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Al-Samaani and Tabbi will serve in their roles for two years.
Saudi Justice Minister Waleed Al-Samaani has been elected head of the executive office of the Council of Arab Justice Ministers, the Saudi Press Agency reported.
Abdul Rashid Tabbi of Algeria was elected deputy head. Both will serve in their roles for two years.
The announcement came on Wednesday during the 71st session of the executive office, held at the Arab League’s headquarters in Cairo.
source/content: arabnews.com (headline edited)
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Saudi Justice Minister Waleed Al-Samaani attends 71st session of the executive office of the Council of Arab Justice Ministers. (SPA)
The only billionaire Algeria has is Issad Rebrab, he is the owner of Algeria’s biggest company, Cevital, which is a sugar refinery company that produces about 2 million tons a year, Although, he is alone in his wealth, there are other 5 multibillionaires worthy of recognition.
He is the founder of BioPharm which is a large pharmaceutical company that manufactures and distributes drugs, BioPharm employs more than 1,500 people and gets more than $500 million revenues last year.
He is the 52-year-old founder of ETRHB Haddad Group with an annual revenue of $500 million, it’s very impressive that he’d founded this company at the age of 32, he is also the controlling shareholder of the Algerian club USM Alger that plays in the Algerian Premier League.
He is the head of the Benamor Group, which is one of the most successful food companies in Algeria. This company makes more than $80 million as an annual revenue.
This big guy owns the Condor Group which manufactures and distributes air conditioners, televisions, satellite receivers, washing machines, refrigerators, smartphones, tablets, gas cookers, microwaves, desktops and laptops, with an annual revenue of $700 million.
This 80-year-old guy owns the Mehri Group; the sole bottler of all Pepsi products, and the owner of many luxurious hotels.
source/content: scoopempire.com (headline edited) / Febronia Hanna
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pix: en.wikipedia.org/wiki/Algiers /L to R : Coast, Martyr’s Memorial , Ahmed Francis Building , Basilica of Our Lady of Africa, Central Post Office, Ketchaoua Mosque, Harbour
Just when every single one of his supporters thought he would always be remembered as a cult hero and nothing else, Karim Benzema has reached the pinnacle of the sport 14 years after signing for Real Madrid labeled as the next Ronaldo Nazario. Overcoming ferocious criticism from his own fanbase and from some of his coaches during this time, Benzema carried Real Madrid to an improbable Champions League & LaLiga double all while scoring 44 goals in 46 appearances in the 2021-2022 season.
Karim Benzema has won the 2022 Ballon D’Or no less than 13 years after signing for Real Madrid. It has not been an easy path for Benzema as he had to change his style of play and prove many of his doubters wrong along the way. In those 13 years, he went from being a young, misfit player who struggled in his early days in Madrid to becoming a captain and a true leader for the biggest club in world football.
Here’s how he did it.
I. Struggles: From “The Next Ronaldo Nazario” to “The Next Anelka”
Saying that Benzema never was one of the world’s greatest strikers would be wrong. From 2009 to 2022, the French attacker went through struggles on and off the field but always showed that the talent to be one of the best was there. Real Madrid president Florentino Pérez saw that promise and raw potential and decided to visit Benzema’s home in Lyon to secure his signing in the summer of 2009.
“I was hanging out with my friends and my family called me and said: “You need to come home, Florentino is here.” I opened the door, I saw him there and I just didn’t say anything,” revealed Benzema a decade later.
Still, Benzema failed to establish himself as a regular starter for Madrid until Gonzalo Higuaín suffered a back injury in 2011. José Mourinho, who was the team’s coach back in the day, signed Emmanuel Adebayor on loan because he didn’t feel the 24-year-old Benzema could lead his offense. Mourinho even said that he would rather go hunting “with a hound” [Higuaín] but that he would have to go “with a cat.”
Thing is, Mourinho was right. Benzema was struggling on the pitch and appeared to be careless and apathetic during his first few seasons in the Spanish capital.
“My first season in Madrid, my first six months or so were very tough. I was by myself; I didn’t speak Spanish and that made it all more difficult. Furthermore, I just got to a new world, another team, another style of football. Luckily, I didn’t give up,” he said when asked about that time in an interview published this past summer.
That’s the main reason why most fans and members of the media often compared him to former Real Madrid attacker Nicolas Anelka, who signed for the club in 1999 when he was 20 years old. Anelka left Madrid after just one season having displayed some of the symptoms which kept Benzema out of the team’s starting lineup a decade later. Anelka went on to have a very solid career, but Madrid didn’t reap the benefits.
With Benzema, Florentino Pérez remained patient –perhaps the fact that he was his personal gamble gave the Frenchman a longer leash– and decided to keep trusting his potential knowing that Real Madrid had another historically great player who could lead the team towards the most successful period in the history of the club.
II. Stability without stardom: Cristiano’s Sidekick and the BBC years
While Benzema showed real moments of brilliance during Mourinho’s tenure in the Spanish capital (2010-2013), even scoring 28 goals across all competitions during the 2011-12 season, he always was behind Gonzalo Higuaín in the depth chart.
When Mourinho left the club in 2013, Real Madrid decided to sell the Argentinian striker to Napoli and gave Benzema the chance to be an undisputed starter under new coach Carlo Ancelotti and alongside two great scorers like Cristiano Ronaldo and new signing Gareth Bale. The ‘BBC’ was born.
Ancelotti then created a new role for Benzema, the role he played for most of his career: The 9.5. the French striker wasn’t playing as a false nine, but he was a playmaker through the center-forward position. There, Benzema would often receive the ball and assist to either Ronaldo or Bale while drifting to both flanks to create space for them to finish plays in the center of the attacking line. Ronaldo and Bale were ruthless finishers during these years, but Benzema deserves credit for making their jobs way easier.
“When Cristiano Ronaldo played for Real Madrid, he scored 50 to 60 goals a year. So, my moves were to give him an advantage on the field, generate spaces, because I passed the ball well in the opponent’s area. He was much more effective than I was,” said Benzema earlier this year.
The team won La Décima (their tenth Champions League trophy) and the Copa del Rey during that first season. Ancelotti left the club a year later, but his successor Zinedine Zidane kept the same offensive system going and conquered a historic three-peat with Benzema being the facilitator for Ronaldo and Bale.
Even if Benzema wasn’t focusing on scoring goals, he still found the back of the net 28 times in just 34 appearances back in 2015-16. He was delivering. Zidane being his childhood hero and one of football’s greatest players of all time, the French attacker spent time after every training session working and polishing his game with his coach, with his idol.
Everything changed in 2017-18. Real Madrid struggled immensely throughout the season and didn’t even compete for LaLiga against Barcelona. Benzema had one of his worst campaigns as a Real Madrid player and scored only 12 goals. Somehow, the team managed to win the third consecutive Champions League title and completing the aforementioned three-peat, but both Cristiano Ronaldo and Zidane felt like it was the end of an era and decided to leave the club.
“Every year is the same. I play football to make history. Sometimes people don’t get what I do on the field but I’m here to help my teammates. Of course, I always want to score goals, but sometimes that’s not possible,” said Benzema in 2018, the first campaign without Cristiano Ronaldo and the first time he scored 30 goals in his career. After years of being a playmaker for Ronaldo, Real Madrid needed Benzema to score. He delivered.
III. Mentoring the new generation during Real Madrid’s rebuild
Benzema faced ferocious criticism from his own fanbase during the first few months of the 2018-19 season. The fans at the Santiago Bernabéu appeared to think that he was to blame for the team’s struggles last year. He was never a fan favorite. In 2016, the crowd whistled when he was about to take a penalty-kick, singing Álvaro Morata’s name as they wanted the homegrown attacker to take it instead.
When Ronaldo left the club, Benzema accepted the challenge and realized the fact that he had to score more goals. He rose to the occasion while other attackers like Marco Asensio or even Gareth Bale appeared unwilling to embrace more responsibilities in the offense.
That first season was terrible for the club, even if Benzema scored 30 goals and delivered 9 assists. Zidane’s successor Julen Lopetegui was sacked after just a couple of months and former Real Madrid player and current Castilla coach Santiago Solari was appointed as an interim coach for the remainder of the season, until Zidane made his return to the club just a year after his resignation.
Benzema kept doing his thing and scoring at a solid rate during those seasons but now he was also a mentor for two talented prospects signed from Brazilian football: Vinicius Junior and Rodrygo Goes.
It wasn’t a very successful era for Madrid, but they did conquer the 2019-20 LaLiga title with brilliant performances from goalkeeper Thibaut Courtois and Benzema himself in the condensed schedule after the Covid pandemic.
In the summer of 2021, Zidane left the club for good and a familiar face returned to the Bernabéu. Ancelotti was back. What followed during the next few months will be remembered as one of the most memorable seasons in the history of the club.
IV. Benzema unchained: Carrying Madrid towards a historic double
44 goals in 46 appearances. 15 goals in the Champions League. A hat-trick to rescue his team and advance to the next round in the return leg against Paris Saint-Germain. A hat-trick against Chelsea in the first leg of the Quarterfinals at Stamford Bridge. 10 goals in the 7 do-or-die knockout games in the biggest club competition in the world. Greatness.
Benzema overperformed his xG (expected goals) in 12 goals last season. Courtois and Vinicius were also instrumental in the team’s success and performed better than the French striker in the Champions League Final, but Benzema was historically great all season long with his scoring but also with his playmaking, which helped Vinicius become the player he is today.
It took Benzema a while to get where he stands today, and it would be fair to say that nobody saw this kind of greatness coming from him. In fact, Florentino Perez would have likely replaced him with other strikers had he not been his protégé, his personal signing. None of that matters now. Benzema stayed and he delivered big time in a season where his team needed him the most.
He was hands down the best player in the world of football during the 2021-22 season. He earned every bit of this Ballon D’Or and every single madridista should be proud of him and proud of having him wearing the captain’s armband. They saw Benzema grow into the player, the leader, the captain, the mentor and the man he is today.
“I play for the ones who like and understand football.” Benzema transcended that quote last season and played for every single football viewer around the world, casual or not. He finally earned global recognition.
Karim Benzema is now a Ballon D’Or winner. The world’s greatest
source/content: managingmadrid.com / Lucas Navarrete (headline edited)
Project shines a light on the cultural exchange between Algeria, France and Italy during the 1960s.
Zineb Sedira has outlined plans for her presentation at the French pavilion at this year’s Venice Biennale (23 April-27 November), revealing that the project will focus on Algerian cinema of the 1960s and 1970s and its links to the Italian and French film industries. The subject matter is timely as 2022 is the 60th anniversary of Algeria achieving independence from France. On 5 July 1962, Algeria became a sovereign state after an eight-year war which resulted in the deaths of at least 400,000 Algerians.
Sedira is the first artist of Algerian descent to be selected as the country’s representative. Sedira, who was born in Paris to Algerian parents, attended college in London, completing her undergraduate studies at Central Saint Martins school of art. She is now based in South London.
Sedira revealed her ideas for the cinematographic installation Dreams have no titles in an online press briefing held 18 February, outlining how she initially researched the history of Algerian film for an exhibition at the Jeu de Paume in Paris in 2019. Her passion for cinema was sparked by childhood trips to the local cinema in the 1960s in her home town of Gennevilliers outside Paris (these film outings were made with her father every Thursday when school was closed).
This interest developed further during her time as a student in London. “As part of postcolonial studies, I came across [the philosopher] Frantz Fanon and [the 1966 film] The Battle of Algiers. In France, I never came across those people because The Battle of Algiers was still censored in France [in the late 1970s and early 1980s],” she said. “There were no intellectual role models to me of Algerian origin; in England, I discovered there was a wealth of [Algerian] men, women and filmmakers.”
For the pavilion piece, Sedira carried out research at the Cinémathèque in Algiers, discovering that many films financed by the state of Algeria at the time were also co-produced with Italian and French filmmakers. “So when I was asked to propose an idea for the French pavilion, I thought of the Mostra [Venice Film Festival]. I thought it was interesting to do something around the three countries,” she said. Sedira wants to focus on the cooperation between France, Italy and Algeria— and the solidarity between the trio of nations—though her Venice “project goes beyond that”, the artist stresses.
Sedira visited numerous film archives in Algeria, France and Italy as part of the research process. “In Italy, [we visited] Venice, Turin and Bologna. We discovered a film that had disappeared,” says Yasmina Reggad, the co-curator of the French pavilion, referring to Les Mains Libres made by the Italian director Ennio Lorenzini in 1964.
“It was the first international film collaboration between Algeria and another country [Italy],” said Sedira, but after 1966 Les Mains Libres was lost. She eventually found the forgotten work in a small archive in Rome. “It is an important film for anyone interested in post-1962 Algerian history,” she adds.
The French pavilion project aims to be a starting point for discussions on other topics such as colonialism, collective and individual histories, national identity and the fight against racism. “The notion of a nation begs to be critiqued and challenged. What is a nation at the end of the day? It is a big fiction to believe that when you draw a certain line, everyone who happens to be behind this line is of the same mentality and culture,” said Sam Bardaouil, the co-director of the Hamburger Bahnhof in Berlin along with Till Fellrath (the duo have also co-curated the French pavilion).
“In a sense, a pavilion is an attempt to give a physical form to a fiction, so to use fiction in the language of cinema as a way to critique nation and belonging is such an intelligent and timely way to discuss these issues,” Bardaouil said.
The three pavilion curators will participate in a film to be shown in the pavilion. “We’ll be turned into actors and actresses,” said Reggad. Bringing together an artistic community was paramount, added Sedira, who relished the opportunity “to work with friends, to be surrounded by friends”. The film production will also include members of the crew and her son. “I was playing on the aesthetic and structure in cinema in the 1960s in low-budget films when one would play many roles,” she said
The pavilion project will also include a “conversation” with the UK pavilion artist, Sonia Boyce, and the Swiss representative, Latifa Echakhch. “Sonia was my neighbour for many years and she taught me at one point when I was studying art in London,” said Sedira.
At the briefing, the curators also discussed the three accompanying journals linked to the pavilion project. Each issue refers to a city—Algiers, Venice, and Paris—that has played an integral part in Sedira’s practice. “The journal is an extension of what the project entails inside the pavilion. The cities mark the phases of Zineb’s life, they become entry points to questions that are related to the themes that will be discovered in the film and installation in the pavilion,” said Bardaouil. Contributors include the French artist Laure Prouvost and the actor Nabil Djedouani.“The journal has allowed for a diversity and plurality of voices,” Bardaouil added.
The journal design is based on film magazines of the 1960s and 1970s, added Reggad, and also borrows from militant leaflets of the era. The journals are “doors to an intellectual horizon [with] texts, images and playlists”, said Eva Nguyen Binh, the president of L’Institut Français which is supporting the pavilion. Other sponsors include Arts Council England and the dealer Kamel Mennour who represents Sedira
