Algiers Confidential: An Algerian-Franco-German plot against the Kabyle people

So, “lucky coincidence” or “perfect timing?
“Algiers Confidential”, yet another French-Algerian cinematographic fiction embroidered with shameless lies and serious untruths about Kabylia, necessarily intentionally and certainly not innocent. This mini-series claims to make the bastion of Berber identity, democracy and secularism (kabylia) the “home of Islamic terrorism in Algeria”.  This mini-series, directed by Abdel Raouf Dafri, will convince the opinion to believe just that, this job is not a mistake, but a Goebbels propaganda.
This series comes to carry a media blow of the most underhanded to the Berbers in general, and to the Kabyle in particular. From the simple fact that it is broadcast on the French-German channel Arte and that it is directed by an authentic “Algerian”, this miniseries can easily pass for “gospel” in the eyes of the general public who does not have any knowledge, neither to Kabylia, nor to Algeria, nor even less to the civilizational conflict which opposes the Berber world to the Arab-Islamic world, in North Africa and, more particularly, in Kabylia.
Seriously misleading, this series has decided to put in images the black decade of Islamic terrorism during the 1990s in Algeria. To do this, it chose to stage the kidnapping and murder of a German arms dealer by a terrorist group supposedly “opposed to the Algerian regime” … and … in the torture room of these “terrorists”, it is not the black and murderous flag of the jihadists that is enthroned, it is the flag of the Berbers: it is the shimmering flag, full of life and color of the Berbers that is presented as being the emblem of Islamic terrorism in Algeria. It is just hallucinating, it is like we walk on the head.
Don’t tell us that this scene, in no way innocent, is not made with full knowledge of the facts by someone who knows perfectly well that he is lying. The image is not insignificant, as well as the perfidious insistence to show Kabylia as the territory of predilection of Islamism and thus of terrorism which is intimately linked to it. Wouldn’t the objective of this series be to fit in with the “official” news sold by Algeria to the world? Between “lucky coincidence” and “perfect timing”, the current criminalization of Kabylia by the Algerian state leads us to believe this.
Still, this “filmmaker”, who claims to immortalize through the image a shameless lie, knows perfectly well that he is lying. Such a grotesque deception is easy to deconstruct, if only by the most obvious facts! Facts that this filmmaker can in no way ignore, since of public knowledge, and fortunately international and not “Algerian”:
– Numerous reports and documentaries, press articles, electoral results demonstrate very clearly that during the elections that brought the Islamists to victory in all Algeria, only Kabylia has notoriously  distinguished itself. Unlike the whole of Algeria which voted for the Islamic Salvation Front (the political arm of Islamic terrorism), Kabylia voted for the Socialist Forces Front FFS and the Rally for Culture and Democracy RCD. Two political organizations with Kabyle roots carrying, alone in Algeria, the fight for secularism. Conclusion: Algerians voted for Islamism, Kabyle people voted for secularism! And these are the facts and only the facts!
– Numerous reports and documentaries, press articles etc., also attest that only Kabylia has set up self-defense committees against Islamist terrorists to ensure the security of its villages handed over to the sect of Allah by the Algerian State.
Excerpt from the book of the security adviser to the US pentagon, Walid Phares, in his book “the comings revolution”

– Many reports and documentaries, press articles etc., also attest that it is once again Kabylia which paid a very heavy price to the Arab-Islamic terrorism by the physical liquidation of a good part of its political and civic, cultural and scientific elite; from Tahar Djaout to Katia Bengana, passing by Smail Yefsah, Nabila Djahnine, Djaffar Ouahioune, and so many and so many others… and what about Matoub Lounès, the darling of Kabylia, murdered under the banner of Allah?
If they could, the forgers of the two shores of the Mediterranean would make Kabylia bear the weight of all the Arab-Islamic horrors it has suffered. In fact, this is precisely what they are doing. It is the scenario of M’zab, on a larger scale, that they are reproducing in Kabylia.

Hasn’t the Algerian state classified the Kabyle political organizations as “terrorist”? Aren’t there more than 300 Kabyle political female and male prisoners of conscience accused of “terrorism” in jail? Didn’t they set fire to Kabylia and murder an innocent man in Larbaa Nath Iraten to blame it on the “separatists” of the MAK with the help, of course, of Morocco and Israel?
By this image of the Amazigh flag enthroned in a slum of the soldiers of Allah, by associating the extremely significant emblem of several million Berbers with the Islamic terrorism of the 1990s, this Algerian filmmaker intentionally misleads the possible spectators. He is doing a racial propaganda work that aims to harm Kabylia, and through it to the whole Berber world.
We will have to face many more lies.
History is never written by the defeated, let’s say it once and for all. There is nothing to expect from others, it is up to us to defend ourselves and to defend above all Kabylia against these forgers.
As a reminder, before this “Alger confidentiel”, there was “Les hommes libres”, another historical holdup that tells the story of “Arabs who had saved Jewish children” during the Vichy regime. On the television sets, the historical falsification was sponsored by Benjamin Stora, the official historian of the Algerian War, for France as well as for Algeria, which means that the story told is more “official” than real… Well, as you may have guessed, the “Arabs” mentioned in this film were, historically speaking, “Kabyle”. Yes, it was Kabyle people who saved those Jewish children and not Arabs. Benjamin Stora admits that the film pursues other objectives …
Questioned on the issue, Mr. Stora has indeed found nothing better to answer that “This film does not aim to talk about Kabyle or Arabs, but acts of humanity of Muslims towards Jews under the Vichy regime in France.
The argument could have been admissible if the film did not speak of Arabs to the detriment of Kabyle, if the film had not been sold on all TV sets under the attractive but misleading title: “Arabs were found to save Jews”.
If they had said that “Algerians” had been found to save Jews, we would probably have been fooled once again. So why specify that they were “Arabs”, if this does not respond to a very clear desire to despoil an “act of humanity”, as Mr. Stora so fervently and rightly points out, committed by the Kabyle, in order to falsely attribute it to the Arabs, who in any case had not yet “emigrated” to France.
On this issue, however, Mr. Stora regretted that “in the film there is no reference to the strong Kabyle presence in France. As he himself mentions in all his works, Algerian immigration at that time was almost exclusively Kabyle. Therefore, mathematically speaking, it was not “Arabs who saved Jews”, as the cult phrase in the film states, but “Kabyle people who saved Jews”, yes Kabyle people, and not Arabs, since Kabyle people were the only Algerian immigrants. But as our reputation of lethargic has long been ahead of us, the cynicism is pushed to the title of the film “the free men” which, ironically, is the exact translation of the name that all Berber peoples give themselves, including the Kabyle: Imazighen
But once again, if “Alger confidentiel” attributes to Kabylia the darkness of the Arab-Islamic world that it suffers and if “les hommes libres” despoils Kabylia of its most beautiful values, it is only because we let it happen.

 By Yasmina Oubouzar.