Friday, September 10, 2010

Bollywood Actresses Boobs

Program from September 15 to October 19, 2010 August 4





schedule





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Uncle Boonmee

Apichatpong Weerasethakul




Film
programmed from 15 to 21 September and 13
October 19


Meeting Debate moderated by Nicolas
Feodoroff
September 21 at 20:30


What joy! A joy it must be said at Cannes that the charts do not we have been accustomed, as there often detects calculation or determination to devote values already established (often not their best film). Nothing like this time: a clear choice in favor of works of cinema strange, and oh so different from each other. Who will follow reviews of this blog knows how much I loved and hoped to return to Tour winners Mathieu Amalric, a man who cries Mahamat-Saleh Haroun, Men and Gods by Xavier Beauvois, Certified copy of Abbas Kiarostami What accomplishes this and Juliette Binoche. So many films, each in its own way, inventing their own form, try the adventure of narrative and staging, the better to approach the world as it is, as we live and dream.

But who could imagine that this choice would be crowned by the most radical and most legitimate plams gold to Uncle Boonmee Apichatpong Weerasethakul? While we rejoice in this award, given to a wonderful film, a fifth feature of the most important artists of the early century.



And yet, like: it is welcome, this Palme, because Westerners have trouble pronouncing the name, Apichatpong Weerasethakul. As said Brassens, everyone can not be called Durand, or Smith, there is something scary to read (in Le Journal du Dimanche) Apichatpong was nicknamed "chap-chapo", why not Bamboula instead? Being the world in this world is to learn the names of others, and confront if it is a difficulty with respect and humility if we are not quite capable of arrogance rather than jeering Settler never really divested of their sense of superiority ...

Jean Michel Frodo

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Ciné-Bistrot-Philo
Special Heritage Days


6:30 p.m. Thursday, September 16
Do you always read The Princess of Cleves?

Hosted by Vladimir BIAGGI philosopher and writer.
(Discussion 18.30 Buffet 20.00, Film 21.00)

In partnership with DOJ, Mediatheque Louis Aragon, the Paragraph Bookstore.
Tariff (Buffet Included) 8 euros, Members: 7 euros

's novel Madame de La Fayette was the center of a controversy surrounding the remarks ironic President of the Republic. This work is really a symbol of elitist culture, unnecessary and obsolete? Beyond this controversy, we may wonder about the function of literature and the role of cultural heritage in today's society. We invite you to discuss these issues and to read or reread the Princess of Cleves (and discover what is its relationship with Martigues).
"... The other day, I had fun, fun as can be, watching the competition program of administrative officer. A sadist or an idiot, choose, had put the program in La Princesse de Cleves. I do not know if that has often happened to ask the teller what she thought of The Princess of Cleves ... Just imagine the spectacle! Anyway, I read so long ago that there are strong chances that I missed the exam! "Nicolas Sarkozy



The Beautiful Person
Christophe Honore, France, 2008, 1:30
With: Lea Seydoux, Louis Garrel, Grégoire Leprince-Ringuet, Anais Demoustier ...
I warn you, I'll talk to me. My son, more accurately, which, last year in highschool, read The Princess of Cleves Madame de Lafayette. In short, the book was bored. Besides, he talks about it often, more often than some novels that he liked. This suggests to me that boredom is very close to the interest or passion, if only one takes away those clothes that the teenagers sometimes clothe and have to do with modesty, concern for singularity and the manufacture of self.
The last time my son told me about The Princess of Cleves, was out of the screening of The Beautiful People, Christophe Honore, modern adaptation of this novel and high school, where young Junie, loved by her classmate Otto, falls in love with her teacher of Italian, Nemours, which makes this forbidden love. Confessing that Honore had largely complied with the original text - then he remembered at that point! - My son finished the conversation by placing the film among his favorites of the year.
must see in this condition the mirror of an age where all loves are possible, and penalties as well, where the issues surrounding the sentiments not often find their answers in acts whose romantic escapes again these adolescents.
This is beautifully filmed Honore. And the time that separates me, me, like you, like others of that era where everything found himself in the discovery suddenly filled. The Princess of Cleves, including Nicolas Sarkozy felt she was old and dusty so we had to let it rest, is well today. Because it speaks of love, which, it is always. Eric Libiot


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A film that is quite addictive ...!

"Very strong!" The rallying cry of Staff Benda Bilili, a group of walking wounded Kinshasa has decided to be "the band's most famous disabled people in the world," something contagious. Their rumba spun a hypnotic fishing hell and makes me want to dance. With this documentary, filmed in as rock'n'roll as the spirit that animates his characters, we learn that even starting from the lowest depths of one of the most dilapidated of Africa, we can s to obtain, by dint of will.
Renaud Barret and Florent de La Tullaye, two French crazy steep Kinshasa, have filmed compulsively From 2004, the incredible story of Bilili Benda (a name which means "Beyond Appearances" in Lingala, the dominant language in Kinshasa). Where one discovers Ricky, the ringleader of the group, who, from his wheelchair-scooter, self-proclaimed "Daddy of street children" and calls his troops to improbable repeats in the zoo in the capital, along with the crickets, toads, but also to its public: orphans, gangsters and prostitutes. We also discover Roger, a teenager who fills the screen. At 13, he draws remarkable sounds of his little instrument, a guitar string to a manufactured from a stick and a box of canned milk. The directors present at the Staff Benda Bilili: Ricky behold, the chef, takes him under his wing. But the vagaries of life and fire make you lose sight of Roger. It is found in 15 years, transformed, dressed as a rapper, fag in mouth and musical genius intact. Then we witness his flight, on the stages of Europe.


"Jars of mayonnaise." This film is quite addictive which is not the first test of the two directors, who have already signed two documentaries, Jupiter's Dance (2006) and Victoire Terminus (2008) first on the music, the second on women boxers, both in Kinshasa. Florent de La Tullaye, photojournalist and Renaud Barret, ex-advertising, both Quadras, longtime friends, have all turned an important page in their lives, deciding in 2004 to work in the capital of Democratic Republic Congo. They founded their production company, The beautiful Kinoise, and now spend half their time. Fort African exile, they do not conceal their disillusionment about the state of French society: "There is this side whiny, negative, psychoanalytical, people who do not trust, who look the navel, which went on strike for a yes or a no, in an atmosphere that eventually soak, "says Renaud Barret. He admits he once asked if he had not "more important things to do in life, as logos for jars of mayonnaise." Florent de La Tullaye himself had made his choice long ago, taking the party to "go around" with his job as a reporter: "I worked in Russia, Siberia, Asie.Chaque time I came to Paris, there was a sort of gray, even in spring. Something was wrong. People trapped in their loneliness. "


all started from one of his photo essays, done in 2003 in Goma in Kivu. In return, Florent de La Tullaye spent a week in Kinshasa, a city that fascinates the outset he visits including the Academy of Music, where he spotted the absurdity of hope mingled with students in the rain in uniform, eager to learn, despite the poverty of their school. Germ of an idea then documentary. "We bought the cameras began to turn around and met a lot of musicians, including the Staff Benda Bilili" Renaud Barret said. The two friends begin to shoot in total immersion.



Benda Bilili! focuses on the orchestra and its epic, rehearsals, recording sessions, until the first European tour. We feel the pulse of the city, "the Apocalypse discrete happens in the background," note the authors, but without comment. Here, no voice that would give context and a look of White discovering her part of Africa. No quarter of an hour teaching, either, to explain who does what and why Congo - Kinshasa the capital is in such a state of disrepair. Directors, free of complexes, have no preconceived ideas about Africa, a notion that sounds indeed a bit hollow in their ears. They are not in the blind optimism of the "wisdom under the mango tree" or in the absolute pathos or Afro-pessimism. In Kinshasa, the city they love pot, because it brews 450 ethnic groups and as many songs, they simply had the luck of Ricky, but also personality inspired "extremely crafty," said Renaud Barret. "He found it quite funny to see two whites assholes with their cameras. Knowing he has passed the age limit of life expectancy in Congo, which tops out at 45, he said, it's them or anyone! "


Rock at heart, fascinated by the music and energy that emerges in Kinshasa, two documentary filmmakers explain how the Congolese, undermined by problems of survival, have the art to choose their sheer lunacy not to sink in true and pure dementia. "In the Democratic Republic of Congo, Islam has never crossed the great forest. It lies at the heart paganism and animism. Here, churches are only indicative. In fact, there is no limit to the creativity of people, because paganism gives a mental pattern which allows all explorations. "Next film project: follow pygmies cities returning to the village, deep in the forest.
Sabine Cessou


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Of Men and Gods
Xavier Beauvois

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.



The case had enormous repercussions. In 2003, for a trial of the French justice system, doubts were expressed about the veracity of the official account. In 2009, following the investigation American journalist John Kiser and revelations of former French Defence Attaché in Algiers, the hypothesis of an involvement of the Algerian army is advanced.



The film surprises in that it defies expectations. One could imagine an inventory of post-colonialism, an evocation of the rise of fundamentalism, political office on the underside of war. Now Xavier Beauvois takes us elsewhere, and sign a movie in every way admirable.



The film is shot from their point of view, and therefore that of a Cistercian order which privileges silence and contemplation, but also the work of the earth, communion with the singing, helping the poor, care for sick, brotherhood with men. It is this spiritual requirement that the film wants to account, this sense of finitude Pascal rights, openness to others it implies.

His slowness, his count, his fidelity to the ritual of the community shared with the connivance of their Muslim brothers, the disconcerting beauty of the landscape (the monastery was reconstructed in Morocco), are instrumental in the success of this ambition. The troupe of actors, a remarkable accuracy (including Lambert Wilson and Michael Lonsdale), embodies the anti-hero who refuses to listen to reason in the world as it is.

At the press conference that followed the screening, Tuesday, May 18, Lambert Wilson supplied information about his preparation that can explain this correctly: "Curiously, this fusion was like for the monks, we have also experienced. We have merged into pensions and makes liturgical songs. The song has a unifying power. "



Then comes the hour of crisis, putting to the test. The ugly face of terror is approaching, workers are murdered Croatian not far away. She ends up knocking on the door of the monastery, one Christmas night. Terrorists are looking for a doctor and medicines for their wounded. The monks refused to move but will agree to treat the wounded in the monastery. Capital One scene takes place here: the handshake between the prior of the community (Wilson) and the terrorist leader.

This gesture operates a reconciliation between two irreconcilable extremes of mystical belief: the conquest of minds with violence and the sacrifice of oneself for the exemplary nature of love. It's the heroic journey of monks to the second term What devoted most of the film. Refusing the help of the army, maintaining fellowship with the local population, overcoming their fear and their internal divisions, the monks take in unison, as in the song that brings them together, the decision to stay.



few inspired scenes beautifully punctuate this slow ascent to martyrdom. The struggle between the visual and audible whirring helicopter of the army and the brothers singing together. Or the overwhelming number of shots on the faces of the monks, following the decision that commits their life, accompanied by the outburst Lyric of Swan Lake by Tchaikovsky. It was a bold plan worthy of Dreyer and Pasolini, the risk of blistering, creed yes-man. Beauvois dared, and he did well. Jacques Mandelbaum




Born in 1967 in the Pas-de-Calais, Xavier Beauvois realized North (1993), then do not forget that you will die (Jury Prize at Cannes and prices Jean Vigo, 1995) According to Matthew (nominated for a Golden Lion at Venice, 2001), Le Petit Lieutenant (2006).



The film promises to "freely inspired" events Tibehirine. What is the share of invention?

I researched a lot before doing so. I spent time in a monastery, monks consulted. In fact, everything is true, starting with the dialogues, taken from the texts left by the monks. The only inventions are the order of the staging. The film is "loosely based" insofar as the mass of information I had brought me to a film in fifteen hours. I had to make choices, to remove episodes, just concentrate.

Regarding the framework of Algeria, what would you choose?

Landscapes! I am a contemplative. I shot in Morocco, I therefore had to find sites that resembled the Algerian Atlas. For the rest, it's reality reports that mattered. And then, the monks do not go out much. For me, it's a western couscous. There is something in the Alamo movie! When I shot the scene where the soldiers come into the monastery, I broadcast music from Once Upon a Time in the West on the board. And it works!

Death monks remains a mystery. Their killers remain unidentified.

The truth, it is not certain that we know her one day. And I did not want to advance a thesis that could be found invalid. But The plan suggests that the helicopter I opt for the theory of the burr. It is the most likely. We never found the bodies because they were not presentable: we would have seen that they had not been murdered by terrorists, but killed by large caliber bullets of the army. In general, I like the fog of history, politics, espionage-cons. To be honest, it's not that interested me most. But who were these men, how they lived, what it was like to be a monk in Algeria.

All your films have a resonance Christ. In "Remember you will die" there's this way on the sacred body of Mary, the frescoes in an Italian church, the angel in the apartment of John Showalter. "According to Matthew" (explicit title) is the story of a passion in the religious sense. "Le Petit Lieutenant" is a redemption ...



And there is death at the end, always! I make films on subjects that I do not quite understand. To think. As Jacques Lacan, death is the only certainty, a keystone to help them live! Remember the heroes ... taking courses in art history, and whether to confess an influence, it would be that of Caravaggio, which brought people God's people. He painted Christ taking his meals on tables campaign, and to include Roman soldiers, he chose as extras peasants. I love this side Pialat painter, his side thug, hustler ... In addition to its chiaroscuro.

Why the title, "Men and Gods"?

I did not want a Catholic movie. Rather speak of "gods" in the plural as "a". In this sense, Le Petit Lieutenant would have known men and cops. Because my characters are primarily men, brothers, fathers. Free men, equal among themselves and with their neighbors. They do not proselytize, they are not missionaries. And beyond the question of faith, my film suggests that we should not be afraid of its neighbors. Or abandon them. This film is about a refusal to compromise.

How did you imagine the scene from "Swan Lake"?

In the original script, the monks chanted No, je ne regrette rien, Edith Piaf! For me, Piaf was out of question! And then the monks chant seven times a day, I found more beautiful than in this scene rather they listen to secular music. I smoked a firecracker when I heard Tchaikovsky local on my iPhone. I was in tears. I returned illico the stage with that tune.

I had been careful in the previous scenes not to get too close faces, not to demean the close-ups that I reserve for this meal. There is in me a mixture of preparation and improvisation. We must let the tray open to the unexpected, to trust the instinct that arises there. It does sometimes after the fact what we did. While not necessarily explain my role. I quite agree with Kurosawa who said he had the impression, talking about his film, to add tabs to the drawing of a dragon.
Interview by Jean-Luc Douin


BACKGROUND



On the night of 26 to 27 March 1996, the seven French monks (photo) Tibehirine - a Cistercian monastery near Medea, 100 km from Algiers, in the Atlas mountains - were allegedly abducted. May 31, Algerian media reported the "discovery" of their body. According to the official, they would have been "slaughtered" by members of the Armed Islamic Group (GIA), which had announced their death May 21 in a statement.



Another theory is now day, that the Algerian army is directly involved in the massacre. Francis Buchwalter, General - Retired - French army, has in effect declared last June 25 in anti-terrorism magistrate Marc Trévidic have information that the monks were killed by mistake during an air raid Algerian army.

For Mr. Buchwalter, monks have been victims of heavy weapons on board the helicopters destroyed the camp of the Armed Islamic Group where clerics were. Algerian soldiers "shot at the bivouac (...) Once installed, they discovered they had shot at the monks in particular. The bodies of monks were riddled with bullets, "Buchwalter says in his deposition.

"The circumstances of death, we now have a version very credible and convincing," said the lawyer for the plaintiffs, adding that "we need some further investigations and hearings." Recall that the Algerian civil war was of exceptional violence and the number of civilians killed in massacres in the villages, as well as the guerrilla army is estimated between 60,000 and 150,000.


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Argentine Film Julia Solomonoff

In addition to his daughter's body behind it grudgingly until adolescence, Jorgelina must lug around this rather awkward name that condemns it to short for little boys. This gender ambiguity is at the center of this beautiful Argentinean film that manages to never get rid of his modesty while deploying a naturalistic drama further than anyone could expect.



Jorgelina (Guadalupe Alonso) lives in Buenos Aires and spends his vacations usually at the seaside this summer, located in a distant past, before the coup of 1976 (and in winter for us northern hemisphere), it is played so hard with his big sister, already past the side of adolescence, she calls from the campaign on the farm his parents bought. She finally gives up the little caravan in the garden, the boyita, where she took refuge with her sister. Far from the city, she finds Mario (Nicolas Treis), a blond boy a little older than she, her parents from Germany to raise the hard way.

Jorgelina soon realizes that, as the eldest hated it abandoned, Mario is now falling into the adult world. But this transition point, because it does not unfold according to the standards, is inherently conflicts and misfortunes. Mario has a secret that the little girl finds herself holding.

Given intrigued, curious and friendly that heroin poses to his friend, Julia Solomonoff opposes the willful blindness of parents of Mario. The director does not condemn them either. His film may well have been achieved with very small means, she manages to evoke the atmosphere of an era, a time when a community - the Germans in the province of Entre Rios - still lived in near-autarky, far from modernity in Buenos Aires.



These characters for whom one feels a deep affection quickly (including the villains, like Elba, mother of Mario, who Uruguayan actress Mirella Pascual lends his sad face) that live been under big skies, a light sometimes radiant, sometimes sealed.

Each step of unveiling the secret of Mario is staged with a delicacy which does not boldness. To changes in human body respond to the time of country life, and we see the boy cut the carcass of an ox, and it is as if this gesture had sacrificial atonement in its singularity. Julia Solomonoff gins are other more sensitive matches, while filming the swarming insects, the sun's surface water.



Naturalism is often associated with excess. Julia Solomonoff prefer thoroughness, respect for people and everything around them. That's what makes The Last Summer of boyita a rare moment. Thomas Sotinel








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OURS d'OR Berlin 2010

Yusuf 6 years, he lives with his parents in a remote village in Anatolia.

For the boy, the surrounding forest is a place of mystery and adventure where he likes Yakup accompany his father beekeeper. He looks admiringly install beehives and harvest honey in the treetops. The bees are being increasingly rare, Yakup is forced to go to work later in the forest. But he does not return, and the world is suddenly full of his absence.


"Honey takes some experiences of my childhood, my difficulties in school to learn to read and write, the questions that adults do not respond, the intense cruelty and intense richness of nature ... Somehow, the curiosity with which children discover the world forges their personality, they reach the truth in their ingenuousness, their dreams, joys and sorrows. I hope honey that we can reach the truth of Yusuf. "



A poetic enchantment around a child who lives with his family in a forest. His father, a beekeeper, bear traps in the deep forests of the Caucasus. Each morning, the little hand Yussuf to school, escorted by her father as a falcon loose to him open the path. And the evening, they whisper secrets in his ear, away from mother who does not understand her child, silent and mysterious, wrapped in the magic of nature and dreams of his age. A film that suggests that dreams should be whispered rather than said, and above all we must repeat them to anyone.


plans a sumptuous beauty, a meditative, contemplative nature and faces that reminds us that man occupies a special place in the universe. An amazing work by the presence of this child of seven years (Bora Altas) whose playing adds to the wonderful cinematic way to occupy his space, his silent gaze on the world around them, relationships with admiration of his father, learning to read at school, his deep loneliness and questioning in her eyes when, one day his father left in another forest, does not reoccur. Childhood on the big screen always gives the impression that we rediscover the innocence of the film, like the first morning of his invention.
Jean-Claude RASPIENGEAS

Press Kit:







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MEDITERRANEAN WOMEN DATING FILMS
Thursday, October 7, 20:00
The meeting will preceded by a buffet is offered in the lobby of the cinema.

Faced with an offer film ever impoverished by the dominant models, personals Mediterranean Films Women of Marseille offering since 2006 a special event dedicated to cinema of the Mediterranean. Presented unpublished films or previews, the arc from Latin, Balkan, North Africa and the Middle East, often in the presence of their directors, and accompanied by a time of encounter and conviviality. For two years, the Rencontres FFM offer after their ritual week in Marseille, sessions outside the walls. They call at MARTIGUES for the first time this year.


TRIMMINGS FOR WOMEN
A documentary Nathalie Joyeux (2010)




Au Petit Palais, saris or jeans, turned or bent, twelve women participating in the "workshop of disobedience" proposed by the fashion designer Sakina M'sa. Inspired by the paintings of the museum and encouraged by the designer to rebel against the "agreed" these unemployed women transform old clothes donated by Emmaus. Pants and a shirt becomes a dress, a skirt is experiencing a new life jacket ... While the son weave, tongues wag. While working, Malika, Sara, Adriana, and their comrades are told through their clothes. As in, their dresses are taking shape, the women are unveiled.

In the presence of
NATALIE HAPPY film's director .



Nathalie Joyeux has scheduled a room arthouse in Seine Saint-Denis for 20 years. Since 1993, she regularly conducts documentaries including The Residence (2001) The home of men and Discrete (2002)


SAKINA M'Sa Born in a village in the Comoros in 1972 , Sakina M'sa remain frozen long rebel traditions of his homeland. She arrived in Marseille at the age of seven years and is studying fashion design at the Higher Institute of fashion. After a period of apprenticeship with costume designer Jennifer Sevin-Doering, the young M'sa Sakina decides to move towards seeking a "clothing-sign" who would "give much thought as seeing" With a philosophical view of the garment and a very personal, she rides the "parade-performances" and graduated at the age of 24 years, the scholarship of the Ministry of Challenge youth. She finally settled in Bagnolet, where she teaches. Its collections are marked by "the right to difference" between this and other clothes in the Galeries Lafayette and space LVMH. Sakina M'sa line is simple, elegant, articulate and sharp.




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IRLANDE :

AUTOPSY OF A CONFLICT

A Partnership:

Mediatheque Louis Aragon / Cinema Jean Renoir

Friday, October 15

6:00 p.m. - LIBRARY LOUIS ARAGON - Space Encounters

Meet Sorj Chalandon (reporter at the newspaper Liberation, and since 2009, a journalist shackled duck. Author of four novels My Traitor , which presents thirty-year history of the British Empire, through the IRA) and animated by Pascal Jourdan (literary journalist)



7:30 p.m. - CINEMA JEAN RENOIR

Irish Buffet and time signature organized by Paragraph (Participation of 3 euros)

9:00 p.m. "Hunger" Steve McQueen.

Camera d'Or at Cannes in 2008.


The screening will be followed by a debate moderated by Sorj CHALANDON and

ANTOINE THIRION

(film critic at Cahiers du Cinema and various publications on art and cinema. Founder of the website " Independencia")


... Steve McQueen's film is not a document on Ireland North. The Irish question is not on screen, released outside the prison walls. If it surfaces sometimes it apart in the eyes of a woman in the parlor, in the words of a mother whispered to his captive son.

Like others, we are imprisoned. Cut off from Ireland and it is a choice, private echoes from outside and is a rhythm. The time lag is a time prisoner, both monotonous and slow. It serves as a small space to Bobby Sands and his agony. After the failure of Father Moran, who tried in vain to bring the prisoner to surrender, it is the who gives life. After the extreme violence, this film takes us into absolute suffering. The 66-day hunger strike, nothing is hidden. Pressure sores, vomit, torn lips, silent tears, dead look.

"Hunger" is the story of a man who did more than his nakedness for a weapon. This is not the chronicle of a suicide but the autopsy of a murder. Sorj Chalandon

Suspended ... the question of whether the cause justifies dying for the very long discussion in which Bobby Sands Central announces the father Dominic Moran he is about to begin a hunger strike is the problem differently. The verbal ping-pong shot into a twenty-minute sequence shot is played to the viewer's attention. ...

admirable mix of gossip and maieutics tight. If the discussion seems to lead nowhere, that she can not have any outcome other than in deed. The average of the strike itself is political, it has to end out matters of life and death which wants to shut the power - this life naked, biological and apolitical, isolating sovereignty. The sense of hunger strike in which eight other inmates perish there: a strong opposition to the bare life to the risk of life gradually stripped of signs of humanity, choosing death as the ultimate statement referring to its sovereign crime. The humanism of the film stops before that indirect condemnation of the violent but because of state - that of Thatcher, and Bush, we guess. Antoine Thirion

Click on the picture to access the full article:

Reservation : Media (Lobby) and Renoir Cinema in April 1942 44 32 21

or evening at the Cinema.


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CINE - MOUNTAIN

Tuesday, October 19 8:30 p.m.

In partnership with the French Alpine Club of La Crau in Provence


caflacrauenprovence.com



HIMALAYA The Way to Heaven

A documentary by Marianne Chaud

Autrans Film Festival: Audience Award, National Geographic Award

Trento Film Festival: Grand Prix

Women's Film Festival Dortmund: Audience Award

Welcome to another planet. Mineral and desolate landscape, a breathtaking beauty. A lost valley at 4000 meters, the highest that is inhabited in the Himalayas.

The director, Marianne Chaud, who also ethnological, remained for several months in the region of Zanskar in the heart of the Himalayan mountain range, and filmed the daily life of a child monk in the monastery Phuktal.



Young Kenrap - eight years ago - learned his lessons in philosophy with a baffling seriously and saw the most natural in this monastery perched at over 4000 meters. He climbed a narrow snowy path, taking care not to slip into the abyss, to fetch water. This is not exactly a life of comfort - the temperature regularly teases least ten degrees! - But it's a quiet life, stress free and fulfilled. Thus, a senior monk told the director: you think you may be happier than us, but you're wrong. And we want to believe it, because it is neither boastful nor superiority complex. Simply, these monks live at their own pace, detached from the world, but compassionate. A documentary to find healing.



Trailer:




Admission: 5 euros

Members, CAF FFME, RWPF: 4 euros



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