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"Why do we laugh? "
Thursday, October 21, 2010 6:30 p.m.
Partnership MJC / library Louis Aragon / Jean Renoir cinema / museum Ziem / Paragraph Bookstore / Vladimir Biaggi
Debate moderated by Vladimir Biaggi
(writer and philosopher)
has often been said that man is the only animal capable of wanton cruelty, but also to laugh! Analyzing the various forms of laughter and comedy, we will try in this "pub philosophy" that is hopefully more funny than cruel, to highlight the relationship with the comic poetry, play, freedom. The latest book by Robert Favre (deceased at the time of publication): "Why do we laugh? (Ed. Hazards) allow us, not without humor, to better distinguish what Favre aptly called "laughter of transgression," the "laugh attack" and "laughter of liberation."
The debate will be followed by a buffet and screening of a film "surprise" funny, side-splitting, hilarious, funny, twisted, but too fine, subtle and sophisticated with lots of amazing actors.
Index:
* Representation of the body in the comedy films American and French
Laugh or do not laugh Paradoxes of comedy
by Jacqueline Nacache
Starissime is a women's lingerie a little outdated, not yet passed through the mill management methods of France Telecom. Where, as a worker said, "we do not lift a finger to go pee." But times are not at the party, bankruptcy lurks two cutaways empty spaces ring as a threat. The employees, mostly women, are trying to form themselves into a SCOP (Cooperative and participation). In this case, employees become shareholders: one vote would be equal to one vote on the board. In this form of self-management firm echoes the slogan of PIL "is produced, is sold, we pay! The project gets underway and Mariana Otero - in the unity of place and with "his" characters - the following process: build the case, general meetings, information provided by a trainer, internal debate, vote. A fascinating relationship drama socio-economic world of work is woven on the screen.
now compare the incomparable: Xavier Beauvois as with men and gods, the director films the doubt, the link - between characters and with a place - and democracy in a situation of choice. Close-ups of the opening scene reveals the work which the only sound is that of machines. However, our hands is a speech, or rather the recovery thereof, where human voices emerge over the heady inaugural mechanical music. The big question that agitates the microcosm is to invest or not to become majority shareholder Starissime. The company then moved into an agora: a space for dialogue, debate, argument. The quality of the film is off from its local dimension to deploy a portrait - neither optimistic nor pessimistic - exciting a company through which the aspirations and interests, far from the black liberal "let us, everyone find his account in harmony ": it does not hurt, however.
is also a social timid and full of doubts taking shape, the fear of being duped, to deceive oneself, to leave a place - even inadequate - just locate any. Powerful evocation also difficult exercise of democracy and politics in this confusion that seized the minds of the technical issues and lack of confidence in the depositories of power, as economic policy - kept almost completely out of scope, but so ubiquitous. Take control of their work, become an investor, it is also changing their place, leaving being subordinate, In Our Hands exposes the gravity of atavism, without heaviness, quite the contrary.
Mariano Otero puts us under his nose all the news of feminist issues that we tend to look like old moons, while bringing forth new ones. His film is more broadly in a tribute to the complexity of reality and immensity of the field voltage. In a present where political action seems to be serving a moron and perpetual rewriting reality - dedicated to scramble in meticulously understanding and challenges - our hands like a gift from elsewhere. Arnaud Hée
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Of Men and Gods
Xavier Beauvois
France, 2010, 2:00
Starring: Lambert Wilson, Michael Lonsdale, Olivier Rabourdin
Cannes 2010: Grand Prize and the National Education
Friday, October 22 at 18:00 meeting / debate
in the presence of Philippe Perrenoud mission in Algeria for the Protestant Church of Algeria of 1996-2005
L e March 26, 1996, during the conflict between the Algerian state to the Islamic guerrillas, seven French monks settled in the monastery of Tibehirine in the Atlas Mountains, are kidnapped by an armed group. Two months later, the Armed Islamic Group (GIA), after fruitless negotiations with the French government, announced their murder. We find their Heads, May 30, 1996. Not their bodies.
Men and Gods is primarily a film about a human community challenged to his ideals with reality.
The film is shot from their point of view, and therefore that of a Cistercian order that favors silence and contemplation, but also the work of the earth, communion with the singing, helping poor, patient care, fellowship with men. It is this spiritual requirement that the film wants to account, this sense of finitude Pascal rights, openness to others it implies.
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Here we are before one of those films whose clinical Jacquot secret (Seventh Heaven, Princess Mary, etc..), Which refers to phenomena that are both mundane and mysterious, that science (psychiatry, psychoanalysis) began to look closely about a century ago: love and desire. What forces involved in romantic relationships and sex? This is the subject of the film: the finding of the power exercised by both sides in a couple (even temporarily) without anyone really knowing who owns, and analysis and distanced surprised this time when both partners experience the same fascination for each other and unite both the body and mind. What happens to it then?
All this is already exciting "on paper", but the lure of film Jacquot still resides elsewhere, thanks an aspect very critical to modern cinema, which is to experiment, to confront ideas, stories, fantasies to the test of reality, light, body actors. And reality, in this case - even if Nahuel Perez Biscayart is amazing - basically the face and body Isild Le Besco, absolute object of desire of the film: his father (symbolically), its future husband's wandering course, the police officer who conducts the investigation - and without violating their privacy, including that of the filmmaker, who was the companion the actress.
Who is most fascinated here by the forces that move ahead? The girl, the tramp, the filmmaker or the viewer (do not forget the ties of kinship long established between hypnosis and movies)? Jacquot has also betrayed the truth of the matter by imagining an original epilogue romantic and very beautiful, which no doubt recall some film directed by Marco Ferreri in 1963, the marriage bed. This is the moment when the young woman, married, just visit the prisoner and they exchange glances of complicity. Intelligent malicious, while ellipse and disturbing, these are the qualities of the new great film by Benoît Jacquot. Jean-Baptiste Morain
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dreams in ,
on Pina Bausch's footsteps
Linsel Anne, Rainer Hoffmann
Germany, 2010, 1:30
In 2008, Pina Bausch, a few months before his death, decides to take his famous show Kontakthof, either with his band, but with adolescents 14 to 18 years never got on stage and have never danced. This documentary is their story ...
The film follows the process repeats until the first, and gradually we measure what this wonderful collective work brings everyone into the most intimate part of her life and how this labor of a year can be a formidable machine thrive in unstuck, forcing dams. We are in the collective construction, certainly, but also in the listening. The "terrible" Pina attends the selection first, then a few repetitions decisive and it is clear how the high priestess of modern dance intimidated and seduced at a time. We discover how, in a few comments, glances, she manages with the help of two wonderful dancers of his company, Jo-Ann Endicott and Bénédicte Billiet, ubiquitous in everyday life, to breathe this thing so bizarre is the creative force of a group in harmony with a leader loved and admired.
There are sweet moments, some more aggressive in this compendium of personal lives, experiences individual talents of directors is of interest to us constantly to people while allowing us to feel the progress of the work until the Masters final, where everyone taking the insurance flourishes, arises in the group to give it a smooth consistency. And it's damn nice and strong. Pina Bausch is a party just after Paradise, June 30, 2009, other angels can dance ...
(click image)
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Festival Amérique Latin
Thursday, November 4 8:30 p.m.
Tania Herminada
Ecuador, 2008, 1:32
With Pancho Aguirre, Tania Martin, Fausto Mino
C 'is a first film, the feature debut of its director, the first to leave her country to circulate in the halls of the world. So far and hold high the flag of Ecuador. His script launches traveler on the road that runs from the capital Quito to the city of Cuenca two young women, Esperanza, a English tourist and Tristeza, a student from Ecuador. The first is a backpacker with a guide and camcorder, the second a lover eager to prevent her boyfriend to marry.
"What interests me as a writer and director, is to develop projects that provide a new perspective on my country and my family. Films that break with the conventions of a certain" Cinema of the Third World "by exceeding the limits of the study of manners, refusing satisfaction visual postcard or the trivialization of misery. The plot explores the multiple possibilities because we read the world. Through relationships that develop between the two protagonists, the film offers an ironic reflection on our certainties that are often derisory when confronting what is other, the difference. I would like the audience of this film retains its bias avoiding critical dogma, humor and uncompromising, deeply personal nature, and therefore, able to assume the risks of a search for new narrative forms. "
The film was a success outside the norm in Ecuador, her country of origin: more than 200,000 spectators and more than 24 weeks in theaters. He has already earned praise and awards across different South American countries: the Zenith silver in the First Film category at the Montreal Film Festival in 2006, the Audience Award at the International Film Festival of Sao Paulo in 2007, the Audience Award and Best film at the festival in Rio de Janeiro Cinesul or the Special Jury Prize and the Audience Award at the Film Festival of the Americas in Austin (Texas).
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Sophie Letourneur
4:30 p.m. Thursday, November 11
In the presence of
Sophie LETOURNEUR
Audience Award & Price French Film,
Belfort 2009
"If we had to tie his film to a film tradition, it would be that rare, women filmmakers like Noemie Lvovsky ( Small, Life does not frighten me ) in France, or more recently Drew Barrymore ( Bliss) in the U.S., which put girls at the center, not as objects of desire, but as active, desiring, conqueror, pushing the boys to the rank of accessories to limit. (...)
could also evoke Barbara Loden, especially in the last part the film, when girls get together for a vacation on a plate of Auvergne, the flood of words that finally runs out, the vacuum saturated as abysmal that it has produced a violent and melancholy sweeps. Concentrated on a very fleeting existence, this time the merger of the individual within a friendly group comes up for the abandonment, still fresh, the nest, the film also captures the end. The factly, he makes you run along the spine chilling and cruel sweet paradise lost. "
Isabelle Regnier - Le Monde
Sophie Letourneur (debut) has just completed the film's most stunning girls - the most confusing - since the invention of the chick flick ("movie for chicks"). Snorkelling in the Parisian babes, Rohmer way in bitches, 2010, and real document on the vocabulary of today's chicks (" What are you doing here? Because me, nothing except fuck, I give a damn " modern version of " What can I do, I dunno what to do " Anna Karina in Godard). Everything looks improvised, nothing is - with, in particular, work on his chiseled. (...)"
Guillemette Odicino - Telerama
"Are we as individual within a group or was this inevitably dissolved?, Letourneur Sophie asked. This is for the theory. In practice, Life Ranch is a unique comedy with a hundred times more replicas than any cult film bun. And certainly not a girly film cluttered code generations.
(...) For a first feature film, Sophie Letourneur capture something very alive and very happy dying. And it is this deep feeling of nostalgia that, finally, we hugged. "
Lamôme Stephanie - First
" Life at the Ranch is a musical score, music for orchestra, whose mastery requires us to listen beyond the four phrases of the violin isolated in the middle of the set. Thus we should watch the movie. C is an invitation to positioning itself as a spectator, an invitation to look differently: it is a gesture of filmmaker who has not matched the originality of his research (...)
Chiara Malta, filmmaker.
(click image)
FILM MUSIC
CINE CONCERT
Thursday, November 18
Partnership: Instant Video Mjc Martigues, Renoir Cinema
6:30 p.m.
The colors of the prism, the time mechanism (John Cage Music Techno)
Jacqueline Caux
in the presence of Jacqueline Caux
This film is inspired by the route of a smuggler Daniel Caux, musicologist, writer, radio personality, who discovered in the field of experimental music, minimal, repetitive, postmodern, and techno, and this throughout past 4 decades particularly rich creations and experiments. His recent death roles opposite today: these musicians, he eagerly accompanied wished to be present in this film. We therefore find La Monte Young, Terry Riley, Steve Reich, Philip Glass, Meredith Monk, Pauline Oliveros, Gavin Bryars, Richie Hawtin, and director Bob Wilson, and through the archives, John Cage. This film embraces a large and sensitive musical creation of the twentieth century, and demonstrates the music to which these great figures, always creative, are inextricably linked.
Jacqueline Caux trained as a psychoanalyst. Writer and artist, she has published books of maintenance. She participated in the organization of festivals of contemporary music, directed research programs for France Culture, intimate little theaters in the form of boxes, musical films. She also made short experimental films that were presented at the 2003 International Festival Paris-Berlin Film Festival's Women of Creteil. She writes for the journal Art Press
8:15 p.m. Buffet
Ciné-Concert 9:00 p.m.
The man with the camera
Dziga Vertov (1929)
in concert "live music"
Philippe Le Van (drums), David and Philippe Dupeyre Festou (guitar), David Carion (piano), Gerard Murphy (sax) and Gerard Guerin (bass).
Man the camera travels freely everyday life of a great city while inventing Soviet film language. "I am kino-eye." I am the mechanical eye. Me machine, I show you the world as only I can see. (...) This is where we work, Masters of view, the organizers of the visible life (...), Masters of Words and Sounds, virtuoso editing of life. " Dziga Vertov (literally turning the router) is the pseudonym chosen by Denis Kaufman, taking place immediately in the Futurist movement. Man with camera is an outcome, the essential debate on the report that the film has with reality and the power of the image as an ideological tool but also as an art in its own right, freed of the arts "bourgeois" and developing its own syntax. It will influence a generation of filmmakers and artists starting with Bunuel and Vigo doing their own experiments.
