Directed in 1952 by Tahar Hannache, Les Plongeurs du désert is considered the first entirely Algerian fiction film—produced, directed, and performed by Algerians. This pioneering work was presented as part of a cine-concert at the Algerian National Theatre during the opening night of the twelfth edition of the Algiers International Film Festival (AIFF). Shot in Tolga, in the Biskra province, Les Plongeurs du désert features Himoud Brahimi (Momo) as Cheikh Ali and Djamel Chanderli as his son Mansour, alongside many local extras. The story tells the simple yet moving tale of an oasis community whose vital well has run dry. Through their leader, the villagers call upon renowned “desert divers,” skilled and respected men specialized in clearing wells buried under sand and mud. Their patient and methodical work brings water back to the surface, saving both the oasis and its people. The village rejoices, and nature flourishes again.
But many years later, the machine appears—arriving with its noise, its promises, and its blind strength. Modernity imposes itself without asking anyone’s opinion, as though it were inevitable, replacing ancestral know-how passed down through generations. The metaphor is clear: the modern world sidelines traditional ways and pushes into the shadows those who carry them. Modernity advances like a steamroller that never looks back. Cheikh Ali grows old and looks toward his son—embodying the future—as if to say that the struggle will belong to the new generation, who must learn to navigate this changing world.
One of the most compelling aspects of the film is its attention to ritual preceding the descent into the well. We see Himoud Brahimi’s character pray, recite incantations, and prepare his body—giving the film an almost anthropological and documentary dimension. Les Plongeurs du désert also powerfully evokes the silent dignity of those who fight for their water, their lives, and their identity.
Today, the film resonates with surprising relevance. We are witnessing a renewed interest in local knowledge, ancestral wisdom, intangible heritage, and the act of transmission. In a world where everything moves fast, memory becomes precious. The cine-concert proved this by pairing the screening with music composed by the great Mohamed Iguerbouchène. Les Plongeurs du désert remains a cornerstone of Algerian cinema history. Seeing it again on the big screen, seventy-three years later, reminds us that Algerian cinema began early—built with modest means but immense conviction, with a desire to exist and to tell the story of a country through its own voices.
