Monday, June 21, 2010

Ps3 No Yellow Or White Plug

Program June 23 to August 3, 2010

Program PDF:




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PRELUDE FID

21 th International Festival

Documentary Marseille


as Forbidden an art of testimony without test format, the festival welcomes films and artists who play with the transversality of the arts. For three years, a turning point has been made, the host in the official selection of films along with documentaries.

(visit)


Each session of 30 June to 6 July will host

a short film before each film.


2 Events Exceptional


Tribute to Ritwik Ghatak

visionary filmmaker.

Thursday 1 st 9:00 p.m. July



Nagarik ( The Citizen )

Ritwik Ghatak
India, 1952, 2:05

Without work, Ramu - one of the millions of refugees from the "Partition" stranded in Calcutta - is trying desperately to keep her family from the middle class, composed of parents, his sister Sita and a small brother Pintu. His dream, Uma marry and build a beautiful house. But things get worse, the family must simply survive before taking a tenant, Sagar, who falls in love with Sita, which is ready to go with him to ease his family and try to give hope to Ramu. Finally, family home must yield to other refugees, and settled in a slum, abandoning any individual aspiration. That's when Ramu puts his hopes in the political struggle for equality of all classes.


The Citizen, the first film in his eyes "genuinely realistic" of Bengali cinema, is a call for direct political action although a melodramatic fashion. The film, shot with the great actor from the theater, Kali Bannerjee, is made of "cooperative" (raw stock is offered, and laboratories involved in the production studio), but because of an unscrupulous businessman, it was projected that 25 years later after his therefore death for two weeks in Calcutta in a very damaged copy.

Ritwik Ghatak , Indian filmmaker born in 1925, who died fifty years later burned by alcohol, will soon crossed his time, that post-partition 1947. He claimed that loud and clear in interviews and in his writings so numerous, a political art, it nevertheless has used the tool cinema with a little-known freedom. Without doubt its stylistic variations, a large sample of records to melodrama, have paradoxically contributed to hide his genius - unlike Ray, for example. However, what concerns us in this work is all that. The proud claim of a beauty product of film practice freed, the mixture of genres in fiction and documentary, said the concern and put into practice the transmission (many have generously been his students) in association with the firm claim a political practice grounded in the everyday life of an India both torn and a people full of invention itself.


Evening Footage

9:00 p.m. Tuesday, July 6

Proposed Program by

Jean-Pierre Rehm Delegate General of FID.


A selection of short films (documentary, fiction, animation, music ...) to embrace the many facets of the works presented at the IDF.


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THE CINEMA IN THE HANDS
In the presence of students, teachers,
participants and stakeholders.

Thursday, June 24 at 18h

Public Session and gratu ite

A SEASON OF WORKSHOPS

We invite you to discover the other missions that has for several years now, the cinema as a place for research, training, meetings with professionals, including the establishment of regular workshops of artistic practice. Provide opportunities for young people to meet film and artistic creation is a challenge that professional and partners fall each year to offer this audience a strong background and experience.
This year you can enjoy the films made in the context of partnerships:

Cinema, one hundred years young / French Cinematheque
College Matraja Sausset les Pins

http: / / 100ans.cinematheque.fr/100ans20092010/index.php

Cinema Equipped with Animation / Folimage Primary School St Peter

http://www.lequipee.com/

"Elsewhere begins here, a trip to my city" (workshop led by Elise Tamisier / Company in April as part of the Odyssey of Martigues).

http://www.compagnie-avril.com/

Optional Option movies Lycée Jean Lurcat (some films tray exercises and video art with the Instants Video)

http:// www.lyc-lurcat.ac-aix-marseille.fr/spip/



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"A society without art and without culture? "

Marie-José Mondzain

Speech by Marie-José Mondzain philosopher
research director at CNRS,

for the meeting of May 31, 2010,
" A society without art and culture without ? "
hosted by Cassandre / Horschamp
the Theatre Gerard Philipe in Saint-Denis.


Director Samuel Wahl











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Leap Year
Michael Rowe with Monica Del Carmen, Gustavo Sánchez Parra ... 1 hour 32.

Amateur Mexican landscapes and exotic megacities, on your way! In Leap Year, we must solve never leave the apartment without much charm of Laura (Monica Del Carmen, fascinating opacity), a young Indian woman frantically typing on his laptop between two cryptic phone calls to bosses of companies more or less corrupt for editing a cabbage leaf to the glory of liberalism creative. What does this girl, why do not we allow it to follow a walk outside, get fresh air, see the people? She wants a slap? Or is the director who is agoraphobic and can not loosen this unique setting, a start of terror whenever the target approaches the window To look at two meters in front of the apartment or the court below. He wants to be pushed from the sixth floor for him to understand where it hurts?

Leap Year play with our nerves, our attention is as captivated by the alternation of total emptiness in which the main character plunges inexorably, and the rage coital quickly peppered with rifle belt of knife in the mouth ... Laura fate and not us. Laura enjoys and we are kept at bay. What the film offers to share, put in common is an inarticulate suffering. The decor single cell is a contention, and the minimalist argument - the relationship between Laura and SM a casual lover, Arturo - an experience of ecstasy in stages, once pain, a sudden pleasure, for the nirvana of indifference leads either to wisdom or six feet underground.

Michael Rowe describes the complex subtlety of transfers of authority that organizes relations erotic Laura and Arturo. Clearly macho, he submits all his superiority mustachioed little bull, but we also understand little by little he is the obedient servant of his desire to advance it beyond itself : Domination masochism and passive asset. Deleuze rightly said that the DM was not organized around the changing values of physical sensations, but by a determined cold concept: the obsession of the contract. That is to say that between Arturo and Laura, this is not so much heating of meaning account that the implementation of a tacit agreement that anticipates (in the above) inherently abusive nature of any relationship. Sade so perfectly, the maximum influence on the other does not, moreover, goes by the gesture, but by the verb, when Laura tells Arturo how he could open his belly and enjoy the bloody wound while she pâmerait in the victory of a dead love.



But it also seems that the filmmaker is hidden in extremis meet the demands of what he wanted to show. The end flap of the film project on a childhood trauma that guides the viewer on a plain reading of the psychological journey of Laura, who finds himself curiously locked in his victim's identity. Something strong requirement of the contract binding us to the director is suddenly broken, and that Laura is betrayed by Arturo after a final round of negotiations. It does not explain it but, after all, This frustration is also involved in the persistent impression left by this beautiful film still.
Didier Peron



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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 trip to the 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 at the same time they offer 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 areas, night, gray and postindustrial.

Joachim is the hero of the Tour and he is himself the subject of the third journey 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, tour takes us with an elegance and discretion stunning 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 sensitive without a misstep throughout the epic. By painting his fiction on the sets of a 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.






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When you're Strange

Tom DiCillo
USA, 2010, 1:30
Narrator: Johnny Deep
Monster documentary, "When you're strange" traces the career of one of the most influential groups in rock history. Composed exclusively of archive footage, some unpublished belonging to living members of the group, the film tells the story-too-brief of the Doors and America of the 60s.
To make the film, producers have used Tom DiCillo, the director of "Delirious" and "Living in Oblivion". A proposal he had no trouble accepting:

"Not only that interested me, I was available, but I had an idea: use only archives which allowed to make a movie rooted in its time. It pleased the producers. "

Result: images of rehearsals, the first concerts, recording sessions in the studio ... Ointment documentary acute nostalgia. All told through the voice of Johnny Depp. Tom DiCillo
not fall into the trap of a story archive organized solely around the charismatic Morrison. The film highlights each of the personalities of the group in fusion. Like their musical influences.

More nuanced than the fiction of Oliver Stone in 1992, "When you're strange" also shows an epoch in which the group is symptom: the America of the sixties, steeped in paradox. Between the Vietnam War and hippie movement, between consumerism and culture-cons.





Bonus: Storm Riders on th



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Stephen Frears
England, 2010, 1:49
With: Gemma Arterton, Luke Evans, Tamsin Greig
, Roger Allam
2010 Cannes out of competition


Adapting the graphic novel by Posy Simmonds himself Loosely based on the novel by Thomas Hardy Far from the Madding Crowd , director Britain plunges us for this once in the heart of a village in the English countryside and peaceful dapper, animated by a residence for writers, run by a charming couple. Madame looks after her guests, the kitchen scones and cookies, find the names of characters in books to her husband's success and will even whisper his best ideas. To Mr. reward ... the anything goes wrong. With a weakness for young girls in flower. Like Tamara Drewe, the new neighbor to the perfect plastic, which turned the heads of all the men around. Starting with a rock star whose two teenage lovers are determined to bring discord to the village, just to have some fun.

Frears is fiercer than ever here and it's exhilarating. With writers, first of all, it crunches like beings autistic, egocentric, jealous of each other. His portrait of teen brat aligning real swear words as others donned beads, is alone worth the trip. Even more surprising, the way this film strangely British village bathed in a light Tuscan.



With his nose again, his long legs, his job in the tabloids, her aspirations to stardom and her ability to break hearts, Tamara Drewe is the Amazon's London twenty-first century. His return to the village where his mother lived was a shock to the small community that thrives here in peace. Men and women, sores and rural, bestselling author, academic frustrated rock star or discarded son of the country, all are attracted by Tamara arsonist whose beauty and romantic ramblings of obscure passions awaken and will cause a chain of events also absurd as poignant.

all legs molded into a mini-shorts, Gemma Arterton endlessly to turn heads. Clueless as mischievous, she gives a sensual dimension to a character and released around which a small world of bourgeois bohemians gravity. The rest of the cast nonetheless exemplary. Special mentions to Dominic Cooper in rock star and Bill Camp in the American university trying to finish his book in years. Each brings a new form of humor and empathy felt needs only one scene each time to run at full speed. It owes its vitality to a scenario combining artfully codes of vaudeville, a touch of nonsense and lots of pop energy. In Tamara Drewe
, we laugh like crazy when he attended a fatal accident or the grief of a protagonist. The film tells all ages, all possibilities, all the memories that build a life. It does so with good humor, boldness and spontaneity invigorating. A jubilant vaudeville.

Dog Boss, 2010 Cannes Palme Dog
The Palm Dog is an award during the Cannes Film Festival since 2002. This is an acting award parody destined for best dog in one of the films in official selection (in competition, out of competition and Un Certain Regard)





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EVENT HERITAGE


From June 23 to 29
unpublished restored version
High Definition




Michael Powell, Emeric Pressburger
USA, 1949 Restored version 2010 2:13
Starring: Anton Walbrook, Moira Shearer, Marius Goring


One of the greatest films of British cinema, The Red Shoes by Michael Powell and Emeric Pressburger, in a beautiful spring day digitally restored print. The opportunity to return to pregnancy this masterpiece and talk a little facelift salvation which he has been subjected.


say that The Red Shoes has marked the history of cinema is an understatement. Paralyzed by its budget overruns, extremism and dark romantic speech (a great artist is consumed by his art) and by the mad experiments of its shape, investors in the film by Michael Powell and Emeric Pressburger, considering that this show was hopelessly for a public failure, did everything to sabotage his release in English in September 1948. Without evening First, no displays or advertising to support it, the film was programmed in a single room in London, which is more in evening sessions. It is the tremendous success of the film in the U.S. which will result in reconsideration and its release in cinemas around the world, ensuring the film a shot at posterity never wavered. So it's no coincidence that these are American filmmakers of the caliber of Martin Scorsese, Brian De Palma, Steven Spielberg and Francis Ford Coppola who have contributed significantly to the posterity. All traumatized in their youth by the splendor of poisonous masterpiece of Powell and Pressburger, they are processed Authentic VRP in the film. The director of Casino no hesitation in declaring it to him "the most beautiful film in Technicolor" while De Palma, who admits he was inspired by the scene where Lermontov attended the show from his box to the stage of the hearing in his Phantom of the Paradise, said: "The Red Shoes is the perfect movie for me, I can rewrite it frame by frame in my head and it is rather rare. It works well, it's very innovative, very moving. This is the greatest movie I've ever known in artistic creation. Therefore it has affected us to this point, the ballet is a metaphor all artistic works. "



17 minutes on another planet
In addition to the authors / directors and, lest we forget, the great cinematographer Jack Cardiff, who has contributed greatly to the magnificence visual film there a fourth man who emerged as a major contributor to the success of The Red Shoes: Hein Hekcroth. This German costume designer, already at work on two other films of the tandem Powell / Pressburger, A Matter of Life and Death and The Black Narcissus, in addition to creating the costumes of the film, was also replaced at the last moment the decorator Alfred Junge. Duplication but oh so justified on the screen, especially during the sequence of the legendary ballet, visual tour de force for which 17 minutes Heckroth, making more as artistic director as a decorator, had to adapt the original story of Andersen that inspired the film and give a life painting, including conducting more than 120 paintings preparatory (he was a painter of training) and an animated storyboard (a sort of ancestor of animatics) the whole scene, which will be of great help to the chief operator.


Fleeing like the plague any notion of filmed theater, this long and beautiful sequence, which alone will require six weeks of filming, film uses every artifice at its disposal: special visual effects used to embed the figures in dreamlike landscapes (the orchestra is transformed into a raging ocean) or to change their size, mounting allows for background changes the fastest and the stop-motion gives the famous shoes of the title its own life. In short, defying logic and the theater, the scene of the ballet shifts the film into a kind of intense and immersive fantasy poetry, which innervated by following the rest of the film. It took at least to prove that the viewer how the artist showed that he had loved having access to a unique world and almost supernatural. A world that was as good that he sacrifices everything else.
This digital restoration can now rediscover the masterpiece of Powell and Pressburger in all its original beauty.
Arnaud Bordas (Exess)



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