五 VU : Mention sp矇ciale du Jury, Berlinale, 2009.

Selections: : Berlinale 2009 (Germany) - Indielisboa (Portugal) - Molodist (Ukraine) - Palich (Serbia)

五 Berlin Telegram : Prix TV5 : Meillleur film francophone Tous Ecrans, Gen癡ve. Prix Meilleure Cin矇matographie Achtung Berlin.

Selections: Festival of Duba簿 in Arabic competition (Duba簿) Opening in the Goethe Institut in Cairo (Egypt) Gulf Film festival (Duba簿) Arabic Film Festival in Rotterdam (Holland) Festival de films dauteurs de Rabat (Morocco) World Premiere in Mons (Belgium) Indielisbao (Lison- Portugal) Women Films (Chainai-Inde) T羹bingen (Allemagne) Cin矇mania (Quebec) Mar del Plata (Argentina) Festival le 7癡me Continent (Paris) Achtung Berlin (Germany) Festival Alfilm (Berlin) Festival de Rabat (Maroc)

五 Face B: Selection: 2015 Berlinale Forum expanded (Germany)

Mexico Distrital 2016 (Mexico) - 2016 Berlin Art Film Festival (Germany) - 2016 Cr矇teil Women's Film Festival (France). Distributed by Arsenal.

RFI, avril 2014 / Par Siegfried Forster

竄 Les traces qui d矇filent sauvagement l矇cran, cest sa nouvelle vie qui est en train de prendre forme. Les images vacillent comme les sentiments quelles expriment. Leila Albayaty tient la cam矇ra comme on conduit cheveux au vent. Le tout est rythm矇 par la musique quelle compose et interpr癡te elle-m礙me. 竄 Tous les jours, je me l癡ve et joue la musique. Cela me sauve 罈. Film矇 avec beaucoup de d矇licatesse et pr矇cision (chaque dialogue du sc矇nario a 矇t矇 矇crit), elle nous offre travers de sa voix sublime une travers矇e de sa nouvelle existence. Cest ainsi que, toute la fin et en filigrane, Leila Albayaty r矇ussit dentrem礙ler et d矇m礙ler ses diff矇rentes vies et ses origines. 罈

Reorient , 2013, By Joobin Bekhrad

Flustered, her eyes welled with tears and mascara streaming down her ruddy cheeks, a broken songstress dejectedly moans into a microphone clutched in her sweaty palms in the dank basement of a seedy Brussels nightclub. When do I see you, when do I meet you, when do I hug you, where are you I need you, she sings. For the dazed audience members washing their insides with lager and puffing away indifferently on their cigarettes, this is just another shoddy spectacle by a half-baked band. For Leila, however, its a desperate cry for help a raw, electrically-charged lament for sweet nothings, broken promises, and illusory embraces. As her ragtag outfit plays on, the broken belle retires from the stage to a lifeless, empty flat. You told me to go. Im going now. Im leaving you with the carnage. One day youll see my footage, and youll look back on your life,she mumbles wistfully into her camcorder. Heartbroken and with little to lose, Leila, along with her hipster taxi driver-cum-chauffer Eric leaves her bitter memories in Brussels behind for a fresh start in Berlin. Ah, Berlin Brussels raunchier, sleazier cousin, a haven for coked-out drag queens, avant-garde artists, and revolutionaries the perfect place to smoke away dark memories of unrequited love. Soon after settling in the city with the help of her sister Hana and her brother Tarek from Cairo, the crestfallen Iraqi singer buys a keyboard from Maryam, a hardnosed Iranian artist, and once again resumes her musical excursion. With fresh, biting wounds, Leila has all but healed, and just a few inches shy of tumbling into full-fledged depression, she vividly recounts her days with her philandering ex-lover, Antoine, striving to pinpoint where it all went wrong. Its not too long, however, before she and Eric befriend Michel, a cordial and charmingly sleazy wannabe rocker, with whom she puts together an indie outfit and slowly patches up a broken heart through the redemptive power of song. We were in a small caf矇 / You could hear the guitars play / It was very nice / It was paradise, sang a nostalgic Lou Reed in his haunting 1972 homage to Berlin.

tringing together the episodes the films pensive rock and roll heroine are Albayatys wistful, melancholic sounds and visuals, which combine for a dreamlike and almost ethereal intensity. Lush, lucid guitar tones accompanied by a pastel palette of dreamy hues and tints effectively capture the mood and sentiment of a downcast lover in an alien environ carrying nothing but emotional baggage and a battered old Telecaster guitar. What makes the poignancy and biting realism of the film even more noteworthy, however, is the fact that not only did Albayaty direct the film (her first effort, in fact), but also played the lead role and composed the films soundtrack a formidable effort indeed, well worthy of representing Iraq at this years Dubai International Film Festival, albeit not officially. In the end, Antoine never does get to see Leilas pitiful video, and the two are never reconciled. However, throughout her journeys, which take her not only to Berlin, but her ancestral Cairo as well, Leila discovers something much greater instead. At the beginning of the seemingly autobiographical film, Leila appears as a broken-hearted girl, dependent on a man who may well be the only significant person in her life for her happiness and wellbeing. However, after befriending Maryam and Michel, reuniting with her family in Cairo, and meeting Robert a newfound bearded lover with a story more tragic than hers Leila not only finds love, but also true friendship, in addition to realising the importance of family. As well, as she makes it big with her band in Berlin, one witnesses Leilas transformation from a despondent youth into a self-made, independent woman. On arriving from her serene sojourn in Cairo, a radiant Leila finds herself not as a stranger in a strange land, but rather as a sexy young femme fatale with a new lover on her arm, a killer rock outfit, and a new understanding of camaraderie. For now, everything is going to be OK [stop] Cest beau la vie [stop].

Le Septi癡me Continent, avril 2013 / Par Serge Abiaad

La nostalgie sinstalle lorsque le pr矇sent nest plus la hauteur du pass矇. Ce sentiment ali矇nant dun temps r矇volu et regrett矇 est la cheville ouvri癡re de Berlin Telegram, un film exutoire, une exp矇rimentation th矇rapeutique, une aventure 竄 lyrico-touristique 罈.

Berlin Telegram, un film qui vogue travers les rues et la parole, la musique et les lamentations, lostracisme et lalt矇rit矇, se transposant en une qu礙te salvatrice et r矇demptrice. La cam矇ra donne du courage. Elle est du moins pr矇texte entrer en conversation et sattacher. Leila r矇ussit le pari de se filmer, de raconter son histoire, de communiquer sa peine sans toutefois invoquer la communion empathique. Et pourtant, filmer cest observer : d癡s lors quon est le sujet de son propre film, limmersion qui consiste saisir les modes de fonctionnements des lieux et des 矇v癡nements est complexifi矇e par une mise en sc癡ne doubl矇e dune mise en ab簾me. Leila Albayaty filme ses 矇tats, ses 矇carts, ses 矇clats, 矇voqu矇s par ses regards accabl矇s, ses crises de nerfs, son falsetto d矇sarmant, son agnosticisme naissant et surtout par ses larmes, un d矇luge de larmes. Slavoj Zizek 矇voque dans un texte sur Kieslowski, ce quil d矇signe comme 竄 leffroi des larmes r矇elles 罈, mettant en cause le droit dintervenir et de filmer vif ou en catimini une 矇motion r矇elle. Le cin矇aste polonais d矇cide la suite de plusieurs essais documentaires, dapprocher le domaine de lintime et de lintimit矇 via la fiction, 矇vitant ainsi les 矇cueils 矇thiques. Leila Albayaty traduit le r矇el de son exp矇rience subjective travers linjection de l矇piderme fictif, et la force de son premier long-m矇trage, est justement ce chantier organique qui ne manufacture plus la fiction mais qui linvite plut繫t se placer dans le r矇cit de sa matrice. Lench璽ssement de la r矇alit矇 et de limaginaire est si pr矇gnant quil est difficile de faire la part entre la reconstitution et la pure invention. Que ses larmes cachent une 矇motion r矇elle ou compos矇e de toute pi癡ce est caduque, d癡s lors quon y croit. Que cette cr矇dulit矇 soit le fruit dun leurre renforce encore davantage la l矇gitimit矇 du proc矇d矇. Comme le souligne Edgar Morin dans son important ouvrage Le cin矇ma ou lhomme imaginaire, la fiction est un contrat dapp璽t entre le fabricateur dimages et le spectateur : on y adh癡re car justement on sy abandonne, tandis quun documentaire ne porte pas cette 矇tiquette factice et ne peut de ce fait que renforcer notre scepticisme devant le sujet propos矇. Berlin Telegram joue dun double accord, dune double dramaturgie qui consiste filmer 矇chelle intime, assurant la communication entre ses protagonistes, mais aussi, laccord int矇rieur entre le caract癡re et le r繫le de son h矇ro簿ne. La d矇sinvolture de Leila emp礙che Berlin Telegram de sombrer dans la vanit矇, mais cest surtout son don assembler et juxtaposer des images pour 矇tablir une ambiance qui garde le film flot. L矇paisseur du film est dans le traitement de sa fragilit矇 ; film sur le fil, limage de son personnage funambule, au seuil de leffondrement. Premier film la fois 矇tonnant et courageux, onirique et r矇aliste dans lequel Leila Abayaty tire toutes les ficelles, dirigeant, jouant, composant et seffor癟ant, surtout, se d矇cloisonner de l矇tat catatonique que les ravages de la passion lui a l矇gu矇. Au final, que le film ait 矇t矇 une fiction ou une th矇rapie, Leila semble avoir retrouv矇 sa voix et 礙tre advenu elle-m礙me.

Variety, janvier 2013 / Par Jay Weissberg

竄 Leila Albayaty's Berlin Telegram is the kind of deeply personal filmmaking that wears its Gallic sensibility with the cool nonchalance of a gamine sporting a beret. So intertwined is reality with fiction that it's impossible to distinguish re-creation from invention, as the multi-hyphenate helmer charts her emotional trajectory from distraught to reinvigorated after a bad break-up. 罈