PROGRAMME pdf :
Hours:
Events Renoir
PALESTINE
MEMORY AND REAL-TIME
Thursday 3 & Friday, September 4, 2009
Thursday September 3 at 20:30
In the presence of filmmakers:
Samir Abdallah Mabrouk & Khéridine
Gaza Stanza Samir Abdallah Mabrouk & Khéridine
France, Palestine, 2009, 1:30
Abu Samer and Joker, two militants of the Palestinian Centre for Human Rights in Gaza, we expect the Rafah border crossing where we went with a French delegation, after a long wait on the Egyptian side. We are Tuesday, January 20, 2009, Inauguration Day for Barack Obama, barely 48 hours after the announcement of a ceasefire, but here are still buzzing drones in the sky and shining Israeli bombs rained on civilians.
For 3 weeks, activists Palestinian human rights guide us along the narrow Gaza Strip, the tracks of Israeli tanks destroyed everything in their path, in addition to attacks by air and sea Dozens of witnesses appearing before the Israeli atrocities camera. Their stories are strikingly accurate facts and we bring within the Palestinian nightmare.
film site
with numerous extracts
In the presence of filmmakers:
Samir Abdallah Mabrouk & Khéridine
Gaza Stanza Samir Abdallah Mabrouk & Khéridine
France, Palestine, 2009, 1:30
Abu Samer and Joker, two militants of the Palestinian Centre for Human Rights in Gaza, we expect the Rafah border crossing where we went with a French delegation, after a long wait on the Egyptian side. We are Tuesday, January 20, 2009, Inauguration Day for Barack Obama, barely 48 hours after the announcement of a ceasefire, but here are still buzzing drones in the sky and shining Israeli bombs rained on civilians.
For 3 weeks, activists Palestinian human rights guide us along the narrow Gaza Strip, the tracks of Israeli tanks destroyed everything in their path, in addition to attacks by air and sea Dozens of witnesses appearing before the Israeli atrocities camera. Their stories are strikingly accurate facts and we bring within the Palestinian nightmare.
film site
with numerous extracts
Cinema "peoples too many" in resistance ...
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Friday, September 4 at 20:30
In the presence Antoine Thirion
critical Cahiers du Cinema and
Jean Roy
critical Humanity
critical Cahiers du Cinema and
Jean Roy
critical Humanity
Elia Suleiman
Palestine, 2009, 1:45
Starring: Elia Suleiman, Saleh Bakri, Yasmin Haj
Palestine, 2009, 1:45
Starring: Elia Suleiman, Saleh Bakri, Yasmin Haj
The daily life of Palestinians who remained in their homelands and were labeled "Arab-Israelis" living as a minority in their own country. The film goes back to
1948 to offer us a historical building in four episodes. This is the entrance into the great history through the story, that of the family of Fuad Suleiman, Elia's father that we find strength when the collapse of the Arab Liberation Army. Army mobilized just as its name suggests to liberate Palestine. The film lays bare the program in a humorous scene with a soldier of that army lost and seeking the road to Haifa when the Israeli army decided the outcome of the war. It is this register of black humor that verges on caricature that will carry the narrative, with peaks of great moment emotion as would be the case during the scene where one of his trips Elia Suleiman faces the Israeli separation wall and as was the case in "Divine Intervention" where a checkpoint jumps under the influence of bomb, bomb meant to be taken of a beautiful woman by the wall will be exceeded with a pole as in the famous Olympic sport. It is very beautiful and very strong. There is no direct political message but the film touches on both the derision that surrounds tragic stories and the sincerity of statements that is that ultimately we are dealing with a work of an author who legitimately claim be perceived as an artist and filmmaker first.
Definitely the best film at Cannes!
1948 to offer us a historical building in four episodes. This is the entrance into the great history through the story, that of the family of Fuad Suleiman, Elia's father that we find strength when the collapse of the Arab Liberation Army. Army mobilized just as its name suggests to liberate Palestine. The film lays bare the program in a humorous scene with a soldier of that army lost and seeking the road to Haifa when the Israeli army decided the outcome of the war. It is this register of black humor that verges on caricature that will carry the narrative, with peaks of great moment emotion as would be the case during the scene where one of his trips Elia Suleiman faces the Israeli separation wall and as was the case in "Divine Intervention" where a checkpoint jumps under the influence of bomb, bomb meant to be taken of a beautiful woman by the wall will be exceeded with a pole as in the famous Olympic sport. It is very beautiful and very strong. There is no direct political message but the film touches on both the derision that surrounds tragic stories and the sincerity of statements that is that ultimately we are dealing with a work of an author who legitimately claim be perceived as an artist and filmmaker first.
Definitely the best film at Cannes!
Film Site:
Conversation Elia Suleiman with a from Independencia
Conversation with Elia Suleiman 2 from Independencia
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Exceptional Session
Preview
8:30 p.m. Tuesday, September 15
Dance, Ballet de l'Opera de Paris
Documentary
Frederick Wiseman
2009 France
by
THIERRY THIEU Niang
Dancer, Choreographer and
MAGALIE COZZOLINO
director of the Ecole de Danse de Martigues
Professor CA
Dance, The Ballet de l'Opera de Paris
Frederick Wiseman, documentary film pioneer set up his camera for seven weeks in the heart of the Paris Opera.
Broomstraw sewing workshops for public performances and through the various stages of the life of a dancer to become a star, DANCE shows the work of all those who embody the daily performances of emergency.
I got permission to follow the dancers, choreographers and directors in all aspects of their life ... The expression and performance art are subjects that I have already explored in some of my previous films. In 1995, I realized Ballet, a film about the American Ballet Theatre. This film follows the company's rehearsal studio in New York and on tour in Athens and Copenhague.Et the following year, I realized The French Comedy, on the famous Parisian theatrical institution. I am sure that not only, the Ballet de l'Opera de Paris can provide a wonderful film and sound material, but a film about this world famous institution will make a significant contribution to the history of dance. Frederick Wiseman
Press Kit:
Interview with Frederick Wiseman by Francois Niney: (click photo)
Frederick Wiseman directed his first documentary , Titicut Follies, in 1967 in a hospital for criminal psychopaths. Therefore, it establishes a style and technique to avoid clichés and to minimize subjectivity: he spends much time with his players before the shooting which tends to obscure the camera, it determines its subject during assembly; it does not use voiceover and commentary and it spreads its movies in the long (often more than 3 hours) and favors the clip.
In the 70s he became interested in drama and inhumane effects of bureaucracy in Law and Order, Juvenile short, and Welfare. In 80s, he discusses the influence of American consumer society in the world with The Store, Model and Sinai Field Mission while Blind, Deaf, Multi-Handicapped (all three shot in 1987) and Near Death deals with physical disabilities and their impact on the mind.
In the 90s, he again tackles social issues with Public Housing (1997) on the misery of a black ghetto of Chicago, Belfast, Maine (1999) and Domestic Violence (2001).
In 2002, after receiving dozens of awards worldwide for his documentaries, he directed his first feature film, The Last Letter, the genocide of Jews during WWII World.
Broomstraw sewing workshops for public performances and through the various stages of the life of a dancer to become a star, DANCE shows the work of all those who embody the daily performances of emergency.
I got permission to follow the dancers, choreographers and directors in all aspects of their life ... The expression and performance art are subjects that I have already explored in some of my previous films. In 1995, I realized Ballet, a film about the American Ballet Theatre. This film follows the company's rehearsal studio in New York and on tour in Athens and Copenhague.Et the following year, I realized The French Comedy, on the famous Parisian theatrical institution. I am sure that not only, the Ballet de l'Opera de Paris can provide a wonderful film and sound material, but a film about this world famous institution will make a significant contribution to the history of dance. Frederick Wiseman
Press Kit:
Interview with Frederick Wiseman by Francois Niney: (click photo)
Frederick Wiseman directed his first documentary , Titicut Follies, in 1967 in a hospital for criminal psychopaths. Therefore, it establishes a style and technique to avoid clichés and to minimize subjectivity: he spends much time with his players before the shooting which tends to obscure the camera, it determines its subject during assembly; it does not use voiceover and commentary and it spreads its movies in the long (often more than 3 hours) and favors the clip.
In the 70s he became interested in drama and inhumane effects of bureaucracy in Law and Order, Juvenile short, and Welfare. In 80s, he discusses the influence of American consumer society in the world with The Store, Model and Sinai Field Mission while Blind, Deaf, Multi-Handicapped (all three shot in 1987) and Near Death deals with physical disabilities and their impact on the mind.
In the 90s, he again tackles social issues with Public Housing (1997) on the misery of a black ghetto of Chicago, Belfast, Maine (1999) and Domestic Violence (2001).
In 2002, after receiving dozens of awards worldwide for his documentaries, he directed his first feature film, The Last Letter, the genocide of Jews during WWII World.
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LOLA MONTES
The movie you will see, ladies and gentlemen, is a kind of ghost. In December 1955, Max Ophuls presented to the Parisian public Lola Montes, a great film Eastmancolor and CinemaScope, which did not sit well. Removed from the poster, Lola Montes was shown twice and then mounted (the film is in French, English and German) in different ways.
The efforts of the Cinematheque French helped to revive a film very close to the version that would Ophuls. By the grace of digital tools, Lola Montes has found its colors, stereo sound and format. This does not suffice to dispel a curse fragrance.
course, audiences in 2008 will be less confused by the disjointed chronology of the narrative, violence chromatic images. But what made viewers flee the Marignan, more than half a century, still scared. Deprivation of food delivered in the famous courtesan of the nineteenth century, merchant traffic and feelings fun things to remain qu'Ophuls scandal shows with violence in a fever that often bordered on delirium, without pretending to compassion. It is most unfortunate and least lovable of masterpieces.
After a lengthy prologue, when finally discovered Carol Martin, star of the day, performer Lola Montes, the first words she utters are: "It's going to go." Antiphrasis perfect. In these early sequences, we saw Lola circus beast, given to lust and contempt of the public by a monstrous ringmaster (Peter Ustinov). The former prostitute who was turning heads crowned survives by replaying on the mode of pantomime, the most scandalous episodes in his career. Like a nightmare, the film slips from the circus to the pageant to the movies. Lola, a teenager, put his hands on her mother's lover, Lola seduces and abandons Franz Liszt Lola pervades the privacy of King Ludwig I of Bavaria and causes the local edition of the 1848 revolution. REFERRING TO DESPAIR
When he films the circus, Max Ophuls makes rush dwarfs painted red, galloping equestrians scantily clad in a permanent uproar revolves around a motionless face, that of Lola, who wants to hardly stand and spoke in a voice inaudible.
Since 1955, we said a lot of trouble by Martine Carol. The actress is not a great actress, and each of the flashbacks shows its limits (the sequence of adolescence makes it sink into the ridiculous - she was aged 35 at the time of filming). But there was plenty of sadness in it so that it consists of a mask undead despair in seizing these sequences circus. Looks like she survives only thanks to the energy that he infuses his perverse vicious ringmaster, including Peter Ustinov is a demon.
limits the actress does not prevent the film to unfold in all its fullness. While the historical sequences partially respect the rules of the genre in force at the time, but Ophuls requires both worlds the same distortions that cause dizziness and claustrophobia. The camera is supremely mobile (prodigious feat, given the heavy equipment of the time), but instead to expand the scope of Scope, these movements split into a labyrinth from which no character can not escape.
This feeling is accentuated by the recurring use of grids, leaded windows, the railings which are the bars of the prison in which Lola Montes was enclosed.
This hell is not someone who watches the girls lost. This is the one where love and money are exchanged interchangeably, where fame is a commodity. Ophuls had learned to Hollywood (the circus Lola is American), where he had been exiled during World War II, and one can discern in Lola Montès a parable of rape culture and history by European American show business. This is a song-cons. Lola Montes is primarily the story of agony. The last film by Max Ophuls, who died two years later.
Thomas Sotinel
The efforts of the Cinematheque French helped to revive a film very close to the version that would Ophuls. By the grace of digital tools, Lola Montes has found its colors, stereo sound and format. This does not suffice to dispel a curse fragrance.
course, audiences in 2008 will be less confused by the disjointed chronology of the narrative, violence chromatic images. But what made viewers flee the Marignan, more than half a century, still scared. Deprivation of food delivered in the famous courtesan of the nineteenth century, merchant traffic and feelings fun things to remain qu'Ophuls scandal shows with violence in a fever that often bordered on delirium, without pretending to compassion. It is most unfortunate and least lovable of masterpieces.
After a lengthy prologue, when finally discovered Carol Martin, star of the day, performer Lola Montes, the first words she utters are: "It's going to go." Antiphrasis perfect. In these early sequences, we saw Lola circus beast, given to lust and contempt of the public by a monstrous ringmaster (Peter Ustinov). The former prostitute who was turning heads crowned survives by replaying on the mode of pantomime, the most scandalous episodes in his career. Like a nightmare, the film slips from the circus to the pageant to the movies. Lola, a teenager, put his hands on her mother's lover, Lola seduces and abandons Franz Liszt Lola pervades the privacy of King Ludwig I of Bavaria and causes the local edition of the 1848 revolution. REFERRING TO DESPAIR
When he films the circus, Max Ophuls makes rush dwarfs painted red, galloping equestrians scantily clad in a permanent uproar revolves around a motionless face, that of Lola, who wants to hardly stand and spoke in a voice inaudible.
Since 1955, we said a lot of trouble by Martine Carol. The actress is not a great actress, and each of the flashbacks shows its limits (the sequence of adolescence makes it sink into the ridiculous - she was aged 35 at the time of filming). But there was plenty of sadness in it so that it consists of a mask undead despair in seizing these sequences circus. Looks like she survives only thanks to the energy that he infuses his perverse vicious ringmaster, including Peter Ustinov is a demon.
limits the actress does not prevent the film to unfold in all its fullness. While the historical sequences partially respect the rules of the genre in force at the time, but Ophuls requires both worlds the same distortions that cause dizziness and claustrophobia. The camera is supremely mobile (prodigious feat, given the heavy equipment of the time), but instead to expand the scope of Scope, these movements split into a labyrinth from which no character can not escape.
This feeling is accentuated by the recurring use of grids, leaded windows, the railings which are the bars of the prison in which Lola Montes was enclosed.
This hell is not someone who watches the girls lost. This is the one where love and money are exchanged interchangeably, where fame is a commodity. Ophuls had learned to Hollywood (the circus Lola is American), where he had been exiled during World War II, and one can discern in Lola Montès a parable of rape culture and history by European American show business. This is a song-cons. Lola Montes is primarily the story of agony. The last film by Max Ophuls, who died two years later.
Thomas Sotinel
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Analysis of a sequence
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Sequence Monthly Archive
Cinema space of citizenship
Interview with Serge Daney
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