The white ribbon, a fable about the stifling of Evil unfathomable abyss
I know that this film will not please many people, but who said that art was made to please ? Michael Hanneke sign a work remarkable hovering over the shadow of the great Ingmar Bergman.
Make no mistake: if the story takes place in a Protestant village in Germany before the 1st World War if it weighs hand crushing a rigid morality, the evil that Hanneke dig deep into the collective unconscious.
Again a great film about evil occult.
I can not resist to give you an excerpt from the film. Holly, you should enjoy. During see this movie if you have not already done so.
5 Nights Outstanding MONTH OF DOCUMENTARY 2009 "The Countryside in all its forms" In partnership with: Mediatheque Louis Aragon City Martigues The FID Marseille (Festival International Documentary) Instants Video, The MJC Martigues
The campaign or "rural" means all cultivated areas, as opposed to urbanized areas. These people are rural dwellers or rural. We also talk about rurban about suburbanization and urban dwellers working in the city, but coming to live in the countryside. Rural residents live on farms, in towns, villages and hamlets or in a place called. Agricultural activity occupies an essential place, but just.
"the countryside in all its forms "Offers a look beyond the fields, to human landscapes, gardens or interior projections psycho-wild. Few cattle then, but the organized retail human microcosm improbable!
Each evening will be preceded and followed by a convivial a drink or two ...
Hinterland Marie Voigner
Friday, November 6 at 20:30 PREVIEW in the presence of Mary Voigner
From gray everywhere. A leaden sky, a deserted place with joy. Suddenly the sky turns a brilliant blue, warm sea unfolds below, surrounded by tropical forest. Welcome to "Tropical Island", the largest hall in the world, former Soviet military base.
The film opens a dialogue between past and present while asking an ironic eye on the tourism industry. A confrontation between two spaces completely contradictory. The blue sky, in places, does not cover all the metal structure of the hall. The gray sky, he, covers all around. Libraries Prize / FID Marseille 2009
Paul in his life Remi Mauger
Friday, November 13 at 20:30 in the presence of Remi Mauger
We must return, I think, on this strange - and happy - media episode. Periodically, sometimes a fi lm extraordinary, shot with little money for a regional station and without the slightest concern for soliciting, accesses to the rank of true work. The talent, subject and word-of-mouth are sufficient in these cases to spray the ordinary logical media. "I've known Paul since my childhood here in the Hague, when almost everyone was a farmer. When I was 20, I was told to enjoy him, because that way I did see him much. "
" You want to make a movie about me? You're gonna give you right from wrong. People need to find us folk. But I'm not in folklore, I am in my life. " Paul in his life is going on 80 years, conscious of being the last of the Mohicans. For this memory, he has already sacrificed a lot. It has no children and his retirement, he separated from his cows with emotion. In this second life, he ultimately has the film to tell him that basically he was right to keep the temple so long.
Wednesday, November 18 at 20:30 PREVIEW in the presence of Luc Moullet
Cannes 2009 / FID Marseille 2009
You know Truffaut, Godard, Chabrol, Rohmer Moullet ... No? between black humor and absurdity systematism, Luc Moullet book a delightful docudrama about madness in the Southern Alps.
Moullet, the child's country director and then became a critic in Paris, landed on his home region a second look, according to jet set to work in his films. Narrator cold humor and clumsy, He addresses his audience facing the camera, beginning his census morbid with the triple murder committed by one of his grandfathers, farmer pissed off after we moved her goat a few feet without warning. Subsequent testimony of indigenous and rural reconstructions formidable investigative techniques: planting bugs on a map of the region and an elastic band tends to define a "pentagon of madness."
Frequently compared by journalists to Jacques Tati (even a penchant for humor built the systematization and the absurdities of everyday life), Luc Moullet opposes a strong argument: that the comic is based on the practice floor. Then browse to the image, still, a handful of cows harmless Moullet Assen a monotone worthy of a regional JT: "a place conducive to crime." True to his method, which leads the individual to the general ("I conclude that it is more likely to be murdered by a madman when working in a place exposed as La Poste), the director films the bloody evidence in pastoral setting, working again the figure of the shift and placing them in the same movement death as the most banal event that either.
Asked about his ambition to make people laugh with tragedy, we cite as examples the films of Chaplin and Lubitsch on Nazism or misery, before adding: "Talking about death, c ' is the ultimate for a comic filmmaker, because it's about the most dramatic ever. But it's also a way to stay alive. "That will be enough for the Earth is suspected of madness from being a pretext for exerting effective method, the Moullet.
Born in 1937 and cinephile from an early age, Luc Moullet between the Cahiers du cinema to eighteen years alongside Truffaut , Rivette, Godard, Chabrol and Rohmer. He is the author of a policy actors and essays on Bunuel, Lang and King Vidor. He made his first film in 1960. From 1966 he became an actor at the same time a producer (of his own films but also Eustache or Duras). To date he signed thirty-eight films in all formats, from short to feature, and all kinds. All are connected by a gold wire and Ariadne, stretched from end to end: the comic. It is presented as the only comic filmmaker of the New Wave, he simply put his view of humanity and society around him to reveal the faults. The film has many historians but few geographers. Luc Moullet is one.
Luc Moullet lends itself to game film analysis of one of his favorite movies, "The Fury of Desire," a masterwork, directed by King Vidor in 1953, which describes the desire broken by social ambition.
Saturday, November 28 at 20:30 PREVIEW in the presence of Antoine Boutet
and Nicolas Féodoroff Art Critic and Film
Full country is not full, it is hollow, eaten galleries, pierced. Beneath the surface, there to see, to say the same. Whose fault? A solitary individual, a resident of a French forest, is addressing this. Sisyphus upside down for thirty years, he dug the ground, plunges to the bottom, adorns the walls of caves private naive prints, personal myths, bestiaries summary. But that is not essential. Antoine Boutet does not attach to the nth factor Horse, even if we see the wretched masses of stone lying around, or the picturesque involving a representative of more art gross, even if the expert comments in detail her production in the light of a torch. It would be more wild child turned old. And he digs, the strength of his legs, his arms, he, his den, inside her, that her voice, its resonance, its echo - his plainsong. All the singularity of the film is exactly this: to match a vocal game, which takes the side of Artaud Brel, with a horizon LBS. The sound here is first, miraculous, and it surprised him that our talkative Yeti. Passionate about radio, he listened to a tape recording on precarious, repeat then reregister. His passion? Conduct its own archaeological excavation, the recovery of its past in search of his country. Jean-Pierre Rehm
FID Marseille 2009 / Price GNCR
The URBAN NON Thursday, November 26th 6:30 p.m. 8:30 p.m. &
Evening proposed under
the 22 th edition of Moments Videos In partnership with MJC Martigues ( Free Entry)
Program 1 : Whether working text , the digital image, or the documentary here different ways of questioning our society through humor, games, investigation or philosophical meditation. Program 2: How do we position ourselves, we engage in our society? What actions are we able in response to galloping urbanism? Have we become antiquated before they were modern?
Snacks available between the 2 programs
reverse-angle
Mediatheque Louis Aragon to
Friday, November 20th 6:30 p.m. "THE DE-TRACTOR"
Jean-Louis CROS
Young or older, three farm couples react to perversions of globalization by re-introducing the draft animals on their land. Audience Award at the International Film Festival documentary about rurality "Camera Champs. MEETING AND DISCUSSION WITH THE DIRECTOR AND PRESENTATION OF AMAP "Associations for the maintenance of family farming" After the meeting, the AMAP Country martégale Mediatheque Louis Aragon and invite you to spend time around a friendly "country buffet"
SATURDAY 7 NOVEMBRE14H30
"ALL THE COUNTRYSIDE COURT"
program of short films. In collaboration with the Association Apatapela .
The screenings will be followed by a meeting chaired by Frank Gabriel, in the presence of Mary and Jeannette Paillan Voigt.
From 7 to 18 December 2009, the United Nations Conference on Climate Change in Copenhagen. The future of humanity is at stake. The negotiations appear deadlocked and projects to reduce emissions of greenhouse gases (GHG) emissions are well below what is necessary. For the experts of the IPCC (Intergovernmental Panel Climate Change), the major industrialized countries like France should commit a 40% reduction in GHG by 2020. On every continent citizen mobilization is developed through networks and local collectives. A Martigues, a citizen group has been created on the basis of the international network
the middle of the century, in a world devastated by climate disturbances, a man discovers the television news 2008 and wondered with awe why nobody did anything at the time to save the planet. We must believe that it was "age of stupidity" ... Pete Postlethwaite, who plays the leading role, was nominated for an Oscar for his role in the film. The film bluntly denounced the cowardice of today's world, and invites the viewer to respond now, while there is still time. Franny Armstrong, director, and Lizzie Gillett, producer, are courageous: they have collected 228 people who have some money to enable them to make the film.
Everything is said in the title of this new documentary ... almost. Directed by Franny Armstrong, the film is already visible in 700 theaters and more than 60 countries since September 22, 2009. If you still have not heard, it's probably because your ears have not tilted by charging for the umpteenth time in the media that a new documentary coming on green screens. After the success and the hype that followed the film Home, you thought you had gone around the green cinema ... think again! The Age of Stupid is worth a look if only for the production achieved through the principle of crowdfunding. Clearly, the budget of 500,000 euros was financed by donations from 228 individuals. The film is no longer subject to any commercial or political independence of this documentary is normally guaranteed green.
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Dance, The Ballet de l'Opera de Paris Documentary Frederick Wiseman 2009, France
Frederick Wiseman film pioneer Documentary set up his camera for seven weeks in the heart of the Paris Opera. Broomstraw sewing workshops for public performances and through the various stages of the life of a dancer to become a star, DANCE shows the work of all those who embody everyday exceptional performances.
Transforming a living art (dance) dead art (film) is a hazardous undertaking (television get smashed teeth). After The Comedie French there almost fifteen years (1996), Frederick Wiseman (one of the greatest filmmakers alive) today looks at one of the noblest institutions (that is about it since the 60s) in our country: the Ballet de l'Opera de Paris. The Dance will enjoy two types of potential viewers (some may merge with others) who appreciate the many happy, fond of or familiar with the dance (classical, modern, whatever), who will be delighted to see their favorite stars (stars of the Opera) or smaller dancers working the bar in leotards, hand in their work on the loom (or otherwise), be suffering like animals sadomaso, repeating their dance steps and their shows, etc.. And movie fans who, themselves, will find in the work of Wiseman source for thought.
For the American filmmaker, by mounting (never voice his home), attempts to describe the mechanisms of transmission of knowledge fragile, ephemeral, volatile. And that is where the art death hits hard. Here, we feel the time passing in his body and the bodies of others. Choreographers have all an air of eternal youth, but their gray hair, their muscles stiffen or small can the nascent force today to cast their turn in the shoes of those who trained and repeating their actions and their lessons. As choreographer call to order a dancer because she in too "to the modern" when he asks her to respect tradition. As another choreographer (because you never know people's names in Wiseman's films) is working on a creation. What one invents or the other to do trips reliving of Marius Petipa (the first to have "written" dance), all perform the same task: to perpetuate techniques that, without them disappear for good. A state judge that the stake is worth it, the people must participate financially in the transmission of a prior art could be something beautiful and moving. But Wiseman archly describes the ambiguity of the situation: how, within an institution as rigid as the Paris Opera, where the term hierarchy makes sense (it does not mix a principal dancer and star like that), where Administration is not an empty word, how to find the right balance between tradition and innovation? How art he managed to find his way between the past and the future?
JBMorain
Press Kit:
Interview with Frederick Wiseman by Francois Niney: (click photo)
Frederick Wiseman directed his first documentary, Titicut Follies, in 1967 in a hospital for criminal psychopaths. Therefore, it establishes a style and technique to avoid clichés and reduce maximum subjectivity: he spends much time with his players before the shooting which tends to obscure the camera, he determines his subject during assembly and it does not use voiceover and commentary, he displays his length films in the (often more than 3 hours) and favors the clip. In the 70s he became interested in drama and inhumane effects of bureaucracy in Law and Order, Juvenile short, and Welfare. In the '80s, it deals with the influence of American consumer society in the world with The Store, Model and Sinai Field Mission while Blind, Deaf, Multi-Handicapped (all three shot in 1987) Near death and dealing with physical disabilities and their impact on the mind. In the 90s, he again tackles social issues with Public Housing (1997) on the misery of a black ghetto of Chicago, Belfast, Maine (1999) and Domestic Violence (2001). In 2002, after receiving dozens of awards worldwide for his documentaries, he directed his first feature film, The Last Letter, the genocide of Jews during World War II.
How to make a film about Irene? Here is the haunting question asked by the filmmaker Alain Cavalier in his new movie. Between this woman and filmmaker Therese of a strong relationship and we guess at the same time full of shadows. Irene disappeared early 1972. Remains a diary found thirty-seven years later. How to track more closely at this history, this love, this disappearance? After an early career "classic" in the early sixties, The Fight in the island or La Chamade , Alain Cavalier has decided to plot a route singular film. Therese of to Libera Me through The Filmeur , its trajectory remains terribly endearing. In Irene, it seeks to revive Irene, who died in a car accident. Using a simple DV camera, Horseman summon his own memories. He filmed the objects that belonged to his wife. The film soon turns into a quasi-psychoanalytic investigation. Rider returns on the scene. And the emotion overwhelms the viewer. A shocking film incantatory and cathartic.
Tribute to the film and the New Wave around the story of a Chinese director who makes a musical at the Louvre on the myth of Salome. "Offering the Louvre as a laboratory realization that expect to receive in return a different look, not institutional, both on the instead, collections and the institution itself. Henri Loyrette, president of the Louvre
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SAMSON
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DELILAH
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Death of Paul Carpita, great filmmaker and a man of heart
Our friend Paul Carpita, who paid with his career having made the Rendezvous dock, died Saturday at his home at the age of eighty-six. was nice to know that everything happens one day, that's like a blow to spear in the gut. Paul is no more. Was seen again as if it were still yesterday, filming at night, with a blue sailor's pea jacket and cap screwed to the skull, small glasses of instit grinning, his voice incredibly warm that no uniformity of language has never succeeded in losing his eloquence and his accent from Marseille. Paul, lucid and modest living, traveling sounds with greed, he spoke of friends, the Communist Party or of all the films he was still in draft form, mixing work of mourning and hope to do it anyway. The last time he had called us, was to signal the release of his video works and the maintenance of the beautiful book coauthored with Claude Martino, our esteemed colleague of the Marseillaise. We had written, of course, gladly. FATHER OF HUMANIST CINEMA, FROM THE STREET
Born November 12, 1922 in the city he did not leave in Marseilles, a dock worker father and a mother fish, and it will be a teacher most of her life , rotating students and friends in Recess, Marseille without sun, wind ... Seeds, his first short films that are reminiscent of Jean Vigo. "Once I knew I use a camera, I turned towards millions of people who look like dad and mom, people humiliated, despised," he said. Confirmation with his first feature film, Go to the docks, a love story between a longshoreman and working at major strikes on the port to delay the departure of ships bound for Indochina. This film is the missing link between Toni, Renoir, and thus all the ensuing Italian neorealism, and the beginnings of the new wave, when Jacques Rozier young shoots zigzag on their scooters through the streets of Cannes. Otherwise the film Carpita, a communist activist, is censored and seized upon the first screening, 12 August 1955. The name of Marseilles is hardly known in Paris. He knows nothing of the workings of the ministerial committees of the capital. The work falls into obscurity only to reappear in all its blinding light that at its resurrection in 1989. Finally, thanks is returned. Paul is delighted, but then sixty-seven. Whatever. Taken from a rejuvenated Paul Carpita reneging on decades of inactivity and decides to take revenge time. His second feature film, Shifting Sands, in 1995, is probably not in tune with what style is so beautiful but it marks a continuity in faith in the great humanist cinema, generous and from the street. It's the same with his third and latest feature, which responds to double as a beautiful dream and Walk Lobsters and utopia. Recently, Paul Carpita preparing a new film, Drawing, with Claude Martino. We are not surprised to learn that he died in action. Paul will be remembered as a model of filmmaker who never gave up. His work has not finished haunt us. JOHN ROY
