{"id":84273,"date":"2026-03-27T20:28:13","date_gmt":"2026-03-27T19:28:13","guid":{"rendered":"https:\/\/lasentinelle.dz\/?p=84273"},"modified":"2026-03-27T20:28:16","modified_gmt":"2026-03-27T19:28:16","slug":"ahmed-bey-le-dernier-rempart-sort-en-salles-une-fresque-historique-prend-dassaut-les-ecrans","status":"publish","type":"post","link":"https:\/\/lasentinelle.dz\/index.php\/2026\/03\/27\/ahmed-bey-le-dernier-rempart-sort-en-salles-une-fresque-historique-prend-dassaut-les-ecrans\/","title":{"rendered":"\u00ab\u00a0Ahmed Bey, le dernier rempart\u00a0\u00bb sort en salles\u00a0: Une fresque historique prend d’assaut les \u00e9crans"},"content":{"rendered":"\n

Disponible dans les salles d’Alger, Oran, Constantine et Annaba depuis vendredi, le long-m\u00e9trage Ahmed Bey<\/em> \u2014 produit par le Centre alg\u00e9rien de d\u00e9veloppement du cin\u00e9ma et port\u00e9 par Mohamed Tahar Zaoui aux c\u00f4t\u00e9s de G\u00e9rard Depardieu \u2014 restitue avec une ambition visuelle rare l’\u00e9pop\u00e9e du dernier Bey de Constantine, figure tut\u00e9laire d’une r\u00e9sistance qui tint l’arm\u00e9e fran\u00e7aise en \u00e9chec pendant pr\u00e8s de deux d\u00e9cennies.<\/p>\n\n\n\n

Ahmed Bey<\/em>, long-m\u00e9trage de 1h24 sign\u00e9 par le cin\u00e9aste iranien Djamal Shourjeh sur un sc\u00e9nario de Rabah Dhrif, d\u00e9barque dans les salles ce week-end avec la discr\u00e9tion calcul\u00e9e des grandes fresques qui n’ont pas besoin de tapage : produit par le CADC et distribu\u00e9 en Alg\u00e9rie par MD Cin\u00e9, il s’impose d’embl\u00e9e comme l’\u00e9v\u00e9nement cin\u00e9matographique de ce printemps 2026. Le film s’ouvre sur l’incident de l’\u00e9ventail \u2014 cet affront diplomatique de 1827, au cours duquel le Dey Hussein aurait frapp\u00e9 le consul de France de son chasse-mouches, fournissant \u00e0 Paris le pr\u00e9texte r\u00eav\u00e9 pour engager son exp\u00e9dition contre la R\u00e9gence d’Alger. Shourjeh installe l\u00e0 le vertige d’une m\u00e9canique implacable : derri\u00e8re le geste d’un homme, c’est tout un ordre m\u00e9diterran\u00e9en qui bascule. D\u00e8s lors, le r\u00e9cit se d\u00e9ploie en trois actes militaires qui scandent le destin d’une r\u00e9sistance. Le d\u00e9barquement fran\u00e7ais \u00e0 Sidi Fredj en 1830, d’abord, restitu\u00e9 avec une ampleur visuelle \u00e0 la hauteur de l’enjeu historique. Puis la bataille de Constantine en 1836, moment de gr\u00e2ce et de bravoure o\u00f9 Ahmed Bey infligea \u00e0 l’arm\u00e9e coloniale une d\u00e9faite retentissante dans les gorges du Rhumel \u2014 s\u00e9quence qui, \u00e0 elle seule, justifie le d\u00e9placement en salle. Enfin, la chute de 1837 et la prise de la ville, am\u00e8re et in\u00e9vitable, qui cl\u00f4t l’arc tragique sans jamais basculer dans le pathos.<\/p>\n\n\n\n

Pour incarner Ahmed Ben Mohamed Ch\u00e9rif, le CADC a fait confiance \u00e0 Mohamed Tahar Zaoui, acteur qui habite le personnage avec une gravit\u00e9 et une majest\u00e9 sobres, loin des effets d’h\u00e9ro\u00efsme facile. Son Bey est un homme de calcul autant que de conviction, un chef qui fortifie une cit\u00e9 jusqu’\u00e0 en faire ce que les chroniques militaires fran\u00e7aises elles-m\u00eames d\u00e9criront comme une forteresse quasi imprenable. Face \u00e0 lui, G\u00e9rard Depardieu endosse le r\u00f4le du Dey Hussein : pr\u00e9sence massive, voix de fond de cale, le com\u00e9dien fran\u00e7ais apporte \u00e0 cette figure historique une humanit\u00e9 trouble qui d\u00e9passe la simple figuration de prestige. Sa venue au g\u00e9n\u00e9rique n’est pas anodine : elle dit quelque chose de la volont\u00e9 de produire un cin\u00e9ma ouvertement international, capable d’attirer des pointures mondiales sans pour autant diluer son propos m\u00e9moriel. Une distribution alg\u00e9rienne \u00e9toff\u00e9e compl\u00e8tent un casting r\u00e9solument ancr\u00e9 dans le pays.<\/p>\n\n\n\n

C’est peut-\u00eatre dans sa g\u00e9ographie que le film trouve sa plus belle coh\u00e9rence. Shourjeh a tourn\u00e9 entre Alger, Constantine, Boussa\u00e2da et Tipaza, dans des mus\u00e9es et sur des sites naturels et historiques qui conf\u00e8rent aux images une authenticit\u00e9 que n’aurait jamais pu offrir un plateau reconstitu\u00e9. Les gorges du Rhumel y apparaissent pour ce qu’elles sont : un personnage \u00e0 part enti\u00e8re, min\u00e9ral et silencieux, qui avalait les colonnes et rendait la ville imprenable. La musique de Fahr Atakoglu, compositeur turc dont le travail sur la pesanteur des empires n’est plus \u00e0 d\u00e9montrer, soutient l’ensemble sans jamais \u00e9craser le souffle dramatique.<\/p>\n\n\n\n

Derri\u00e8re la cam\u00e9ra, la productrice ex\u00e9cutive Samira Hadji Djilani a pilot\u00e9 le projet en \u00e9troite collaboration avec le minist\u00e8re de la Culture et des Arts \u2014 ce qui dit assez la port\u00e9e institutionnelle d’une \u0153uvre qui ne se pense pas seulement comme divertissement, mais comme acte de m\u00e9moire. Le CADC le formule sans d\u00e9tour dans ses notes de pr\u00e9sentation : Ahmed Bey, c’est une figure dont la r\u00e9sistance face \u00e0 l’occupation fran\u00e7aise continue de r\u00e9sonner aujourd’hui<\/em>.  Ahmed Bey<\/em> est en salles \u00e0 Alger, Oran, Constantine et Annaba.<\/p>\n\n\n\n

Mohand Seghir<\/p>\n","protected":false},"excerpt":{"rendered":"

Disponible dans les salles d’Alger, Oran, Constantine et Annaba depuis vendredi, le long-m\u00e9trage Ahmed Bey \u2014 produit par le 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