Full program
downloadable PDF
Showtimes
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Exceptional Event
In partnership with:
Ville de Martigues, Friends of the Festival and
the bookstore-Clause
Friday, September 3, 2010 at 18:30
THE COMMON
A film by Peter Watkins
France, 2007, 3:30
Part 1 - Buffet Communard - Part 2
Unique Price: 6 euros
In the presence of
Claude Willard
President of Friends of the Paris Commune -1871
MEDIA CRISIS -
Statement filmmaker Peter Watkins about the production company 13 produces the "common" and owned by Lagardère.
This message is in the introduction to his film "La Commune" (PARIS 1871) : Film version of 3:30.
Preview Film R. Ménégoz "La Commune de Paris, 1952. Music by Joseph Kosma.
Commentary by Henri Julien Bertheau said LOW (who played the role of the student idle in "Life is Ours" by Renoir) of the French Academy.
With songs of Henry LOW performed by the Choirs "Moquet Guy" and "Hope". The poems are by Eugene Pottier.
Tardi illustration for "Le Cri du Peuple" cartoon on
Paris Commune
***
*
Exceptional Event
In partnership with:
Ville de Martigues, Friends of the Festival and
the bookstore-Clause
Friday, September 3, 2010 at 18:30
THE COMMON
A film by Peter Watkins
France, 2007, 3:30
Part 1 - Buffet Communard - Part 2
Unique Price: 6 euros
In the presence of
Claude Willard
President of Friends of the Paris Commune -1871
The initial release of this film, shot in black and white in 1999 and presented in 2000 at the Musée d'Orsay, was 5 h 45. Its reduction to 3 h 30 is part of an effort to facilitate access to the film, while the filmmaker known for years of great difficulty to disseminate his work built against the currents of the official canon.
activist for the emergence of an alternative and democratic process in the field of audiovisual medium, Peter Watkins has invented a word, "monoform" to set against which he struggles: the narrative device employed by television and film commercial, which imposes a "strafing dense and fast sound and image", with abrupt cuts designed to create a shock effect, and manipulation.
Shot in thirteen days, following strictly the chronology of events, he consciously blurs notions of documentary, fiction or historical reconstruction and undermines the usual criteria Document television and Hollywood saga to force the viewer to reflect on the film's form, teach him distrust, encouraging them to challenge the subordination to the media.
The Commune, played by the unemployed, the entertainment, undocumented, provincial Montreuillois allows the public to play its own history, to link the issues of the Paris revolution of 1871 and those of May 68 or today. Peter Watkins sets up the arrival of television reporters Versailles and Television Communard, microphones in hand, raising one hand, a soothing rhetoric, calling law enforcement, the fight against "leaders who are not, mostly French," and other evidence of insurgent people. This unusual approach can not be accused of anachronism since the movie is displayed openly as interpreted by contemporaries that react according to criteria of their time.
We read, written by film historians stigmatizing any particular attempt, it was impossible to film a revolution. Watkins proves otherwise. The Commune mocks the facts, ignores Louise Michel and Jules Vallès, to film a thought, ideas, give voice to people, mean that this period marked the beginning of a reflection. And returns echoes contemporary: racism, women's roles, social inequality, censorship, school ... In
located closer to the common people - whether they are street kids, workers, artisans, small businessmen, civil servants, soldiers, intellectuals, priests, bourgeois ... - in Paris in 1871, La Commune by Peter Watkins - building bridges with our society today - we wake up to remind us that history is a living, evolving, and that at any moment we can become agents lucid conscious and responsible.
To go further:
The Rebound
Association for the promotion and dissemination of
film "La Commune (Paris 1871)" by Peter Watkins
(click image)
The Commune, played by the unemployed, the entertainment, undocumented, provincial Montreuillois allows the public to play its own history, to link the issues of the Paris revolution of 1871 and those of May 68 or today. Peter Watkins sets up the arrival of television reporters Versailles and Television Communard, microphones in hand, raising one hand, a soothing rhetoric, calling law enforcement, the fight against "leaders who are not, mostly French," and other evidence of insurgent people. This unusual approach can not be accused of anachronism since the movie is displayed openly as interpreted by contemporaries that react according to criteria of their time.
located closer to the common people - whether they are street kids, workers, artisans, small businessmen, civil servants, soldiers, intellectuals, priests, bourgeois ... - in Paris in 1871, La Commune by Peter Watkins - building bridges with our society today - we wake up to remind us that history is a living, evolving, and that at any moment we can become agents lucid conscious and responsible.
To go further:
The Rebound
Association for the promotion and dissemination of
film "La Commune (Paris 1871)" by Peter Watkins
(click image)
Interview with Peter Watkins
In 2001, the association "Bounce to the Communication" Making a record 30-minute film titled "Peter Watkins - Lithuania. Filmed in the surreal setting of a park pro-Soviet theme, a few dozen kilometers from Vilnius, Peter Watkins discusses the experience of the Commune, talks about his work, the genesis of the film, his position of director and, more broadly, the crisis audiovisual mass media today.
MEDIA CRISIS -
Statement filmmaker Peter Watkins about the production company 13 produces the "common" and owned by Lagardère.
This message is in the introduction to his film "La Commune" (PARIS 1871) : Film version of 3:30.
Preview Film R. Ménégoz "La Commune de Paris, 1952. Music by Joseph Kosma.
Commentary by Henri Julien Bertheau said LOW (who played the role of the student idle in "Life is Ours" by Renoir) of the French Academy.
With songs of Henry LOW performed by the Choirs "Moquet Guy" and "Hope". The poems are by Eugene Pottier.
Under the Earth Festival of Resistance
a projection of
Most Beautiful Struggles
will be held Thursday, September 2 at 18:30
to the conference room Martigues
a projection of
Most Beautiful Struggles
will be held Thursday, September 2 at 18:30
to the conference room Martigues
Tardi illustration for "Le Cri du Peuple" cartoon on
Paris Commune
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L OTHER WORLD
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L OTHER WORLD
That fifteen years, Gilles Marchand prints to French cinema climates taste disorders, anxiety deaf and imperceptible tilting to another dimension as the everyday reality. It is primarily as a writer he has achieved a high recognition, linking the same year writing Human Resources (the first film by Laurent Cantet), and Harry, a friend who wishes you well (the comedy Flippee Dominik Moll, which in the summer of 2000, won great popularity).
Since Gilles Marchand made the leap to directing. In 2003, his first film, Who Killed Bambi?, Followed the first steps of a young professional nurse, soon landed in a hospital, doctors discovered that the chief was a serial killer. This does not prevent of course fall in love.
MAINTENANCE
You left idea what to write The Other World?
From the desire to make a film that consists of two subjects at once: animation and live action. But not in the way of Mary Poppins or Roger Rabbit, where these two materials are mixed. I wanted there to be a border between two worlds and at the same time as the narrative moves from a very soft side to side.
You know the video game world?
I'm not a real geek. I know a little, I have played. But the virtual territory that describes my film is less a game than a social network, a place where one goes in the form of an avatar to meet people, to live another life, have sex ... Second Life is a models of the virtual world of my film. But I wanted more broadly describe all forms of virtual network where it connects and helps return a stylized or idealized self.
In your film, faced with scenes of animation that we project into an abstract world and a bit futuristic, there's part live action where we are in a movie almost archetypal French author: youth, the province, motorcycle rides ...
When you love the dressing, it does not say "I love more oil" or "j ' more like vinegar "... The important thing is that there be both. These two sides that you describe are in the same film and I wanted to spend a record very mental and stylized to a more realistic description of everyday life of some young people in the south of France.
I wanted to idealize these two worlds. I do not want one grow at the expense of another. The temptation is to show the world we live a little sad, not up. I wanted rather than my main character, Gaspard, played by Gregoire Leprince-Ringuet, has every reason to love life. The south, friends, girlfriend, the sea: I really wanted to make this kind and very desirable. And then there's the virtual world that is also very idealized.
Is there an anchor in this biographical story? You're from this region of southern ...
Nothing says the film happened to me. But to describe adolescence in the south of France, I always used my memories. When I was the age of Gaspard, I preferred to go to the cinema to see movies rather than difficult to have fun with my friends, going to the beach ... What I was looking for? Why do I perceive the world more complicated, darker, rougher than my real life as a perfect world? It is strange that this issue deals with the film. Why, when you love life, do we still want to project themselves into another, often more violent, and basically always has something to do with the image of death? In The Other World is the internet youth suicide ... But cinephilia also totally to do with it. These images, I would like because they contain a little death.
Why choose Louise Bourgoin Canal + whose image is very far from this performance anxiety?
I met a lot of actresses. My producer had had very positive feedback about his work on The Girl from Monaco. I met her, she seduced me a lot but I was wondering if it was not too healthy (laughs) ... I was too malignant struck by his manner of speaking, his side "no taboos". It was reviewed and slowly behind his permanent smile and very communicative, I felt it coming in the tests very well to let other states, sadder, more opaque ... I also pass tests to Julien Doré for the role of Melvil Poupaud. I liked their next couple blonde, glamorous, playing a relationship brother / sister a little cloudy. But it would put his fingers in a spiral people who do not fit perfectly to the film.
You feel at your ease in French cinema today ? You worry for its evolution?
cinema works pretty good, the entries are good, you can make movies. But we feel there is a bonus to those who are not too annoying. That may be a backlash hypervalorisation filmmaker's place in France. The system seems to say: "With a cast and a script, everything would be about right if there were not any more difficult for developers to want this and that." This ideal of a cinema where the director n is a kicker does not attract me at all. As I first been an admission of writer I am often asked for debates on the promotion of the profession of writer. I always try to say that it is not desirable to be modeled on a model to the Anglo-Saxon, where the writer is an ally of the producer, and director becomes a mere technician. For me, the staging area is crucial in the wish of the film.
You have often talked about your passion for David Lynch. Have you had similar shocks since Eraserhead?
Lost Highway also was a shock immense. I remember the glare of the first part and then to see the stunning Lynch film change after forty minutes. He is doing a masterpiece and a sudden he breaks it to go in another direction. I also loved Mulholland Drive, but the shock was less violent. These days, I was amazed by Days of Heaven Terrence Malick. I even found it a little humiliating as director to see what happens to (laughs). I missed Elephant Gus Van Sant at its output. But I had heard so much about the film that I felt seeing it. When I finally discovered I was amazed at how the film was much stronger than this feeling of familiarity and full knowledge of its stakes. It surprised me and delighted. I also love Richard Kelly. I loved Donnie Darko, Southland Tales bewildered me, and in a register back into line, The Box I'm very interested. Shyamalan also my passion, I love his side kid who does as he pleases. In Cannes, I was enchanted by Mathieu Amalric Tour and Uncle Boonmee Apichatpong Weerasethakul. And intrigued a film that I felt close to the territory on which I work: Simon Werner has disappeared, a film about adolescence a little scary and cold.
THE INROCKS July 2010
MAINTENANCE
You left idea what to write The Other World?
From the desire to make a film that consists of two subjects at once: animation and live action. But not in the way of Mary Poppins or Roger Rabbit, where these two materials are mixed. I wanted there to be a border between two worlds and at the same time as the narrative moves from a very soft side to side.
You know the video game world?
I'm not a real geek. I know a little, I have played. But the virtual territory that describes my film is less a game than a social network, a place where one goes in the form of an avatar to meet people, to live another life, have sex ... Second Life is a models of the virtual world of my film. But I wanted more broadly describe all forms of virtual network where it connects and helps return a stylized or idealized self.
When you love the dressing, it does not say "I love more oil" or "j ' more like vinegar "... The important thing is that there be both. These two sides that you describe are in the same film and I wanted to spend a record very mental and stylized to a more realistic description of everyday life of some young people in the south of France.
I wanted to idealize these two worlds. I do not want one grow at the expense of another. The temptation is to show the world we live a little sad, not up. I wanted rather than my main character, Gaspard, played by Gregoire Leprince-Ringuet, has every reason to love life. The south, friends, girlfriend, the sea: I really wanted to make this kind and very desirable. And then there's the virtual world that is also very idealized.
Is there an anchor in this biographical story? You're from this region of southern ...
Nothing says the film happened to me. But to describe adolescence in the south of France, I always used my memories. When I was the age of Gaspard, I preferred to go to the cinema to see movies rather than difficult to have fun with my friends, going to the beach ... What I was looking for? Why do I perceive the world more complicated, darker, rougher than my real life as a perfect world? It is strange that this issue deals with the film. Why, when you love life, do we still want to project themselves into another, often more violent, and basically always has something to do with the image of death? In The Other World is the internet youth suicide ... But cinephilia also totally to do with it. These images, I would like because they contain a little death.
Why choose Louise Bourgoin Canal + whose image is very far from this performance anxiety?
I met a lot of actresses. My producer had had very positive feedback about his work on The Girl from Monaco. I met her, she seduced me a lot but I was wondering if it was not too healthy (laughs) ... I was too malignant struck by his manner of speaking, his side "no taboos". It was reviewed and slowly behind his permanent smile and very communicative, I felt it coming in the tests very well to let other states, sadder, more opaque ... I also pass tests to Julien Doré for the role of Melvil Poupaud. I liked their next couple blonde, glamorous, playing a relationship brother / sister a little cloudy. But it would put his fingers in a spiral people who do not fit perfectly to the film.
You feel at your ease in French cinema today ? You worry for its evolution?
cinema works pretty good, the entries are good, you can make movies. But we feel there is a bonus to those who are not too annoying. That may be a backlash hypervalorisation filmmaker's place in France. The system seems to say: "With a cast and a script, everything would be about right if there were not any more difficult for developers to want this and that." This ideal of a cinema where the director n is a kicker does not attract me at all. As I first been an admission of writer I am often asked for debates on the promotion of the profession of writer. I always try to say that it is not desirable to be modeled on a model to the Anglo-Saxon, where the writer is an ally of the producer, and director becomes a mere technician. For me, the staging area is crucial in the wish of the film.
Lost Highway also was a shock immense. I remember the glare of the first part and then to see the stunning Lynch film change after forty minutes. He is doing a masterpiece and a sudden he breaks it to go in another direction. I also loved Mulholland Drive, but the shock was less violent. These days, I was amazed by Days of Heaven Terrence Malick. I even found it a little humiliating as director to see what happens to (laughs). I missed Elephant Gus Van Sant at its output. But I had heard so much about the film that I felt seeing it. When I finally discovered I was amazed at how the film was much stronger than this feeling of familiarity and full knowledge of its stakes. It surprised me and delighted. I also love Richard Kelly. I loved Donnie Darko, Southland Tales bewildered me, and in a register back into line, The Box I'm very interested. Shyamalan also my passion, I love his side kid who does as he pleases. In Cannes, I was enchanted by Mathieu Amalric Tour and Uncle Boonmee Apichatpong Weerasethakul. And intrigued a film that I felt close to the territory on which I work: Simon Werner has disappeared, a film about adolescence a little scary and cold.
THE INROCKS July 2010
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Inception means "origin" outbreak of an event that will generate others echoed. Emotions which Christopher Nolan explores figurative into the mysteries of the brain. The mental chaos is one of the principles of this action film that mixes the strategy of a gang specializing in industrial espionage and the psychopathology of his head. Orchestrator of this trip in neurons and observer of defense mechanisms that trigger it as an alarm siren, the filmmaker blurs the real and the dream, gives them to each of the different temporal criteria.
author of this infernal scenario he directs with such a sense of dramatic detail that many viewers will be keen to see Inception several times, Christopher Nolan imagine the exploits of a "puller", a guy who enters the dreams of prey to steal secrets buried deep in their subconscious. There he is entrusted by a multinational to do the opposite: rather than steal an idea, it is implanted in one in mind of an individual, like a worm in a fruit. Slide inception likely to push powerful boss to change his plans.
Built on the principle of stories in abyss, forcing these spies strange to imagine the scenery confusing their diving dream several dreams and nesting into each other, this plot is likely to fill the supporters of the show in Hollywood. Replete with special effects, it results in sets of mirrors in the Parisian subway air, a frantic pursuit through the streets of Mombasa in Kenya, building virtual collapse, feet, nose to balance, walk to ceiling, fighting in zero gravity, the ultimate James Bond thriller tense.
Admirers of Christopher Nolan will find the taste of the maze, the succession of flashbacks, the shifts in levels of reality and the psychological disorder associated with amnesia who made the success of his first film, Memento (2000), and its propensity to make Batman a vigilante tormented (Batman Begins, 2005, and The Dark Night 2008). Because Cobb is haunted by a painful intimacy, pursued by a deceased wife who emerges in his dreams for sabotage missions.
"These sitting dreamers"
They discover a Machiavellian demiurge that had not denied the surreal. We are not far from here I love you, I love you Alain Resnais and Jacques Sternberg (1968) where a man travels through time in wild, guinea pigs of an experiment that disturbed him cross tattles a girl he claims to have killed. In Inception, Mall, the femme fatale (Marion Cotillard), Nadja is the Cobb, a quasi-fantastical creature that takes the dream to reality (and vice versa), multiply the distress calls, loses reason to jump into the vacuum to regain the love of his life. Surrealist suicide in 1929, Jacques Rigaut was equally certain of being a ghost, believing that it would revert back in time itself.
The thoroughness with which Christopher Nolan painted the establishment of collective sessions of sleep takes us back to the hypnotic experiments planned for André Breton, Robert Desnos filled the role of the medium with closed eyes. Since Inception
in these sessions to explore the dreams of each resulted sensory disorders and impulsive statements. Breton's idea was that these dreams harmonized "communicating vessels" were likely to resolve some difficulties in life. Existed even with some Hervey de Saint Denys (1822-1892) the concept of "dream run": China expert proved that we could create the dreams of his choice, for example dreaming of a region after falling asleep in her pillow spraying a perfume he had acquired.
In Inception, we will not soon forget this plan, laying down sleeping bodies floating in a virtual cosmos. It is the very image of moviegoers, candidates dream together in one room. These "dreamers sitting Desnos said, are swept up in a new world from which reality is fiction just endearing."
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author of this infernal scenario he directs with such a sense of dramatic detail that many viewers will be keen to see Inception several times, Christopher Nolan imagine the exploits of a "puller", a guy who enters the dreams of prey to steal secrets buried deep in their subconscious. There he is entrusted by a multinational to do the opposite: rather than steal an idea, it is implanted in one in mind of an individual, like a worm in a fruit. Slide inception likely to push powerful boss to change his plans.
Built on the principle of stories in abyss, forcing these spies strange to imagine the scenery confusing their diving dream several dreams and nesting into each other, this plot is likely to fill the supporters of the show in Hollywood. Replete with special effects, it results in sets of mirrors in the Parisian subway air, a frantic pursuit through the streets of Mombasa in Kenya, building virtual collapse, feet, nose to balance, walk to ceiling, fighting in zero gravity, the ultimate James Bond thriller tense.
Admirers of Christopher Nolan will find the taste of the maze, the succession of flashbacks, the shifts in levels of reality and the psychological disorder associated with amnesia who made the success of his first film, Memento (2000), and its propensity to make Batman a vigilante tormented (Batman Begins, 2005, and The Dark Night 2008). Because Cobb is haunted by a painful intimacy, pursued by a deceased wife who emerges in his dreams for sabotage missions.
"These sitting dreamers"
They discover a Machiavellian demiurge that had not denied the surreal. We are not far from here I love you, I love you Alain Resnais and Jacques Sternberg (1968) where a man travels through time in wild, guinea pigs of an experiment that disturbed him cross tattles a girl he claims to have killed. In Inception, Mall, the femme fatale (Marion Cotillard), Nadja is the Cobb, a quasi-fantastical creature that takes the dream to reality (and vice versa), multiply the distress calls, loses reason to jump into the vacuum to regain the love of his life. Surrealist suicide in 1929, Jacques Rigaut was equally certain of being a ghost, believing that it would revert back in time itself.
The thoroughness with which Christopher Nolan painted the establishment of collective sessions of sleep takes us back to the hypnotic experiments planned for André Breton, Robert Desnos filled the role of the medium with closed eyes. Since Inception
in these sessions to explore the dreams of each resulted sensory disorders and impulsive statements. Breton's idea was that these dreams harmonized "communicating vessels" were likely to resolve some difficulties in life. Existed even with some Hervey de Saint Denys (1822-1892) the concept of "dream run": China expert proved that we could create the dreams of his choice, for example dreaming of a region after falling asleep in her pillow spraying a perfume he had acquired.
In Inception, we will not soon forget this plan, laying down sleeping bodies floating in a virtual cosmos. It is the very image of moviegoers, candidates dream together in one room. These "dreamers sitting Desnos said, are swept up in a new world from which reality is fiction just endearing."
Jean Luc Douin
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and starring Mathieu Amalric
with Mimi Le Meaux, Evie Lovelle, Dirty Martini, Roky Roulette ... 1:51.
Tour, the fourth film by Mathieu Amalric and that opened the official competition, consists of at least four trips bunk and antagonists almost none of which ever really end. First a journey through contemporary music hall show that the product of a small town to striptease troupe that specializes in new American burlesque five daughters rather chubby, plump, plump and sometimes a boy. It is a trip to Fellini sense of the word: a sequence of numbers seen in the light cabaret clubs blurred and old provincial theaters, or springing into the recess of a heavy curtain, or improvising during a rehearsal . A parade of flesh and colorful rays smoking, exposure fragmented, sexy but not really sexual, where the bodies offer the same time their beauty and derision. The pompoms tournicotent at her nipples, scarves escape panties and on the pubis, tiny star-spangled banners flapping.
Betrayals. The second trip is one in which Americans are discovering these buxom France. Or rather do not discover since complained to their manager, Joachim, see only Mercure hotels, shopping areas and boxes clueless. Le Havre, Nantes, Bordeaux, but no other landscape and urban, nocturnal, and gray postindustrial.
Joachim is the hero of the Tour and it is itself the subject the third trip takes us where the film: a journey through his life. This is a field of war. Two teenagers whose son soon he can not deal with a former girlfriend who does not want to see, friends cruel, determined enemies, the galleys of money and Joachim betrayals which may be the culprit. Anyway, when he says he must go to Paris "and kill a guy, it would not hand in the fire he jokes.
Finally, we travel tour with a stunning elegance and discretion in what must be called, with as little fear as possible, the best of French cinema. From the first shots, the film brings to life and keep together the Women, Women of the Pleasure Paul Vecchiali and Max Ophüls. In Nantes, it will Demy, Melville and why not embrace it with Jim Morrison immense tact. And so on, without ever giving the sense to call ghosts frozen cheaply, but rather by dancing on a fire of admiration, half conscious and driven by the flame of his subject: the eternal feminine Tour where his heroes and its director, happily, are consumed.
At this stage it should not be any suspense. Yes, the filmmaker and Joachim are one: Mathieu Amalric, and he would not have been otherwise. Amalric is that regia and tender, with maximum risk, a tour with an open heart on a deep vision, heart and therefore exciting, philosophical, and therefore moral, life. The actor Mathieu is an engineering concern in the role. The author Amalric is a captivating finesse in the staging. His films touch and understated, warm and cut, gifted with new colors and lights, maintains its high speed, its percussive rhythm and consistency without significant missteps from one end to another of the epic. By painting his fiction on the sets of world where the nights are long space-time, unsynchronized usually represented the social world, Amalric also offers his film Freedom to dig tunnels in turn its own talismanic nights and improvised. Tour of the mornings are unforgettable moments of suspension.
"Everything is suspect unless your body. Everything. Unless you girls, "said Joachim to his dancers, believing they have something to learn about it. It is rather that we take this lesson: "It takes time to love her body," Will we also hear in the course of dialogues with Joachim-Amalric is the soul and the interpreter, while joy despite the serious things, while lightness despite fates that are seemingly heavy. On Tour, it's always the joy of living that prevails: among the women employed by him and he admires the pimp Joachim eventually elect one. This is Mimi, the beautiful neo-Marilyn, who will ultimately saw his piece of France, landscapes and more importantly, in flesh and hopefully for her bones.
OLIVIER SÉGURET
At Film Festival School of Poitiers, Mathieu Amalric was on stage for a truly special film.
