Dammi

Dammi is a depiction of two factions of that very battle. Hafzia is the one who has stayed in Paris and became one with France. Mounir still can’t claim the city as his own. In this process, Demange maintains a neutral stance, indicating that it’s a completely subjective crisis among immigrants. “Behind Paris is Algiers” is a sentiment voiced by both Mounir and Hafzia at different points in the film – a direct reference to the fact that both Algeria and France are just two end points of a journey and that a true identity may not lie in nationality but in acceptance and progression.

“…a profoundly personal account of Demange’s life presented as a scripted narrative.”

Demange shows Paris as a beautiful concept instead of a city. Often termed the city of dreams, love, and romance, Paris is designed to transcend personal identity and nationality. In Dammi, however, Paris is the link between Mounir’s and Hafzia’s past and present. It is meant to resolve their internal crises and immerse them in the stylish staging of a dream life. Yacoub and Ahmed have intriguing chemistry in their performances. Even in a short-form narrative, they form a remarkable on-screen bond, and their characters’ thematic parallels further make their presence picture-perfect. If Dammi becomes a feature, it would only be right to cast Yacoub and Ahmed in their respective roles again.

This film is a profoundly personal account of Demange’s life presented as a scripted narrative. It’s an illustrative and distinctive dive into one man’s consciousness and mental struggles while trying to find his place in a specific society. The viewer accompanies him on a journey of acceptance to achieve that. Even as a short film, Dammi is thought-provoking and immersive, becoming more intriguing with its autobiographical tone and intent. It’s a powerful short and would be an even more powerful feature.

Dammi screened at the 2023 Locarno Film Festival.