Programme PDF
Hours:
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Special Session
Wednesday, April 15 at 20:30
In the presence of Sophie's producer Quiedeville
Film
Fabienne Godet
France, 2009, 1:47
Raider recidivist, Michel Vaujour spent twenty-seven years in prison with seventeen isolation. He made the beautiful five times, legend has retained his escape of Health in 1986 by helicopter with the help of his wife Nadine. Four months later, he was recaptured during a robbery which degenerates in a shootout, during which he took a bullet in the head. Hemiplegic, he rehabilitates single and enjoys, in 2003, an amendment to the Law on conditions for obtaining parole. He is granted a remission of sixteen.
The film devotes Fabienne Godet-cons took the foot of this biography, quasi police could wait to leave. He turns his back on options or journalistic fiction, nor do traces its social trajectory nor his legal battle, spare us the style reality show which recreates the confusion of a man trapped in a concrete cube.
Godet had at his disposal the necessary ingredients to the portrait of a Nickel-foot modern-day king of the run. A disk, a history of fraternal friendship with a fellow inmate, women faithful love stories (after Nadine is trying Jamila of his escape and spent seven years in prison), incredible tricks (the prisoner takes the imprint of a key in the crust of a Babybel, is made revolver with soap and nail clippers).
She chose her main asset: Michel Vaujour, man. Do not release me, I'll take care of is an intimate portrait, pointed at a face, listening to a word, asceticism accomplice, a philosophy. It is the story of a man who verbalizes his metamorphosis. The face-to-face with an eternal escapee what he thought was his reconciliation with himself. Vaujour understood that his prison was existential, his revolt had locked up, he would have had to find other ways to get rid of values of the community. It was his own jailer.
Vaujour tells how he has drawn strength in him, how he lost "the ability of joy", how it caused extreme situations because the only thing that made him vibrate, "was death", how he reinvented "by the inner journey." He speaks of "the beauty of what we offered." Blue eyes, an emotion that is flush, a spiritual power that impresses the screen.
Jean-Luc Douin
PRESS PACK
Godet had at his disposal the necessary ingredients to the portrait of a Nickel-foot modern-day king of the run. A disk, a history of fraternal friendship with a fellow inmate, women faithful love stories (after Nadine is trying Jamila of his escape and spent seven years in prison), incredible tricks (the prisoner takes the imprint of a key in the crust of a Babybel, is made revolver with soap and nail clippers).
She chose her main asset: Michel Vaujour, man. Do not release me, I'll take care of is an intimate portrait, pointed at a face, listening to a word, asceticism accomplice, a philosophy. It is the story of a man who verbalizes his metamorphosis. The face-to-face with an eternal escapee what he thought was his reconciliation with himself. Vaujour understood that his prison was existential, his revolt had locked up, he would have had to find other ways to get rid of values of the community. It was his own jailer.
Vaujour tells how he has drawn strength in him, how he lost "the ability of joy", how it caused extreme situations because the only thing that made him vibrate, "was death", how he reinvented "by the inner journey." He speaks of "the beauty of what we offered." Blue eyes, an emotion that is flush, a spiritual power that impresses the screen.
Jean-Luc Douin
PRESS PACK
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Cine - Pub - Philo
In partnership with
The MJC Martigues Mediatheque Louis Aragon the Bookstore PARAGRAPH
6:30 p.m. Thursday, April 16
Resisting do exist?
Praise of Réxistence
Vladimir Biaggi
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Cine - Pub - Philo
In partnership with
The MJC Martigues Mediatheque Louis Aragon the Bookstore PARAGRAPH
6:30 p.m. Thursday, April 16
Resisting do exist?
Praise of Réxistence
Vladimir Biaggi
In circumstances imposed by history, men, millions have lived and still live in oppression, tyranny, misery and humiliation. Whoever lives or survives in such situations is often reason to resign, to surrender, to accept the unacceptable until the end (of his troubles or his life). Other routes exist and a central question arises: how to remain human in a world radically dehumanized ? That question was posed by V. Biaggi in his book "THE SERIAL NUMBER 48954; its subtitle," In Praise of Réxistence "offers a response to be considered: there, is not initially resist? Reflection on the meaning and value of the concept of resistance will be conducted in the presence of the author.
Reading by Gabriel Cinque
Book Chil Rajchman
I'm the last Jew Treblinka 1942-1943
Debate
led by Pascal Jourdan, in the presence Vladimir Biaggi
9:00 p.m.
Requiem for a Massacre
Original Song: "Go and see"
Elem Klimov
USSR, 1985, 2:20
Kratchenko With Alexei, Olga ... Mironava
Book Chil Rajchman
I'm the last Jew Treblinka 1942-1943
Debate
led by Pascal Jourdan, in the presence Vladimir Biaggi
9:00 p.m.
Requiem for a Massacre
Original Song: "Go and see"
Elem Klimov
USSR, 1985, 2:20
Kratchenko With Alexei, Olga ... Mironava
is a film that can not come out unscathed, as if returning from war itself, with the flashes of tracer bullets in the eyes, guttural cries, insatiably devouring fire. It is the spiral of violence, madness, the inevitable: death leads Elem Klimov's film (his goal like a scythe) until the final revenge, unleashing immediate and rehashed maketing ploy to face the unbearable and the logic of extermination black. The child of thirteen, played by Alexei Kravchenko or emaciated, the witness is an adult most of cruelty great supporters of the Nazis against the Russians. The camera movements arise or impose his eyes frightened, frightening, the whirlwind, the hurricane of iron that kills, destroys and uproots everything in its path. The grass does not push back more, no trees, churches burned boards will not even be used as coffins for the living-dead.
If I remember correctly, it went well. I was young and wanted to join the comrades, fighting against Nazi Germany. It terrorized my country, my family was starving. I was young I wanted to know, and I left. I left my mother and the twins. My mother was crying because she knows some of which travel is not up ...
One day he took leave, and they left without me, "too young" they said. I stayed there in the thick forest, crying, heart rifle cons. There was this girl who was crying, she saw her lover head of the battalion. She cried. I cried. And then we laughed. Soon the bombs fell and the Germans marched on the camp. We, as we were hidden from the dead, out of the mud. Me, I had a siren in my head, and he had run away. I walked straight to the house. Hand gun cons. Mom and the twins were gone. At the end of the swamp stood neighbors, frail and hungry. It took eating. He had to go, go. And that I saw, I saw what there was to see, and maybe even that God gave me life for a day to testify ... "
At 9 years, Elim Klimov saw Stalingrad, his hometown, crushed by bombs. Become a filmmaker, he had fixed the duty to make a film about that time to eventually adapt to a new writer Ales Adamovich's, The story of Khatyn (*) on the atrocities perpetrated by the German army in Belarus during the 1943. This country has seen 628 villages destroyed by fire (628 times Oradour-sur-Glane), of which 186 were never rebuilt. The "Graveyard of Villages Burned" of Khatyn still retains the land in urns and ashes of all these places disappeared.
Directed at a time of great international political tension after a previous film that had frustrated ("The Agony"), is the culmination of eight years of work. To embody this descent into hell, Klimov has selected a player of fifteen, Aleksei Kravchenko, all young job applicants who cried the most, who was willing to endure the worst shooting conditions, which ran until exhaustion for be chosen. The film was originally called "Kill Hitler" as to castigate from barbarism that lies in each of us. Finally, it will be "Go and look" (words from the revelations of Saint John the Evangelist in the Apocalypse, when the slain Lamb broke the first seal) and "Requiem for a massacre" in France.
entire film is seen through the eyes of Fliora, this kid is old before his time, but the unforgettable scene of the return to the farm when accompanied by Glash it hastily and not turns away from the pile of bodies of his family. There, Klimov makes us glimpse the unspeakable in the blue eyes of the girl. The two teens fled to the swamps, through forests of birch trees (believed to images of original happiness in "The Thin Red Line" by Terrence Malick) and found other refugees. Foraging, the youth is eventually captured and taken to a village invested by the German army.
In the last part, the technique is even more discreet. The staging accumulates inventions while miraculously remaining sober. Camera movements (the film is shot entirely in the Steadycam) seeks no artifice. A look to the sky: a threatening aircraft tore the azure. In the distance, trees are emergency doors out of reach. The massacre of villagers organized in a ghoulish and meticulous choreography.
"We were all together, and it was almost unrealistic in the real side, it must have been mistaken for real, someone had to come and change happens. But nobody came. Wide-eyed, I saw. Crammed into the barn, it took the place of cattle. Women could go out, "without children" we had reported an officer. I'm out. Large yellow flames burned up to the sky.
"Too Young" they said ? Because you know wars who choose their victims? They were all crazy. I'm away ... Yeah, I think that if I were asked, I would say that it happened like that. Faced against fire. "
The mounting clip reinforces the dramatic intensity without the image does not reveling in horror. The use of sound alone deserves a lengthy discussion (at the beginning of the film, after the bombs, it no longer receives an awful hissing sound) and goes to aggregate in an atrocious cacophony Mozart and animal noises. There is stunned and helpless in the killing and its aftermath. The penultimate scene invents a montage of archive that ends in dramatic question in a puddle of dirty water. This wrenching catharsis made with tripe, where each new scene you landed a punch, is also an experiment in the limits of fiction. A cow is stolen from a farm slaughtered by machine gun: the sequence was carried live ammunition, we see the creeping slip a few inches from the actor and the Beast dying before our eyes.
Haunted by memories of childhood, the story of yet grasped the real chaos. Defuse the slightest pathos (no whining, no tears, no heroism), this rejection of any psychological digression, this saturation of the senses (visual and auditory) release tremendous energy which destroys every puff a little more viewers. How to emerge unscathed from such a film? "Requiem pour un massacre" realism focuses the first few minutes of "Saving Private Ryan" (Spielberg), the lyricism of "Apocalypse Now" (Coppola), inventiveness sound "Childhood of Ivan "(The first film Tarkovsky on a related topic), the fierce looks of the lost children of the "Wall" (Güney) or the despair of "Landscape in the Mist (Angelopoulos).
is a witness to history, an indictment against human barbarism, a journey into the night stinking mud and blood, cinema pushed to its extremes and it's terrifying.
Elim Klimov has done no more film. He died October 26, 2006.
(*) This Khatyn located 60 km from Minsk has no connection with the site of the massacre of Polish officers: Katyn (Russia near Smolensk). Belarus has its equivalent Kourapaty, where tens of thousands of Russian, Belarusian, Lithuanian and Polish victims of Stalin's purges between 1937 and 1941 are buried in mass graves.
If I remember correctly, it went well. I was young and wanted to join the comrades, fighting against Nazi Germany. It terrorized my country, my family was starving. I was young I wanted to know, and I left. I left my mother and the twins. My mother was crying because she knows some of which travel is not up ...
One day he took leave, and they left without me, "too young" they said. I stayed there in the thick forest, crying, heart rifle cons. There was this girl who was crying, she saw her lover head of the battalion. She cried. I cried. And then we laughed. Soon the bombs fell and the Germans marched on the camp. We, as we were hidden from the dead, out of the mud. Me, I had a siren in my head, and he had run away. I walked straight to the house. Hand gun cons. Mom and the twins were gone. At the end of the swamp stood neighbors, frail and hungry. It took eating. He had to go, go. And that I saw, I saw what there was to see, and maybe even that God gave me life for a day to testify ... "
entire film is seen through the eyes of Fliora, this kid is old before his time, but the unforgettable scene of the return to the farm when accompanied by Glash it hastily and not turns away from the pile of bodies of his family. There, Klimov makes us glimpse the unspeakable in the blue eyes of the girl. The two teens fled to the swamps, through forests of birch trees (believed to images of original happiness in "The Thin Red Line" by Terrence Malick) and found other refugees. Foraging, the youth is eventually captured and taken to a village invested by the German army.
In the last part, the technique is even more discreet. The staging accumulates inventions while miraculously remaining sober. Camera movements (the film is shot entirely in the Steadycam) seeks no artifice. A look to the sky: a threatening aircraft tore the azure. In the distance, trees are emergency doors out of reach. The massacre of villagers organized in a ghoulish and meticulous choreography.
"We were all together, and it was almost unrealistic in the real side, it must have been mistaken for real, someone had to come and change happens. But nobody came. Wide-eyed, I saw. Crammed into the barn, it took the place of cattle. Women could go out, "without children" we had reported an officer. I'm out. Large yellow flames burned up to the sky.
"Too Young" they said ? Because you know wars who choose their victims? They were all crazy. I'm away ... Yeah, I think that if I were asked, I would say that it happened like that. Faced against fire. "
Haunted by memories of childhood, the story of yet grasped the real chaos. Defuse the slightest pathos (no whining, no tears, no heroism), this rejection of any psychological digression, this saturation of the senses (visual and auditory) release tremendous energy which destroys every puff a little more viewers. How to emerge unscathed from such a film? "Requiem pour un massacre" realism focuses the first few minutes of "Saving Private Ryan" (Spielberg), the lyricism of "Apocalypse Now" (Coppola), inventiveness sound "Childhood of Ivan "(The first film Tarkovsky on a related topic), the fierce looks of the lost children of the "Wall" (Güney) or the despair of "Landscape in the Mist (Angelopoulos).
is a witness to history, an indictment against human barbarism, a journey into the night stinking mud and blood, cinema pushed to its extremes and it's terrifying.
Elim Klimov has done no more film. He died October 26, 2006.
(*) This Khatyn located 60 km from Minsk has no connection with the site of the massacre of Polish officers: Katyn (Russia near Smolensk). Belarus has its equivalent Kourapaty, where tens of thousands of Russian, Belarusian, Lithuanian and Polish victims of Stalin's purges between 1937 and 1941 are buried in mass graves.
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The Birds of Saudi
A Way with Simone Weil
Film David Yon
Written by David and Mathieu Yon
2009
A Way with Simone Weil
Film David Yon
Written by David and Mathieu Yon
2009
fragments correspondence
with the letters of Simone Weil Ataris Antonio (1941-1942)
At the dawn of World War II, thousands of English refugees fleeing across the Pyrenees to advance Franquists . Antonio Atari is one of them: a face among many. Arrived France, he was interned at Camp du Vernet in Ariège.
In March 1941, he received a letter from someone he does not know, the philosopher Simone Weil. These two destinies will cross in the twilight of history. On the one hand, a Jewish philosopher engaged in a political struggle and mystical in Marseille, and the other a peasant anarchist exile in Vernet and gateway to the Sahara, in Djelfa in Algeria.
exciting site with many documents around the film
Simone Weil, Françoise
irregular and Florence Mauro
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In March 1941, he received a letter from someone he does not know, the philosopher Simone Weil. These two destinies will cross in the twilight of history. On the one hand, a Jewish philosopher engaged in a political struggle and mystical in Marseille, and the other a peasant anarchist exile in Vernet and gateway to the Sahara, in Djelfa in Algeria.
exciting site with many documents around the film
Simone Weil, Françoise
irregular and Florence Mauro
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All Movies
from 15/04 to 19/05
(click thumbnails)
from 15/04 to 19/05
(click thumbnails)
************* BONUS
About the commercial breaks on television
Jean-Luc Godard sent, March 12, 1988, Mr. Arnaud Here, artistic director of Action for TF 1, the following letter:
Let me give you my feeling the desire to TF 1 to insert a "display advertising" within the spread of Rise and Fall of a small business theater.
From a artistic point of view, I regret that a TF can not insert more advertising slots during the broadcast of this work which deserves, and what would be perfectly in keeping with the subject.
We can show you several places where the insertion of a display ad would be very useful, either to hide the game shocked the lead actor, a low cut or lighting.
These screens could be either mostly silent or sound, and I'd be real happy to indicate possible locations to serve you.
course, you should choose a common agreement monitors advertising to be inserted during broadcasts, and for their sake, and for that of "the bitter carrier.
I beg you, dear sir, to believe that I am writing these proposals out of use of good faith. Advertising in all its forms is part of the daily reality of our Western world, and it seems strange that the film, which transmits some data from this world, can also accommodate some affection with "ads", and should the exclude the name of I do not know what artistic purity.
It is therefore important to choose the filmmaker not only space and time of the cut, but the tone and style of advertising the work itself, in agreement with the owner, so as to This break a bond for the common good of both works.
In this case, in order to share with the co-producer of the film - that is to say TF 1 - additional revenue, I propose to redistribute a percentage to be established between the various co-producers - Hamster, TF 1 and we - even levied on the price set by the chain for this or these various insertions.
I think this position is much healthier than that taken by the SACD and the company directors, which has sent a copy of this letter, as well as the production and distribution should not belong to some one when it comes to movies, even when it comes to commercials.
Jean Luc Godard
About the commercial breaks on television
Jean-Luc Godard sent, March 12, 1988, Mr. Arnaud Here, artistic director of Action for TF 1, the following letter:
Let me give you my feeling the desire to TF 1 to insert a "display advertising" within the spread of Rise and Fall of a small business theater.
From a artistic point of view, I regret that a TF can not insert more advertising slots during the broadcast of this work which deserves, and what would be perfectly in keeping with the subject.
We can show you several places where the insertion of a display ad would be very useful, either to hide the game shocked the lead actor, a low cut or lighting.
These screens could be either mostly silent or sound, and I'd be real happy to indicate possible locations to serve you.
course, you should choose a common agreement monitors advertising to be inserted during broadcasts, and for their sake, and for that of "the bitter carrier.
I beg you, dear sir, to believe that I am writing these proposals out of use of good faith. Advertising in all its forms is part of the daily reality of our Western world, and it seems strange that the film, which transmits some data from this world, can also accommodate some affection with "ads", and should the exclude the name of I do not know what artistic purity.
It is therefore important to choose the filmmaker not only space and time of the cut, but the tone and style of advertising the work itself, in agreement with the owner, so as to This break a bond for the common good of both works.
In this case, in order to share with the co-producer of the film - that is to say TF 1 - additional revenue, I propose to redistribute a percentage to be established between the various co-producers - Hamster, TF 1 and we - even levied on the price set by the chain for this or these various insertions.
I think this position is much healthier than that taken by the SACD and the company directors, which has sent a copy of this letter, as well as the production and distribution should not belong to some one when it comes to movies, even when it comes to commercials.
Jean Luc Godard
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