42:03] on a mat? It seems it didn't
[01:42:07] work out, and it wasn't enough for
[01:42:10] you. Love also didn't
[01:42:12] satisfy you. You also immediately found a rich girlfriend,
[01:42:16] and without shame, you're standing in front of me and
[01:42:19] blaming me.
[01:42:23] What's happening
[01:42:23] here?
[01:42:30] I just want to know what made you do
[01:42:33] this. They gave me a lot of injections
[01:42:36] and took a lot of blood and did tests. I told you I'm
[01:42:40] fine. There was no need for this. It's fine, Mom. Now
[01:42:44] we'll know what's wrong and we'll be reassured. And then, if something comes up, we would have taken
[01:42:48] our precautions.
[01:42:50] I can't bear to see you sick,
[01:42:52] Mom. My
[01:42:55] precious daughter.
[01:42:59] Hello, Gulnar Hanim, please come
[01:43:01] in.
[01:43:05] Please wait outside. I want to see
[01:43:08] Gulnar Hanim alone, if
[01:43:09] possible.
[01:43:13] Please
[01:43:14] come in.
[01:43:21] Yes.
[01:43:27] The fainting and nosebleeds
[01:43:30] have been happening a lot lately. I've fainted a lot,
[01:43:33] but nosebleeds, no.
[01:43:36] No. There's nothing serious, right,
[01:43:40] doctor? The test results haven't come back yet, so it's hard
[01:43:43] for me to
[01:43:44] say anything.
[01:43:53] God forgive me.
[01:43:56] Why would the doctor want to see her alone?
[01:44:00] I hope it's nothing bad.
[01:44:03] Oh God, I beg you to protect my mother. Help me,
[01:44:07] my Lord.
[01:44:13] Tell me, is there something you haven't told me, doctor?
[01:44:16] I'll speak to you clearly.
[01:44:19] As I told you, the test results haven't come back yet, and with that,
[01:44:23] we might need some other tests.
[01:44:26] But I want you to be strong and not break
[01:44:30] down at all.
[01:44:36] I'm sorry, doctor. I apologize greatly, but I can't take it anymore.
[01:44:41] Please tell me, is my mother
[01:44:42] okay?
[01:44:50] I'm her daughter, and I have the right to know what's
[01:44:53] happening. Please tell me what's happening
[01:44:57] with my mother. A little while ago, I was explaining
[01:45:00] to your mother the reason for the fainting and nosebleeds.
[01:45:03] My blood pressure went up, my
[01:45:05] daughter. What he said is
[01:45:15] true. Yes, because for a few days, I've been putting a lot of salt in the food.
[01:45:19] That's why my blood pressure went up a bit.
[01:45:23] the reason. Your mother's blood pressure went up. Did you hear
[01:45:27] that, my daughter? You worried Thank God, I'm
[01:45:30] fine. Let's not
[01:45:33] bother the doctor anymore. Let's go. Okay,
[01:45:36] Mom. Thank you. I feel
[01:45:40] relieved now, because you know, a person thinks of a thousand
[01:45:43] possibilities. Come on,
[01:45:45] my daughter. Excuse me.
[01:45:58] Even your family won't know that you took responsibility, Farhat.
[01:46:02] Don't worry. It will happen as you
[01:46:04] wish.
[01:46:12] Don't you dare mess with me, Farhat. The matter concerns
[01:46:16] my mother. So if I feel that you're playing tricks behind
[01:46:19] my back, then I won't spare
[01:46:22] you at all. What he said himself, sir,
[01:46:25] neither the conversation that happened nor what Aunt Asia did
[01:46:29] will harm anyone else at all. I did everything
[01:46:32] myself in this story. That means I kidnapped the woman,
[01:46:36] and I was going to kill her.
[01:46:46] Don't worry. Your family won't lack
[01:46:49] anything.
[01:46:54] What is this place? And who is this man?
[01:46:58] They must be plotting something, but I'll
[01:47:01] find out.
[01:47:12] I'll drive. You stay here. I want to stay here alone. See
[01:47:16] this man? Don't take your eyes off him. You'll stay
[01:47:20] here until tomorrow. Yes, as you wish. But who is this man? Did he say
[01:47:23] something wrong, Uncle Dawoud? This is none of your business at all. Do what I'm telling
[01:47:27] you, and that's it. I'll send the car with someone else in the morning.
[01:47:31] Bring him to the police station and come.
[01:47:33] Okay.
[01:47:55] Geçer sanmıştım aylar
[01:47:58] geçti unutmadım
[01:48:01] seni
[01:48:04] gözyaşların hiç
[01:48:06] değmisin kururumuş.
[01:48:10] toprağıma,
[01:48:13] seni üzmek en son
[01:48:16] şeydir şu kısa
[01:48:18] hayatımda
[01:48:22] gözlerindeki
[01:48:23] on
[01:48:27] tebessümü
[01:48:31] görmek için
[01:48:33] bena
[01:48:35] yıllarca
[01:48:37] beklerim.
[01:49:29] What's wrong, cousin? Who is this boy? Why did you
[01:49:37] no, dad, no. My love,
[01:49:40] come here, my love. Oh my dear.
[01:49:44] He smiled at him.
[01:49:58] Don't you see his condition? He's definitely hungry.
[01:50:02] Maybe he'll calm down. I'll go out and ask about his family. Oh,
[01:50:05] my dear, how did your family leave you?
[01:50:35] It's me against you, time. Who
[01:50:39] will break whom?
[01:50:41] And his mother is in the shroud. After
[01:50:45] the shroud, it's in the dirt.
[01:50:48] The hand of injustice no longer covers
[01:50:51] it.
[01:51:43] Oh world, you are the opponent. The loneliness
[01:51:46] of an orphan is like iron.
[01:51:49] Someone moved away early.
[01:51:52] Until my loneliness is broken.
[01:51:55] Oh friends, but take
[01:51:59] care of this
[01:52:03] dust. Oh Lord, I have
[01:52:06] nothing for this. Despite
[01:52:09] the pain, every darkness has
[01:52:12] light. And injustice, no matter
[01:52:15] how high it rises, the hand of injustice
[01:52:18] is broken. In their eyes,
[01:52:21] a tear with a thousand
[01:52:24] prayers. A lover despite
[01:52:27] the pain. Every darkness has
[01:52:31] light. It's me against you,
[01:52:34] time. Who will break
[01:52:37] whom? And his mother
[01:52:40] is in the shroud. After the shroud,
[01:52:43] it's in the dirt.
[01:52:52] Ah.
[01:53:12] Oh wow, oh
[01:53:15] a love. What is this?
[01:53:19] What a blessing. Oh
[01:53:22] lady, daughter of the neighborhood leader of
[01:53:25] Al-Hayala. Love, passion, infatuation, and
[01:53:30] the orphan whose father's origin is unknown.
[01:53:34] What is this? What is this? By God, it's something to be proud of.
[01:53:38] My aunt, I hope you trip and
[01:53:42] fall, and no one hears
[01:53:45] you, oh Lord.
[01:53:48] I'll show you the stars of noon.
[01:53:51] Aunt. Aunt. In the name of Allah, the Most Gracious, the Most
[01:53:54] Merciful. Mashallah.
[01:53:56] Yes,
[01:54:01] 310, pick it up.
[01:54:04] Come on, come on, quickly. Say, "Oh Lord." They are my
[01:54:08] concern. Yes, may God be pleased with you. Give me the second one, father. Give
[01:54:12] the pipes. Focus, focus. Away from
[01:54:15] the pipes.
[01:54:17] God.
[01:54:23] the scale.
[01:54:29] Away from the scale.
[01:54:32] What is this?
[01:54:36] Weak, strange.
[01:54:55] And then with this situation.
[01:54:58] Night is night, and my day is
[01:55:00] day. Oh, if only she would elope with me
[01:55:04] and I would be done with heartbreak and rest. But
[01:55:07] the obstacle in front of me is Ibn Badiyeh,
[01:55:11] Salem. Peace, mercy, and blessings
[01:55:15] of God be upon you. Salem, what's
[01:55:18] wrong with you, Salem? You seem surprised like you saw a genie.
[01:55:21] Oh, no, by God, I was just a little
[01:55:24] lost in thought. You're definitely thinking about the deceased,
[01:55:26] right? May God have mercy on her.
[01:55:30] Brother, I want you to give me a piece of fabric
[01:55:34] that's just perfect. You know who I want to give it to? To Fahmiyah. Why are you
[01:55:38] looking at me like that? Show me what you have, come on.
[01:55:41] Yes, you're welcome, Adnan. You're welcome for your eyes. Let me see what you have.
[01:55:45] Show me. Show me.
[01:55:49] Oh God, how beautiful this fabric is, Salem.
[01:55:52] The color is amazing. May God bless your hands. I hope
[01:55:55] you live long and have children. May God bless you, Fahmiyah. It's nothing
[01:55:59] from your duty, my son. Oh, Salem.
[01:56:02] Now is not the time for gifts. You should have saved
[01:56:05] your money. Don't worry, aunt. It's nothing
[01:56:08] important. It's just a piece of fabric that I folded for Fahmiyah and brought
[01:56:12] to her. Now, when she's with you, you can bring
[01:56:15] her whatever you want. Now there's responsibility. Think
[01:56:19] about it. Or do you want us to spend it
[01:56:22] like this? Besides, the engagement has lasted too long.
[01:56:25] And tomorrow, people will start talking bad about us.
[01:56:29] And count on it, after 40 days of mourning for the deceased,
[01:56:32] you must marry her.
[01:56:39] God willing.
[01:56:40] God willing.
[01:56:46] Aunt, please don't tell my father. Whatever you want will
[01:56:49] happen. I'll be your servant under
[01:56:51] your feet.
[01:56:54] Oh God, I can't stand to hear your breath.
[01:56:57] Ah. May God destroy your house
[01:57:00] yourself. May God destroy your house
[01:57:04] this thing you're doing,
[01:57:05] orphan?
[01:57:09] The daughter of the neighborhood leader is sitting and loving and flirting
[01:57:13] with the orphan. You're disgusting. My brother,
[01:57:17] the best young man in the neighborhood and its leader.
[01:57:20] For love and passion,
[01:57:23] you shameful woman. What you did to us is little,
[01:57:26] you shameful woman. Aunt, please don't tell my father, by God,
[01:57:29] he'll kill me. Don't
[01:57:31] tell your father.
[01:57:34] These are tears, crocodile
[01:57:36] tears.
[01:57:41] Please, aunt, whatever you want will
[01:57:44] happen.
[01:57:48] And mother, make me a cup of coffee so I can sit, relax,
[01:57:50] and think. I need to think how to take revenge for myself
[01:57:54] and for my brother, the colonel, whom you humiliated and belittled,
[01:57:57] oh daughter of the neighborhood leader,
[01:58:00] you lover
[01:58:03] of the orphan, whose father's origin is unknown. Get up
[01:58:07] for the Eid. Yes, aunt, just
[01:58:10] calm down. And don't do anything,
[01:58:14] you wild one. Your command, aunt.
[01:58:17] Your command.
[01:58:23] May God destroy your house.
[01:58:27] The orphan's bride. And love
[01:58:30] and romance.
[01:58:33] And my brother, you don't want him, do
[01:58:36] you?
[01:58:40] Okay, you shameful woman, okay. There's
[01:58:43] always something hidden. Oh,
[01:58:45] your eyes.
[01:58:49] Don't think you're rid of me. I am Za'eet.
[01:58:52] I am Za'eet, with a spear and seven souls. What I want from you,
[01:58:56] I want it, whether now or later. Do you
[01:58:58] understand?
[01:59:00] For God's sake, please, I kiss your hand. I'm ready to do anything
[01:59:04] you want.
[01:59:06] Okay. Look, if you help
[01:59:10] me with something, the matter will be
[01:59:12] settled. What is it? I want
[01:59:16] the leader to marry
[01:59:17] his daughter to me.
[01:59:21] Aliya, Aliya, what's
[01:59:23] wrong with you, girl?
[01:59:31] up.
[01:59:43] What's wrong with you? It took a long time. I was busy with something, but it was quickly done.
[01:59:51] What's wrong, Risto? You're being so green.
[01:59:55] No, I mean, it's not good at all. Change
[01:59:59] the subject, change the subject. And Abu Salah, hello,
[02:00:02] Za'eet. No offense.
[02:00:06] I mean, how did the leader make you a colonel?
[02:00:09] Ah, so you know, Abu Salah, nothing stays
[02:00:13] the same. Your Lord provides for those who don't
[02:00:15] ask. If a horse is named and generous,
[02:00:18] then this Lord, that means, no offense, we need
[02:00:22] time to get used to it. Don't be impatient. You are dear to me, Abu
[02:00:25] Salah. How are you, uncle
[02:00:28] Salah? He seems bothered by something.
[02:00:49] What, Samira? I find
[02:00:52] you sitting here. Yes, by God, sister, my patience
[02:00:55] has run out.
[02:00:57] I'm a guest. Excuse me, is this
[02:01:01] guy we saw outside named Za'eet?
[02:01:04] Yes, this is Za'eet.
[02:01:06] Watermelon. He became the colonel of
[02:01:10] Al-Hayala neighborhood, my dear. You don't believe what I'm
[02:01:13] talking about now? Is this guy a colonel? A colonel?
[02:01:18] Yes, watermelon colonel.
[02:01:20] So that's how it is, Bahiga? This
[02:01:24] is what happened, aunt. So will Jaber now
[02:01:27] agree to his marriage? Hayat from the leader must
[02:01:30] agree. I mean, would anyone dare to upset the leader of Hayal?
[02:01:34] The leader of Al-Hayala neighborhood and say no? I mean, whoever
[02:01:37] upsets the leader upsets Fayez,
[02:01:40] Rashid's son. So what brought you here, no offense? Shut your mouth,
[02:01:43] you girl. He's worth all your family, you daughter
[02:01:47] of a... Oh, why are you talking to me like that, aunt?
[02:01:50] Does anyone leave a young man like a
[02:01:53] rose and marry her to an old man?
[02:01:57] By God, aunt, the leader
[02:02:00] Hayal will give Hayat a dowry
[02:02:03] that Fayez or Abu Fayez cannot afford.
[02:02:07] And besides that, his cousin will become a man of
[02:02:10] standing in the neighborhood. So
[02:02:14] that's how it is? Yes, that's how it is. It's none of my business. This talk happened
[02:02:18] between the men. I've always said that no one will ruin this house except
[02:02:22] someone like you. You. Never mind.
[02:02:29] not bless you.
[02:02:37] Why are you doing this, mom?
[02:02:39] Why?
[02:02:49] What are you doing? Show me. I know. Show me. But
[02:02:52] for whom? For the dirty one? What's wrong with you? Do
[02:02:56] you want to make her a man for a vile, despicable, and illegitimate
[02:02:59] person?
[02:03:02] Za'eet became the colonel, and the leader
[02:03:06] drive me crazy. What colonel? No colonel. This is just a hireling
[02:03:10] like him
[02:03:10] and like us.
[02:03:14] Salah, we are all working for the leader here.
[02:03:18] And we must follow his orders.
[02:03:20] So that's how it is? Yes, that's how it is, by my
[02:03:24] consent.
[02:03:27] Yes, your command, your
[02:03:29] command, mom.
[02:03:37] May God not bless you, you dog. What
[02:03:40] if it didn't work out with you, sister? Whenever you want, you can come, and I'll give
[02:03:44] it back to you. Welcome.
[02:04:02] Salem must leave
[02:04:05] Fahmiyah.
[02:04:10] What? Oh, tell me your uncle didn't give you your inheritance from
[02:04:14] your father after all the beating he took for it. By God, it saddened me, my dear. You shouldn't
[02:04:17] have laid a hand on my uncle. This
[02:04:21] is my uncle, my flesh and blood. He doesn't abandon me. Your uncle
[02:04:23] deserves it, and he deserves more than that too.
[02:04:27] Your uncle is a man without morals and without
[02:04:28] origin.
[02:04:35] Oh God.
[02:04:39] So where would he have gone?
[02:04:41] Al-Bawaki.
[02:04:45] You know, you take a timber and go to Al-Bawaki. You carry
[02:04:48] the pickaxe and deliver it to Abu Al-Noor. And see this much where
[02:04:52] it ends. The leader greetings.
[02:04:55] Yes, hello, Abu Fayez. Peace be upon
[02:04:59] you. And upon you be peace and mercy of God.
[02:05:01] The house
[02:05:05] is ready. What house? The house you told me to
[02:05:08] close for you. Yes, may God give you strength. Thank you very much, Abu
[02:05:12] Fayez. I hope the house is beautiful as you requested.
[02:05:16] Small and tidy. May God keep you for us, Lord. Please come
[02:05:19] in. Rest. The leader is in a hurry. Peace be upon you. May God be with you. May God
[02:05:23] be with you. These are
[02:05:26] good news.
[02:05:30] Oh men, whoever upsets the leader upsets
[02:05:34] Fayez. This is a leader. I don't want to marry
[02:05:38] my daughter to Fayez, and I also don't want to marry her to the leader.
[02:05:41] Do you understand? Yes, and the house
[02:05:45] and the police station. Tomorrow, when you sit on your deceased
[02:05:48] father's chair in the guesthouse, and your word will be final.
[02:05:52] What, cousin? Think about it carefully.
[02:05:54] Mom, I don't want to
[02:05:58] get married. I don't want to.
[02:06:00] You kept quiet at first, and in the end, you'll be forced to marry.
[02:06:04] May God suffice me, and He is the best Disposer of affairs. May God suffice me, and He is the best Disposer of
[02:06:07] affairs.
[02:06:15] Mom, I honestly don't understand you. How do you want to marry
[02:06:18] the girl against her will? Shukri, get out of this matter and
[02:06:21] don't interfere, may God be pleased with you. How can you
[02:06:25] do you mean "get out of this matter"? You forgot that she's my sister, and I have to worry about her. You worry
[02:06:29] about her?
[02:06:53] He's an old man. Besides, a man is never ashamed, even if
[02:06:57] he's 100 years old.
[02:07:09] There is no power or strength except in God. What
[02:07:12] is this story? What is this story?
[02:07:30] What's wrong, mom? Are you upset? Follow me home.
[02:07:33] We'll talk later. What's wrong, mom?
[02:07:37] May God make it good.
[02:07:38] What's
[02:07:41] wrong, father? What's wrong with my grandmother? I
[02:07:44] don't know. She's all upset. I'll go see what's
[02:07:48] going on.
[02:07:54] Let
[02:07:57] me see, Salim. What's wrong? Tell me.
[02:08:01] I want to tell you, by God, Salim, but honestly,
[02:08:04] I'm afraid you'll get offended and upset with me because you know very well how much
[02:08:08] I love you.
[02:08:10] By God, you make me curious. What's wrong? Tell me.
[02:08:14] I'll tell you, but I want you to promise me first that you won't tell
[02:08:17] anyone. I promise you. It's on
[02:08:21] my honor. What's wrong with you? Tell me.
[02:08:25] Just like that, on my honor, that you won't mention
[02:08:27] me.
[02:08:31] Honestly, the matter concerns
[02:08:34] Fahmiyah.
[02:08:38] Fahmiyah? What's wrong? By God, Adnan,
[02:08:41] Fahmiyah is tired of you and hates you.
[02:08:44] And she said maybe
[02:08:45] the engagement will be broken off.
[02:08:52] Fahmiyah. She said that you've been waiting
[02:08:55] too long. You can't afford to open a house. I can't
[02:08:59] open a house.
[02:09:26] But she said this, and Umm Jaber said the same thing. The engagement has lasted too long, and this is a big problem. Now, I've been patient, but the young men won't be patient.
[02:09:30] Besides, people started
[02:09:32] talking about them. That means the talk
[02:09:36] is true. What talk, Adnan?
[02:09:50] What is this? I heard it, Shukri. Yes, by God,
[02:09:53] brother, as you're doing to me, I'm very
[02:09:56] upset. What can we do?
[02:10:00] What I know is that your mother will not agree to the matter unless
[02:10:03] your father agrees to her marriage.
[02:10:06] And how will the leader leave the house for your father? I didn't
[02:10:09] understand that.
[02:10:13] I don't know, by God, I don't know.
[02:10:16] So your father doesn't want to marry Hayat to the leader.
[02:10:19] He wants to leave her and marry her to Fayez, your cousin.
[02:10:22] Brother, what I know is that your father doesn't agree to marry her to your cousin or
[02:10:26] to the leader, but your mother insists on marrying
[02:10:29] her to the leader. Your uncle, Abu Fayez, is interfering in the matter.
[02:10:33] What's wrong, brother? Your questions are too many.
[02:10:36] I told you, I don't know anything.
[02:10:39] Where is your father, Ali? Oh, Fayez, here. Where
[02:10:43] did he go? Maybe home.
[02:10:46] Okay, please, uncle. And you're aware
[02:10:49] of the matter. I didn't see anything, and nothing is
[02:10:51] explained. Your grandmother must have told him, but between
[02:10:55] me and her, she upset the leader.
[02:10:57] Spoiled.
[02:11:00] What is this? Oh, Abu Al-Fakhr, do you want to force
[02:11:04] your daughter into such a marriage? Please, uncle Abu Fayez, I don't want
[02:11:08] to marry the leader. I don't want to. Calm down, my dear, calm down. Don't be afraid.
[02:11:12] Abu Fayez, don't interfere in our lives. She's our daughter, and we're free to marry her
[02:11:16] to whoever we want. Yes, what's wrong, my brother,
[02:11:19] the head of the family? It's none of my business.
[02:11:22] It's none of your business. Why is it that when I wanted to marry my daughter Sumayya
[02:11:26] to Aref, you stood in her way? Why do you interfere in our family, and we
[02:11:30] don't? Your daughter's marriage wasn't
[02:11:33] right. There's a stranger in Abu Al-Noor's house, whose origin
[02:11:36] and lineage are unknown. And he might be an
[02:11:40] illegitimate child, God forbid. Yes.
[02:11:43] Now I want to know who the man of the house is, you or your
[02:11:46] wife Bahiga? Abu Fayez,
[02:11:50] watch your words.
[02:11:54] is what I came up with. Oh, brother, it's a sin to marry
[02:11:57] her in such a marriage. Go inside.
[02:12:01] Abu Fayez, aren't you afraid? from the leader.
[02:12:04] You didn't get it, we don't want to give it to your son Faiez. Oh people,
[02:12:08] I want things to reconcile between us.
[02:12:11] We are one family. Family, and blood
[02:12:14] doesn't become water. Understand it now. Let's unite
[02:12:18] and bring back love to each other like before. Abu Faiez,
[02:12:21] may God bless you. I know
[02:12:25] interfere, brother. I will sell the house and move out of it,
[02:12:28] and each one of you will get his share, but don't force it on the girl
[02:12:32] and make her live in oppression all her life.
[02:12:34] It's forbidden.
[02:12:42] That's what you see, father. Yes, but father, I want you to be
[02:12:46] comfortable and happy, and I don't want to feel like a burden
[02:12:50] on you, and I don't want my presence in the house to be the cause
[02:12:53] of an evil quarrel. After
[02:12:56] what, you're talking like this now? I swear
[02:13:00] to God, if I knew it was going to happen like this from the beginning, I would have left the house
[02:13:04] and walked away. You know, brother, your comfort and happiness
[02:13:07] are important to me. May God bless you and make you happy,
[02:13:11] Arsan. By God, you are a good son, father.
[02:13:31] Hello, sir.
[02:13:34] May God bless the mayor. Good, God willing. What's
[02:13:37] the story? After your permission, let me pass, I want to go in,
[02:13:40] my wife and I, to see our share of the house. And with your help, maybe we can divide it. I
[02:13:44] want to live in it. What's your order, sir? What? Am
[02:13:47] I a mayor? Did I make a mistake? I'm telling you I want to
[02:13:50] live in my share. Say "I seek refuge in the Lord of Daybreak." What
[02:13:54] is this calamity? Brother, the story
[02:13:57] of living here, you have to forget it. What
[02:14:00] do you mean? This is my right, O mayor, my right.
[02:14:03] I know it's your right, and I will give you your share. No, sir, you didn't
[02:14:07] guess. I won't sell. I'll give you the rest of the shares
[02:14:10] and let me rest my head. And if you're eyeing the share, let me
[02:14:14] understand. There is no god but
[02:14:16] Allah. With your permission, come on,
[02:14:19] mayor, give me way.
[02:14:23] I believed in God on this day.
[02:14:26] Is it possible that your brother did this? He goes and lives with the chief of police
[02:14:29] in our house. Yes, by God, he's crazy, he doesn't do what he did. What do you want to
[02:14:33] do, Jaber?
[02:14:35] My mind is messed up and confused.
[02:14:39] May God forgive you, Jaber. May God forgive her.
[02:14:43] She doesn't want to get confused, cousin. Go sell the house and give everyone in the family
[02:14:47] their share and relieve us from these problems. Where will we go,
[02:14:51] mother? How do you mean, where will we go? With our share, we'll go buy a house
[02:14:54] and relieve ourselves. Enough, it's a family house.
[02:14:57] The mayor is confused. Father, is it possible to leave the house
[02:15:01] we were born in? My soul might leave me, but
[02:15:04] I won't leave this house. May evil be far from you, cousin. For God's sake,
[02:15:08] don't say
[02:15:08] that.
[02:15:14] Sheikh, for God's sake, find me a solution. Why didn't
[02:15:17] God guide him and give you your right from his father's share? He didn't
[02:15:21] give me anything and he doesn't want to give me. What should I do?
[02:15:25] I'm not doing it for anything, I'm doing it for my fiancée, Sheikh.
[02:15:28] The period has been too long. I will lose her. I will lose her and I don't have money. What
[02:15:32] should I do? What can I do? There is no power or strength except with God. There is no
[02:15:36] power or strength except with God. Sheikh, for God's
[02:15:39] sake, for the love of the Prophet, go to Abu Darwish and talk
[02:15:42] to him. Maybe God Almighty will guide him through you and he will give me
[02:15:45] my right. Tell him that I need them, I need them
[02:15:48] badly. Tell him that I am his nephew, I am
[02:15:52] of his flesh and blood. He shouldn't do this to me. Trust in God, my son Salim.
[02:15:56] Trust in God, and God willing, nothing but good will happen. There is no power or strength except with
[02:15:59] God. There is no power or strength except
[02:16:02] with God.
[02:16:05] By God, Sheikh, her fever doesn't go
[02:16:07] down. It goes down a little and then
[02:16:11] it goes up again. By God, I don't know what to
[02:16:13] do. I'm afraid something will happen to this girl.
[02:16:17] Trust in God, Abu Darwish, trust in God and let your faith
[02:16:21] be strong in God Almighty. God is sufficient for us, and He is the best Disposer of affairs.
[02:16:25] Oh Abu Darwish, Allah says in His
[02:16:28] Noble Book after I seek refuge in Allah from the accursed
[02:16:31] Satan. In the name of Allah, the Most Gracious, the Most Merciful.
[02:16:35] And never think that Allah is unaware of what the wrongdoers
[02:16:38] do. He only delays them for a Day
[02:16:42] when eyes will stare in horror. Almighty
[02:16:45] God has spoken the truth.
[02:16:47] So, Abu Darwish, there is an afterlife, there
[02:16:51] is an account. So, cleanse your conscience
[02:16:55] and give Salim, your nephew, his right. Let hearts be clear
[02:16:58] between you. Abu Darwish, money
[02:17:02] is nothing in this world. And believe me, after
[02:17:05] this, your daughter will heal
[02:17:07] and recover.
[02:17:17] Say on my nation, woe to my oppression, O
[02:17:20] Aaliyah. My Lord, I seek refuge in You, my
[02:17:23] Lord. My Lord,
[02:17:26] I seek refuge in You. By God, my aunt Saadiya wants to get revenge on me.
[02:17:30] Yes. Surely, my
[02:17:33] Lord, what should I do, my Lord?
[02:18:52] Peace be upon you. And peace be upon you, sister.
[02:18:57] What's wrong, brother? Where is Arsan? What's wrong? What do you want from
[02:19:01] Arsan? God bless you, I need him badly. He works
[02:19:04] here, right? Yes, sister,
[02:19:08] work today, meaning he's a bit tired. Where can I find him? God
[02:19:11] bless you, you can find him at his house, sister. Since
[02:19:14] Arsan rented a new house, please direct me to his house. God
[02:19:18] bless you.
[02:19:58] Come on,
[02:19:58] come on.
[02:20:05] Her. Arsan!
[02:20:07] For God's sake, look what's happening! What are you doing here? Let me
[02:20:11] in, then we'll talk.
[02:20:22] What are you talking about? Shaqib entered the house. Are you
[02:20:25] sure? Yes, by God, my master, I saw her with my own eyes,
[02:20:29] these eyes that will be eaten by worms. Who
[02:20:33] house? I don't know. But
[02:20:35] may God bless her, she has a face like the moon. May God protect her.
[02:20:39] How did you see her? She lifted her veil when
[02:20:42] she knocked on the door and Arsan
[02:20:46] Satan. Arsan doing this?
[02:20:50] I know he's a pious and devout man, and no bad word comes out of him.
[02:20:53] There is no power or strength except
[02:20:55] with God. Master,
[02:20:59] I told you, is it possible that this time he rented the house and lived alone
[02:21:03] work today? Arshan, is it possible?
[02:21:11] There is no power or strength except with God.
[02:21:14] Aliya, your stay here with me is not right. You can't stay
[02:21:18] here. I might not be able to go back home. I'm afraid my father
[02:21:20] will kill me.
[02:21:25] You're lawful, calm down. We need to think of a way
[02:21:28] to get out of this mess. I don't want anyone to speak ill of you.
[02:21:30] I can't accept anyone speaking ill of you or your father. This is a matter of
[02:21:34] honor. It's a matter of life and death.
[02:22:08] Be patient and calm down. Calm down a bit, let's
[02:22:12] think calmly. Listen, my mind is blocked. We don't know
[02:22:16] what to do anymore. We don't want to do something we'll regret all
[02:22:19] our lives. Aliya,
[02:22:23] I love you and I want you and I want to marry you, but
[02:22:26] this is not right.
[02:22:28] You understand me?
[02:23:00] I don't know, Arsan, I'm very scared. Calm down, Habiba, don't be afraid. Go into the room
[02:23:04] and close the door behind you. Okay, alright.
[02:23:08] Go, come on.
[02:23:25] Arsan, hello, hello, uncle Abu Al-Layl, who do
[02:23:27] you have?
[02:23:33] And this is the whole story as I told you, my master. And you are the one
[02:23:36] who knows best in the world. He doesn't do anything wrong. There is nothing
[02:23:40] that angers God between me and this creature. The whole
[02:23:43] story is that we want each other lawfully, and she asked me
[02:23:46] to bring the sheikh and write our marriage contract, but I didn't agree. I don't want anyone to speak ill
[02:23:50] of her or the leader. And now I'm going to
[02:23:53] let her go home, and I'm going to go straight to her father to ask for her hand in marriage according
[02:23:57] to God and His Messenger. There is no power or strength except
[02:24:00] with God. Well, why didn't you tell me about this before,
[02:24:03] Arsan? By God, I don't know what to say, my master, I was embarrassed.
[02:24:07] So I couldn't speak. Uncle, I love Arsan and I will kill myself
[02:24:11] if I don't marry him. Seek refuge in God. My daughter, may God bless you,
[02:24:15] go now to your family before the matter escalates and there is no
[02:24:18] solution for it. Your coming here will bring nothing but trouble.
[02:24:22] That's right, you must go home right now. And I am
[02:24:25] going to the leader directly, and I'm going with you. No, uncle,
[02:24:29] please let me go alone this time.
[02:24:33] Why? Enough, master, let me go
[02:24:36] alone this time. Leave me
[02:24:37] with you.
[02:24:46] My head against yours, oh time. Who
[02:24:50] will break whom?
[02:24:52] His children in the shroud. Remove
[02:24:56] the shroud from the mud.
[02:24:58] No more injustice.
[02:25:02] On my cheek.
[02:25:04] And I didn't live a moment of peace. All
[02:25:08] my life is hardship.
[02:25:11] My head against yours, oh time. Who
[02:25:14] will break whom? His children
[02:25:18] in the shroud. Remove the shroud from the dust.
[02:25:54] Oh world, you are the opponent. One.
[02:25:57] To challenge.
[02:26:00] Challenge after it's too early
[02:26:03] to break my limit. Oh family,
[02:26:07] oh friends, find the knock
[02:26:10] on the door. Others have buried
[02:26:13] bullets. Oh Lord, I have
[02:26:16] no passion
[02:26:20] for pain. Every darkness has its
[02:26:23] light. And no matter how much
[02:26:26] injustice rises, the hand of injustice
[02:26:29] is broken. In my eyes
[02:26:32] tears on what a thousand oppressed
[02:26:35] people prayed for. Passion despite
[02:26:38] the pain. Every darkness has its
[02:26:41] light. My head against yours,
[02:26:45] oh time. Who will break
[02:26:48] whom? And his children in
[02:26:51] the shroud, remove the shroud from the good.
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[02:28:44] Good evening, friends! Glad to see you
[02:28:47] again. So, summer in music. This is your
[02:28:50] appointment during the summer season. We
[02:28:54] are in yes, yes, we moved to the
[02:28:57] west of the capital. My heart yearned
[02:29:00] for you after you were away.
[02:29:03] We'll reveal you. I heard your name, my
[02:29:07] beloved. Fate chased me and threw me
[02:29:10] into cold, strange arms.
[02:29:13] Your love enslaved me and overwhelmed me.
[02:29:16] The gift of grace. Cry. Enough,
[02:29:24] I spoke, you said
[02:29:26] the words.
[02:29:28] How I was always oppressed with you. My
[02:29:31] life would go backwards. It passed
[02:29:34] into darkness. I'm not regretting your separation.
[02:29:37] If you didn't make
[02:29:40] the decision, I could have gone back home. It was written
[02:29:44] for me to live a new life and all my days returned
[02:29:47] to Eid.
[02:30:48] Ladies and gentlemen, good morning! What a pleasure to find
[02:30:51] you, as every morning during this summer season,
[02:30:55] we will accompany you through your morning appointment,
[02:30:58] summer breeze, always from this magnificent.
[02:31:02] architectural botanical jewel which is none other than the Essais garden. This morning
[02:31:06] we are going to focus on
[02:31:10] three themes. So, three very
[02:31:13] important themes. So you know that we talk a lot about activities, we talk
[02:31:17] a lot about activities for teenagers, we talk about activities
[02:31:20] for children particularly for or
[02:31:24] during this summer season and we sometimes ask ourselves the question and we said,
[02:31:27] what about elderly people? And yes, people
[02:31:31] so after their retirement, so even for
[02:31:34] people who don't necessarily work, they have free time, how
[02:31:38] to occupy their time, well it was an idea that our
[02:31:42] guest had through so a beautiful
[02:31:45] project which is none other than Dar Zour
[02:31:49] which precisely welcomes these elderly people around
[02:31:52] several activities and a very very good atmosphere, we will talk about it in a little
[02:31:56] while. Also, so
[02:32:00] it's not just activities, it's also events. Events
[02:32:04] around heritage too, why not sewing, why not traditional
[02:32:07] clothing, and speaking of traditional clothing, we will
[02:32:10] have a fashion designer who will be with us and who will talk to us
[02:32:14] about her passion for traditional outfits. This morning
[02:32:18] also, we will be interested in a very important segment of society,
[02:32:21] these are people with Down
[02:32:25] syndrome, they are also a segment of
[02:32:28] society that deserves to be accompanied, to be
[02:32:32] supervised. And this time, we will talk about
[02:32:35] a very particular supervision, it is through choreography,
[02:32:38] through dance, and precisely a choreographer will be with
[02:32:42] us, she will talk to us about this choice she makes which is none
[02:32:47] society, to make them experience pleasant
[02:32:50] moments, especially a lot
[02:32:53] of love, a lot of affection and
[02:32:56] good supervision for this segment, so that's the program for this morning, as I
[02:33:00] told you, Dar Y... Zehour, it's a
[02:33:04] day care home that
[02:33:07] welcomes, that receives elderly people around
[02:33:11] several activities, we are talking about it with our guest, Ms.
[02:33:15] Safia Bousnimi, hello, marhaba bique, hello,
[02:33:18] thank you for the invitation, it's always a pleasure to have
[02:33:22] you among us, thank you very much and I told you
[02:33:25] so you have worked with in
[02:33:29] collaboration with with.
[02:33:36] who dressed the young people held an event in July intergenerational and we will talk about it in a
[02:33:39] little while and precisely the designer is
[02:33:43] among us, Ms. Sabrina,
[02:33:45] hello.
[02:33:48] very pretty with your caftan, thank you. You're welcome. So today, honor to the
[02:33:51] caftan. Yes, we remind you that the caftan has been classified as a world
[02:33:55] heritage by UNESCO. So I'll come back to you, Ms. Z
[02:33:58] Nimi. So, it's
[02:34:02] a beautiful tribute that you pay to a very particular person.
[02:34:06] So tell us a little bit about this trigger. We talk
[02:34:09] a lot about houses, or rather
[02:34:13] schools of artistic
[02:34:15] education for young people, for children,
[02:34:19] but a school or a house, a home that
[02:34:22] brings together elderly people like that is not very
[02:34:26] common, not at all. In fact, it's the first concept in
[02:34:29] Algeria, it's the first and only one for now. But many
[02:34:33] people are interested in this concept. I hope it will spread across
[02:34:37] the country because there are many requests outside
[02:34:40] the wilaya, and even in the surroundings. We are
[02:34:44] located in Hinadja, but we can't be everywhere for now.
[02:34:48] It's already
[02:34:51] the first, and it's pleasant to receive all these
[02:34:55] people who come to us. So it's a sharing.
[02:34:58] They come already for the
[02:35:01] day, set up at the request of people, also for
[02:35:04] half-days, but it's more interesting to come for the
[02:35:08] whole day, but after that, it's up to the people. But time passes very quickly,
[02:35:11] I imagine. Exactly. So we had a person who only came in
[02:35:15] the morning, and when it was time to leave, she was frustrated because she
[02:35:19] was leaving the others behind. So I asked the family to
[02:35:22] reduce the visits to our place and to
[02:35:26] come all day, all day. So now she comes three times a
[02:35:30] week, she's super happy and so are we. And she
[02:35:34] lets loose with us. Yes, because it's true, when we ask ourselves questions, we say, "Well, we're leaving for the
[02:35:37] day, the day is 8 hours, what are we going to do? There's nothing to do, there's not much
[02:35:41] to do." But when she arrives, we are
[02:35:44] pleasantly surprised in the end, and when it's time to leave, she says, "Well,
[02:35:47] it went by so fast!" And that makes you happy, I imagine. Oh yes,
[02:35:51] it's great, and they give it back to us well. It's
[02:35:55] afterwards, I imagine it's magnificent what you do because you're not going to live the
[02:35:58] routine with these ladies. Not at all, not at all. And what we do
[02:36:02] as we go along is at the person's request. So they come at 9am and they
[02:36:06] leave at 5pm. So in the morning, we all start when
[02:36:09] it's not too hot, of course, by watering the garden,
[02:36:13] removing dead leaves. And so they love that too, and they
[02:36:17] do what they can, and then after that, we
[02:36:20] move on to something else. There's a lady who loves to make
[02:36:23] xera, so that's one of her favorite activities. So I
[02:36:27] kept that in mind. So she loves
[02:36:31] gardening. Oh, I gained weight
[02:36:34] by the way. It's so good that we enjoy it,
[02:36:38] health is more important. So
[02:36:40] we enjoy it and we treat others too, because we give them some to take
[02:36:44] home. So there you go. Oh yes,
[02:36:47] because they make a lot. Well, every day they make two
[02:36:51] each time. So we give them some to make
[02:36:54] them happy and to make their families happy too. So especially, it's true that kisera is
[02:36:58] essential. I don't know anyone who doesn't like xara. In any case, it's the
[02:37:02] best, it's the best. I'm promoting it, but it's the best.
[02:37:05] So after that, there are other activities.
[02:37:08] There's
[02:37:10] coloring, Tetris coloring, mandala,
[02:37:14] because someone told me, "Oh no, for babies." But it has nothing to
[02:37:17] do with it. Everything we do is therapeutic. Yes. So before
[02:37:21] talking about the activities, I would like, well, we are in the process of
[02:37:24] discovering. Well, it's her.
[02:37:26] There you go. It's very aesthetic
[02:37:29] too. So before talking about the activities, I
[02:37:33] would like us to come back to an event that you organized, a very, very particular
[02:37:37] event. So it's an event
[02:37:41] that is both relaxing and fun, but also for academic
[02:37:45] and scientific purposes. There you go. It's an
[02:37:48] event, well, intergenerational.
[02:37:51] So
[02:37:53] exactly,
[02:37:55] who dressed the young people, so there were young girls who paraded,
[02:37:59] each young girl with an elderly person. Yes. So
[02:38:02] well, the elderly people were given the free
[02:38:06] choice to dress as they wished. Yes, but
[02:38:09] they played along. Some played along, others told us, "Oh,
[02:38:13] too bad if I had known that it was like that, I would have dressed up." But we need to
[02:38:17] do this event again, I will dress up. I have
[02:38:20] I have, yes, well, traditional attire.
[02:38:24] So we're going to do it again, but not right away because
[02:38:27] well, after that it's the holidays. So after that it's the holidays.
[02:38:30] Exactly, Sabrina, you participated in this event.
[02:38:34] You dressed the young people. Tell us a little bit about
[02:38:38] your participation in this event. The
[02:38:41] choice of outfits was already much simpler, a pleasure to please
[02:38:45] them than a choice. Yes.
[02:38:48] So I have some outfits that are already
[02:38:52] ready from the workshop. They came to my place, I
[02:38:55] did everything necessary, that is to say, measurements, molding,
[02:38:59] etc., so that it would be well made on them. That way, they will
[02:39:03] love themselves walking in it. Yes.
[02:39:06] And so she had proposed to me, she had called me and told me, "We're going to
[02:39:10] do an intergenerational
[02:39:12] fashion show."
[02:39:15] Go for it, why not? I didn't even hesitate, and I didn't even
[02:39:18] hesitate for a second. So they came. So
[02:39:22] for the outfits, what kind of outfits did you choose? Because there
[02:39:25] are so many. Yes, oh, there are so many, and I would never take the
[02:39:29] risk of making outfits whose history I don't know. Ah, ah, ah.
[02:39:33] There you go. And we will come back to all that precisely. Yes, but I do
[02:39:36] mostly everything that is Algiers style. Okay. And
[02:39:39] caftan, that's really our specialty,
[02:39:43] which I could manage, let's say, with my eyes
[02:39:47] closed. After Algiers style, it's already a whole, it's a whole
[02:39:50] palette. Yes, yes, yes. Caftan side,
[02:39:53] karaco side, rila side, frimla side,
[02:39:57] bedroon side, what. There are, there
[02:40:00] are so many, there are so many indeed. So for the event, since they are young, I
[02:40:03] tried to be in the young age group. So I made everything that
[02:40:07] is karaco b drone with a spencer jacket and a
[02:40:11] caftan, but let's say a caftan much more from the east.
[02:40:15] Okay, it's the one from Annaba, more precisely. What's special about
[02:40:19] it? It's the cut that changes, it's much more the cut, otherwise we stay
[02:40:22] always the tefita part, the shahara
[02:40:26] part, the beading part, it's practically the same thing. After that, there
[02:40:29] is also the mad that I don't make unfortunately, the b food,
[02:40:32] but it's the cut that changes and the material
[02:40:35] also, velvet. Japanese velvet,
[02:40:38] German, Calais lace, it doesn't have Calais lace, it has
[02:40:42] shoulders, it doesn't have shoulders, it's open up to the hips,
[02:40:45] up to the knees, it's completely closed. So it's the
[02:40:48] cut and the material that changes, but otherwise it remains. And
[02:40:52] the name too. Yes, it is obviously the
[02:40:56] name of the chango. Indeed, the change is how we make the difference.
[02:41:00] There you go. But you have to be professional too, because for me everything is
[02:41:03] a caftan. If I see what you're saying, for me it's a caftan. So I
[02:41:07] won't look for it. It
[02:41:10] doesn't have, it doesn't have, it doesn't have. It remains a caftan.
[02:41:13] After
[02:41:18] exactly, that's it, it's with the name that we make the difference and we
[02:41:22] change,
[02:41:25] Annaba,
[02:41:33] that's it, and we are located, so very quickly we will understand
[02:41:37] the belonging of each, or rather
[02:41:40] the origin of each outfit. Indeed, what was the reaction of the young girls?
[02:41:44] All happy because there is still a return to tradition, haven't you
[02:41:47] noticed? Yes, there is a return, there is a great
[02:41:50] interest.
[02:41:53] They loved it, they didn't even want to take it off at the end.
[02:41:59] That's it, you have to take it off, that's it. But it's true that there is
[02:42:02] a very big return to traditional outfits. We
[02:42:06] feel more comfortable,
[02:42:09] then it's beautiful, then it's graceful, then it's classy, then that's it. And it's
[02:42:12] always beautiful to wear our history. Yes,
[02:42:16] indeed, exactly, indeed. So, precisely,
[02:42:20] coming back a little bit to this event, so it's true that there was
[02:42:23] all this side, as we said, of relaxation, of... having a
[02:42:27] good time, and also our academic, scientific side. So it
[02:42:31] falls within the framework of academic
[02:42:35] research, doesn't it? Exactly, exactly. And so
[02:42:38] they loved it too. They played along. So the oldest
[02:42:42] person who paraded, she was
[02:42:46] 95 years old. Allah, and she held
[02:42:49] up well. So well, helped by the young
[02:42:52] woman who was with her, yes, and she was
[02:42:55] all happy and everyone asks for more, right? Yes, there you go.
[02:42:59] So the young people came in the morning, they had breakfast with us, so it was
[02:43:03] a very nice, very nice exchange, a
[02:43:07] nice sharing, so they had breakfast with the elderly, so
[02:43:09] while eating, while
[02:43:13] setting the table, they uh, they shared a lot
[02:43:17] of things, they loved the elderly people as much as the young people,
[02:43:20] so there was a very nice exchange. So, Mrs.
[02:43:24] Znemi, you are in your... behind you,
[02:43:27] you were a nurse for many years, weren't you? So
[02:43:31] a nurse very close to the citizen, very, very close, you
[02:43:35] studied psychology in one way or another throughout your life,
[02:43:39] and you still do, and you still do, and we say it, the
[02:43:43] elderly people need a very particular
[02:43:46] treatment in the sense that they are, well, in the sense that they are
[02:43:49] people who already have life experience, who already have
[02:43:52] knowledge, who have lived, and so we can't treat
[02:43:55] them like children, not at all, a very specific
[02:43:59] treatment, right? And you have to be very
[02:44:02] attentive, you have to share a lot of things with them, and then it's an
[02:44:06] exchange, we learn from them, we learn a lot of
[02:44:10] things. Uh, that's right. So what can I tell
[02:44:14] you about that? So I don't know, for example, I know
[02:44:18] that with elderly people there's something very particular, it's the
[02:44:21] language, right, the language in the sense, in the sense that
[02:44:24] when they talk, I know that with my grandmother,
[02:44:29] sometimes I had trouble understanding because in the language there's the
[02:44:32] use of proverbs, of citations, and it comes
[02:44:35] into the discussion, and then we say, "Well, why is she talking about that when she's talking about
[02:44:39] this?" when everything has a meaning, you have to be very attentive, yes,
[02:44:43] that's right, you shouldn't, you shouldn't
[02:44:46] overlook what they say, yes, you have to listen to them and
[02:44:49] follow them and stay in the discussion they have
[02:44:52] chosen, so we accompany them on that, they need
[02:44:56] a presence, finally? Exactly, to be listened
[02:44:59] to already, to be listened to, to get out of isolation, because
[02:45:02] well, there's the wear and tear of the family, the close
[02:45:05] one is tired sometimes, even
[02:45:09] if the person is very close to the elderly person
[02:45:13] or but there's wear and tear, tiredness, so sometimes we
[02:45:16] forget to listen to them, we don't listen to them too much, so with
[02:45:20] us they let go, they know that they are listened to, well I
[02:45:23] say "they" because we only receive women, only women, yes, that's right, so...
[02:45:34] and to share things with them, yes, so there were some images that were scrolling during our
[02:45:37] discussion and we saw that there are board
[02:45:41] games, that you have a lot of board games, that's right,
[02:45:44] puzzles, Tetris,
[02:45:47] dominoes too, it's generally for men, but
[02:45:50] well, women too, that's right, when we think of dominoes, we think of men, that's right,
[02:45:54] immediately we think of men, but they love a person. And well, she
[02:45:58] has a lot of patience, she loves that, okay, so she plays
[02:46:01] Tetris, she does coloring and then she tells me, "Well, that's
[02:46:05] it, it's good, let's move on," I suggest dominoes to her, she loves it, her
[02:46:09] eyes light up, and you play it, oh yes, yes, well yes,
[02:46:12] I share with her, oh well, oh well, you have to be at least two,
[02:46:16] already for that. And so she
[02:46:19] had forgotten how to play, well she relearned, she relearned, that's right.
[02:46:23] And that's right, and she's doing well. Hm hm, there too we are seeing
[02:46:27] other, other images, it's the puzzle here,
[02:46:30] that's right, yes, and so they like it, they love it and
[02:46:34] they have patience, they take their time, they don't get
[02:46:37] annoyed, so that's what's good. And how did you
[02:46:41] finally get the idea to go for board games for
[02:46:45] women? Yes, well, why not? Why not, yes, that's why
[02:46:48] I'm asking you the question, physically you had this idea because it's true that we generally
[02:46:52] think of other activities, sewing,
[02:46:55] crocheting.
[02:46:59] But the particularity is board games, and precisely, how did you
[02:47:03] get this idea? The idea, well, it's normal, it's part of therapeutic
[02:47:07] activities, so they had to be kept busy. Okay, and
[02:47:10] then for them to relax, it's
[02:47:14] destressing, yes, that's right, it's true, it's true that it's
[02:47:17] destressing, it's true that, uh, I say
[02:47:21] for them, but me too, in fact I share with you, you're in the
[02:47:24] thick of it, you're in the thick of it, you share all that, absolutely, we share everything with
[02:47:28] them, indeed. Sabrina, I come back to you, so
[02:47:32] you're young, you have to say,
[02:47:34] intergenerational, that's right, intergenerational,
[02:47:37] indeed, that's why it went well. Finally, there was
[02:47:41] a good flow and I like them, I go there often, yes,
[02:47:45] to see them, she shares with her, I chat with
[02:47:48] her. A little anecdote, perhaps a little story that marked
[02:47:51] you. Uh, I don't know if I'll have
[02:47:54] the, the, well, I can say the first name, the first name, yes, you
[02:47:58] can, of course, okay, who marks me the most
[02:48:02] is Aunt Fatiha, Aunt Fatiha,
[02:48:05] she's the star, that's right, so Aunt Fatiha is the star, we've been talking about her since this morning, come on, a little hit
[02:48:21] every time I come in, she welcomes me, I become the
[02:48:25] star, the star is arriving, it's
[02:48:27] magnificent.
[02:48:33] So she often asks me the same questions, but I love it, well, that's right, and
[02:48:37] when she sees me, she tells me,
[02:48:41] or it's true that she puts on music, she asks for music, she makes
[02:48:46] the mood, oh yes, yes, she does the entertainment and
[02:48:50] then she also welcomes new members, she makes them
[02:48:53] feel comfortable, she makes them come in, so immediately people are in the swing of things. So,
[02:48:57] Sabrina, I would like to, I would like us to come back a little to your work,
[02:49:01] so you're a designer, you're a pattern maker, tell us a little
[02:49:04] about your passion, how you found
[02:49:07] yourself a little bit in your workshop? It's a
[02:49:10] parachute, this field,
[02:49:13] engineering, okay, in mechanical construction at
[02:49:17] 180 degrees, there, yes, it's not
[02:49:19] 360.
[02:49:22] Then I, I got into a lot of fields,
[02:49:25] I did e-learning, I did co-working spaces, I did a
[02:49:30] workshops, I did mechanics,
[02:49:33] aeronautics, I did a little bit of everything, and
[02:49:36] the parachute was the cause that pushed me towards
[02:49:45] yes, it was thanks to her that we went to see the traditional
[02:49:49] outfits, we went around the workshops, oh yes,
[02:49:52] she got married anyway, okay, okay, we went
[02:49:56] around and so on, and I, and I blossomed, so that period
[02:50:00] okay, I, I took pleasure in choosing
[02:50:04] the fabrics, choosing the outfits, uh
[02:50:07] to, to, to get to know the feet. With the
[02:50:10] artisans, it was really a huge
[02:50:14] pleasure, I started at first, finally it was something
[02:50:17] that was hidden in you and that I discovered later, but really later,
[02:50:21] yeah. And so, parachute, I
[02:50:25] immediately jumped into the deep end, I'm always learning,
[02:50:28] I learned, I'm always learning new things, new
[02:50:31] techniques, I had to take accelerated
[02:50:35] sewing classes in VIP.
[02:50:38] You really invested in... oh yes, yes, oh yes, and I travel, I even go
[02:50:42] outside the wilaya to see fabrics,
[02:50:46] to see stones, to meet new people, suppliers,
[02:50:49] to meet
[02:50:53] artisans who are magnificent, but really when they make things with their
[02:50:56] hands, it's incredible.
[02:50:59] Indeed, exactly, and there are outfits
[02:51:03] that look similar but they are not the same, yes, they look similar but
[02:51:06] it's really nothing, it really has nothing to do with it, it's very rare that
[02:51:10] I redo the same piece, oh yes, every time new
[02:51:14] things, I'm always the person, for example, when a client
[02:51:18] workshop, I always take my time to
[02:51:21] take the details of what she likes, what she
[02:51:25] doesn't like, to do fittings to try
[02:51:28] colors, advise her according to her skin tone,
[02:51:32] according to her body shape, according to her desires, according to her
[02:51:35] origins, according to, for example, the event, if it's a big
[02:51:39] wedding or a... it's not the same, so we make the difference between the
[02:51:42] two, so you also don't live a routine, finally? Oh no, not at all, oh not
[02:51:46] at all, not at all. Enrichment, finally, day by
[02:51:50] day, it's an enrichment day by day. Exactly, yes, because no
[02:51:54] woman is like another,
[02:51:57] like another, not at all, yes, not at all. Even with
[02:52:01] the team, when there's no appointment, there are no clients, we
[02:52:04] don't receive anyone, so we work in the workshop,
[02:52:08] even when we chat, we take a
[02:52:11] new client, we chat and we do things according to
[02:52:14] her, it's magnificent, I thrive very
[02:52:17] well in this field with the whole team,
[02:52:21] so yeah, I'm very good, it's
[02:52:24] magnificent.
[02:52:27] But otherwise, uh, you said, uh, that you can't, uh, so finally,
[02:52:30] it's not just the fabric, it's not just the accessories, it's not just the work, it's
[02:52:34] not just the morphology, there is all the heritage and
[02:52:38] the history. So tell us a little bit how you go, you
[02:52:41] go looking for all this information. So,
[02:52:44] in different ways, yes, uh, the simplest
[02:52:48] is the Internet, yes, yes,
[02:52:52] that's right. What follows, the second step is the people
[02:52:55] I meet, there are quite a few, for example,
[02:52:59] a client comes with her grandmother or her mother, it
[02:53:03] talks yes, about the good old days, then
[02:53:06] I imagine that at the level of,
[02:53:09] at the level of, so Dary Mazour also talks
[02:53:13] about this kind of, this kind
[02:53:16] of outfit, that's right, because I imagine they have a lot to teach
[02:53:19] us.
[02:53:40] Yes, that's right, I was in the theme, that's right, so finally there too
[02:53:44] we can, we can learn a lot, well, that's what we're seeing, so
[02:53:47] there too you can get information, oh yes, yes, it was, it's
[02:53:51] the case because the day.
[02:54:23] Yes, after that, it's an oral tradition, it seems,
[02:54:26] so it's according to the emotion of the
[02:54:29] moment, according to the feeling of the moment, exactly, it was a board
[02:54:34] the time, that's right, exactly, oh yes, that's very, very
[02:54:38] good.
[02:54:43] Even when she explained, she said that, she said there was nothing between, it was
[02:54:47] n, it was our board game, we
[02:54:51] had fun.
[02:59:05] Hm hm, so it changed, okay, so that, but the most important thing is that it is
[02:59:08] always, always present, yes, it is always present, it is always present, it is always
[02:59:12] present, the lila, it depends, there are those
[02:59:15] who prefer the relila, knowing that there is a mix
[02:59:18] of
[02:59:20] understanding, if I can explain, the
[02:59:23] rila is the same cut as the karakou
[02:59:27] jacket, except that the sleeves are half-sleeves, there are
[02:59:31] those who add Calais lace to make lace with elastic, etc.,
[02:59:35] there are those who leave it in half-sleeves, there are those who add the belt
[02:59:39] too, at the waist, there are those who don't like
[02:59:42] to add the belt, but it remains the, it
[02:59:45] closes and is worn with a serwal or
[02:59:48] else,
[02:59:51] what we see right now, with a
[02:59:53] bedroon, the belt and the open
[02:59:56] jacket, that's a bedroon with a
[03:00:00] fitted jacket, or else we go, if we go a little further
[03:00:03] or if we dig a little, it's a development of the
[03:00:07] frimela jacket, okay, before there was a frimela which
[03:00:11] is a very small, very short jacket that closes
[03:00:14] with two, two buttons,
[03:00:17] it was what was worn, of course, with a, a bedroon, so there
[03:00:21] it's not a relila, it's a bedroon with a ferimela, the relila
[03:00:25] is something else, what I just explained, so it's a jacket that looks like
[03:00:28] the karakou jacket with a tifa and
[03:00:32] then there's the karakou, but, but it's very complicated, all this?
[03:00:37] Yes, that's the professional speaking.