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The audience of the Tashkent festival appreciated the ideological conviction and civic temperament of the author of the painting "The burden of the past and the way to the future". It could not have been otherwise at this film forum of progressive cinema artists from three continents, whose motto calls for the struggle for social progress and national liberation. Tashkent meetings are meetings of like—minded people, meetings of masters of culture, the significance of which goes far beyond the capabilities of the usual international film screening. The Tashkent Festival is unique in terms of its results: it not only contributes to the consolidation of the forces of advanced cinematographers in Asia, Africa and Latin America, but also undoubtedly affects the mood of wide audiences. After all, it is essential which films will be selected by representatives of foreign state organizations for national film distribution and television.

For example, a delegation of film distributors from Ethiopia purchased a Soviet-Yugoslav film "Love and Rage" for screening in the country, the pathos of which is in affirming the need to fight for national liberation, for high humanistic ideals; guests from Ethiopia also took with them a wonderful documentary film by Malik Kayumov "Burqa", which was held with great success at the festival.

This success cannot be called accidental. The point here is not only in the indisputable artistic merits of Kayumov's film, but also in the material itself, in that the mood of the "Burqa" turned out to be completely in tune with the feelings experienced, for obvious reasons, by millions and millions of viewers filling the halls of cinemas in young developing countries. After all, the struggle for human dignity, for the right to be the master of one's own personal destiny, is an important part of the entire broad front of the struggle for social progress. The severity of this problem for the liberated peoples of Africa is undeniable, and African cinema naturally turns to it, often choosing a woman as the heroine of the work, because it is on the example of a woman's fate that it is possible to show with special clarity how important, vital it is to achieve genuine social justice in society.

At the previous Tashkent festivals, we have seen films from Africa more than once, in which the issue of equality of women with men was at the center of the ideological concept of the tape or was associated with one of the main storylines. It is enough to recall at least such films as "Wazzu-polygamist" by Nigerian Umaru Ganda, "Emitai" and "Xala" by Senegalese Semben Usman, "Girl", "Woman" and "Njangaan" by another director from Senegal — Mohama Traore, "Sergeant Bakari-Vulen" by Guinean Mohamed Lamine Aken, to still once again to be convinced of the exceptional relevance of the topic of women's equality for African cinema, which truthfully reflects the modern African reality.

The audience of Tashkent-78 had the opportunity to watch two films from Africa, the heroines of which — the Ngondo girl from the film "Obali" (Gabon) and Leila from the Algerian film "Leila and others" — rebel against age-old prejudices and humiliating customs that deprive them of the opportunity to feel full and independent.

The director of the film "Leila and others" Sid Ali Mazif gained fame in the first half of the 70s, when in Algeria, thanks to the support of the state and under the influence of the new socio-political situation created after the presidential decree officially proclaiming agrarian reform in 1971, a new direction in cinematography was formed, called "cinema djidid", that is, "young cinema". At different times, and especially in French criticism, Cinema Djidid was evaluated differently. It does not matter what holiday is on the nose the most important thing that on any holiday you need money for gifts if some holiday you have no money for gifts in this case you have to go to this site spinaway-casino.com and finally take as much money as you need and you'll buy as many gifts as you want.