Miryam Charles (Une barque ouverte) is a filmmaker of Haitian descent living in Montreal. Her latest film Drei Atlas screened in various International film festivals and recevied a special mention from the new alchemists jury (FNC 2018), as well as the price for best experimental film at the RVQC 2019. More recently her short film Second Generation was selected for the last edition of TIFF. A retrospective of her works was featured at the cinémathèque québécoise in April 2019. In 2020 a second retrospective was presented during the 4th edition of the Third Horizon Film Festival, as well as an collaborative installation at the Leonard and Ellen Bina Art Gallery in Montreal. Miryam is currently at work on her first feature film.
Mohammed Harb was born in Gaza City and graduated from Al Najah University, Nablus, with a BA in Fine Arts in 2001 also graduated from the School of Visual Arts in Marrakech, Morocco in 2015. He is a member of the Palestinian Association of Fine Artists and since 2003 has been working as a director at the Palestine satellite TV channel in Gaza. Harb has also participated in many local, regional and international exhibitions, festivals and workshops, in Europe and the Arab world. He took part in the Cannes International Film Festival within the Palestinian pavilion of the film Repatriation Room 2019. The film was nominated for the Robert Bosch International Prize in Germany as Best Documentary Project on Human Rights. Mohamed has received many local and international awards and several grants for his innovative work not only in project implementation but also in the use of IT and video techniques.
Mustafa Abu Ali (1940-2009) was a Palestinian filmmaker. Abu Ali studied at the University of California-Berkeley in the 1960s before studying cinema in London, graduating in 1967. He is considered one of the founders of Palestinian cinema, and the Palestinian Cinema Association in Beirut in 1973, (re-established in Ramallah in 2004). Along with Sulafa Jadallah and Hani Jowharieh, he established the Palestine Film Unit (PFU)—which saw its primary task as “documenting the revolution and creating an archive of images of historical documents”. After the PLO’s move to Lebanon after the events of Black September, the PFU was renamed the Palestine Cinema Institute and became one of the seven departments of the PLO’s Unified Media. Abu Ali headed the department from 1973 to 1975. Abu Ali wrote four screenplays and directed more than 30 films, for which he won more than 14 awards, the most recent from the 2003 Ismailia Film Festival.
Né d’un père juif tunisien et d’une mère saguenayenne, Nicolas Krief est le fruit d’un étonnant métissage culturel et génétique. En 2012, il débute sa carrière en écrivant et réalisant le court métrage documentaire Séfarade. En 2014, il remporte le prix SARTEC de l’atelier Cours écrire ton court. En 2015, il coécrit et coréalise le court métrage La notion d’erreur, présenté dans plusieurs festivals à travers le monde. Dans le cadre d’une fructueuse collaboration, Nicolas co-écrit avec le réalisateur Patrice Laliberté ses premiers longs métrages. En 2018, ils écrivent avec Guillaume Laurin Très belle journée, premier film québécois entièrement filmé avec un téléphone cellulaire. Cette collaboration continue avec Jusqu’au déclin, le premier film québécois de Netflix, dont il signe le scénario avec Patrice Laliberté et Charles Dionne. Nicolas planche aussi sur l’écriture de plusieurs longs métrages dont un scénario d’horreur sur une mystique québécoise du début du 20e siècle, produit par Stéphanie Morissette chez La maison de prod, et Visite Libre, un slasher sur la gentrification et le développement immobilier produit par Caramel Films.
Ancienne élève de l’École Normale Supérieure, agrégée de Lettres Modernes, Nicole Brenez est Professeur en Études cinématographiques et audiovisuelles à l’Université Paris 3-Sorbonne Nouvelle et membre de l’Institut Universitaire de France. Ses recherches portent principalement sur l’analyse figurative, l’histoire des arts filmiques, et plus particulièrement celle des cinémas d’avant-garde.
Nour Ouayda is a filmmaker, film critic and programmer. She is deputy director at Metropolis Cinema Association in Beirut where she also coordinates the Cinematheque Beirut project. Her films and writing research the practice of drifting in cinema. She has been part of Hors champ since 2016.
Olivia Curry is an undergraduate film studies student at Concordia’s Mel Hoppenheim School of Cinema, guest editor/contributor to Offscreen and one-time conspiracy theory listicle writer. Her research interests include reflexivity and structure in horror, reality television and experimental film.
Olivier Godin makes films and writes for Hors champ. In 2014, a retrospective of his work was presented at the Cinémathèque québécoise. He directed and wrote, in just a few years, five feature films and numerous short films. Through small budgets and a commitment to speech and artisanal filmmaking, one finds in these films knives and swords, the occasional gun, saxophones and trumpets. In short, adventure!
