ɪn ðɪs kˈɑːntɛkst, lˈækhdɑːɹhˈæmɪnəz sˌɪnɪmˌæɾəɡɹˈæfɪk kɚɹˈɪɹ hɐz sɪɡnˈɪfɪkəntli kəntɹˈɪbjuːɾᵻd tə ðə dɪvˈɛləpmənt əvə nˈuː fˈɪlmɪk lˈæŋɡwɪdʒ kˌæɹɪktɚɹˈɪstɪk ʌv kəntˈɛmpɚɹˌɛɹi mˈæɡɹɪbˌaɪ sˈɪnəmə ɪn dʒˈɛnɚɹəl ænd ældʒˈɪɹiən ɪn pɚtˈɪkjʊlɚ, nˈoʊɾəbli dɪstˈɪŋkt fɹʌmðə fˈɪlmɪk ɛkspˈiəɹɪənsᵻz ʌv ˈʌðɚɹ ˈæɹəb kˈʌntɹiz ænd mˈoʊst pɚtˈɪkjʊlɚli ʌvðɪ ɪdʒˈɪpʃən sˌɪnɪmˈæɾɪk ˈɪndʌstɹi.
In this context, Lakhdar-Hamina's cinematographic career has significantly contributed to the development of a new filmic language characteristic of contemporary Maghrebi cinema in general and Algerian in particular, notably distinct from the filmic experiences of other Arab countries and most particularly of the Egyptian cinematic industry.