<\/p>\n
One of the festival\u2019s continuing strands, once again\u00a0Cinemalibero<\/em>\u00a0<\/strong>will travel down the unpaved roads of cinema history to light up the powerful and unique work of maverick filmmakers unjustly denied admission to the canon of the greats; rediscovering films which, even when successful in their national cinemas, were barely recognised as masterworks outside the borders of their country of production. <\/p>\n Cinemalibero<\/em>\u00a0is also a story of banned films, censorship<\/strong> and masterpieces lost to regressive forces of their time, now finally brought back to life through painstaking but rewarding restorations. This year, through nine programmes, we\u2019ll fork into three geographical areas: Central Asia<\/strong>, post-1967 Pan-Arab cinema from Lebanon<\/strong> and Syria<\/strong>, and Western Africa<\/strong> \u2013 each revolving around several world-premiere restorations, including, respectively,\u00a0The Fall of Otrar<\/em>\u00a0(Gibel Otrara<\/em>,\u00a0Ardak Amirkulov, Kazakhstan, 1991);\u00a0The Dupes<\/em>\u00a0(Al-Makhdo\u2019un<\/em>, Tewfik Saleh, Syria 1972); and\u00a0Ceddo\u00a0<\/em>(Ousmane Semb\u00e8ne, Senegal, 1977), the latter part of a centennial tribute to the Senegalese maestro.<\/p>\n