Escape From Guantanamo Bay Bottomless

PROGRAM of March 11 to April 14, 2009

Program Printable

(click on the documents)

schedule

In March of showers Icons ...

In the Church of Eastern Christian rite, a religious icon is a painting on wood. In Computer Science, an icon is a graphic symbol displayed on the screen and associated with an object (or a function) which provides access when selected by a pointing device
In linguistics, an icon is a sign with a relation of resemblance with reality to which it refers. At the Movies, an icon is a celebrity who has acquired a level of popularity that causes a spontaneous membership often independent of the character that the actor or actress embodies.

Since its beginnings, cinema has ceased to hold icons to appear beings often simple, but by their actions will be propelled into the lives and act bordering on exceptional. Thus, by a large-scale cultural cannibalism, the audience eats his own desire to experience by proxy, virtually embodied in flesh he himself helped bring into existence by paying his place.

Jean Renoir, which is the thirtieth anniversary of the disappearance, used extensively icons, may include: Anna Magnani, Pierre Fresnay, Eric von Stroheim, Jean Gabin, Michel Simon, Louis Jouvet
...
At Cinema Jean Renoir, this month, it will be Sophia Loren, Marcello Mastroiani, Mickey Rourke, Clint Eastwood, Brad Pitt, Sean Penn, Gerard Depardieu, Paul Newman, Boris Karloff, and, for a modest sum in relation to the degree of pleasure derived from identification with such figures.


The body changes, the icons remain ...



can also refuse to be vampirize and prefer to have his head so to get an idea the world. We will therefore look further into the program and select the various themes proposed this month (family, immigration, the encounter with a great filmmaker: Paul Carpita, musicals, guilt venom war, ...) of the films we want to develop his thinking, his nostalgia, its membership or its doubts ... It may also
See and talk at a party kino-Citizen Debate "devoted to secularism but in no fewer than nine nights and afternoon, including three days spent at a Glance worn by women on the family ... (See below)

Renoir The team thanks its fans, especially the 250 participants and partners
the evening of February 12 and those in the evening .... Che Guevara ... Character? Actor? Icon?

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Friday, March 13 8:30 p.m. Evening
Paul Carpita
In partnership with
Ville de Martigues Company PSC and the bookstore Alinea


In the presence of
Paul Carpita and
Paul LOMBARD, Mayor of Martigues.

Speakers: Jean
Paul Aubert filmmaker and professor at Paris VIII
Claude Martino, journalist and writer,
Cops Company, publisher of the DVD.


To mark the DVD release
rabbits in the head ...

Meeting in Warsaw
France, 1957, 1:15
With: Jacques Brenan, Denise Landry ...




A student arrives Provincial attempt his luck in Paris. Accident gives him the opportunity to get some pins in a tabloid. Must still find a suitable subject for an article to the editor. This is his idea to accept the student: he became one of the hosts of the forthcoming Festival of Youth and it will reveal a million readers, Warsaw mysteries and secrets of the Iron Curtain. That's a real camera
pen whose employment was more difficult than Carpita and his small team did not record a story, but tell a story. Joris Ivens, who knows and loves the film, said: "The documentary style and the game live from the youth team players meeting in Warsaw to confer the value of a genuine human document "

Georges Sadoul (1957)

Son docker, Paul Carpita since childhood is mixed the struggle of the working class. Under the Occupation, he made his debut as a filmmaker with a small camera. At the Liberation, he created the company Cinépax, whose goal is to produce news away from censorship. Shot on 16mm films are projected in public places, unbeknownst to the police. In 1953, Paul began a feature film Carpita militant Rendezvous docks , evoking protests and strikes of 1950 against the Indochina war taking place in the port of Marseilles. The film was banned on the grounds that it represents a "threat to public order." In 1990, the public discovered the film warm, censorship, and once lifted with a restored print. His style somewhat academic Announces New Wave ...

Rendezvous Quays (Preview):

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6:00 p.m. Tuesday, March 17

Alongside the exhibition
MIRO, THE METAPHOR OF THE SUBJECT
Ziem and Museum in partnership with
Association for Animation Museum Martigues

Pan's Labyrinth Guillermo Del Toro

Spain, USA, 2006, 1:52
Starring: Sergi Lopez, Ivana Baquero ...
prohibited to under 12 years



Spain, 1944. End of the war. Carmen, recently remarried, moved with his daughter Ofelia with her new husband, the highly authoritarian Vidal, a captain in Franco's army.
While the girl is hardly to his new life, she discovered near the large family house a mysterious labyrinth.
The story of Pan's Labyrinth unfolds thus on two levels: the realistic, the violence of history and the fantastic, the initiatory journey of Ofelia sort of Alice in Wonderland, encountering extraordinary creatures. The alternate mounting the two levels of narrative, each feeding the other with a suspense and tension that plays with the expectation of a viewer intrigued by the mixture and the apparent overlap of genres. But beyond the sensation, there are the questions that arose during the screening. What inspired binds this world of fairy tale fed Surrealism Symbolist painting or paintings of Goya, with the brutal reality of war in Spain? What relationship between this fantasy and the portrait of this monster that is so human Captain Vidal? By imposing air of nothing, thinking the audience, asked Guillermo del Toro that, in today's cinema entertainment, even changes the status of the imagination. The elegance of the film by Guillermo del Toro is not only in its denial of omnipotence to pure fantasy. She is the inspiration that reflects the beauty and plastic film in the invention expressed by the staggering figures formidable and frightening that populate it. Jean-François Rauger

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20, 21, 22 March 2009

Regard Women
Dating
around the place of women within the family

In partnership with the City of Martigues, the Association for the animation community centers, the library's Alinea, AFLAM, Lycée Lurçat

3 days, 6 films, debates and speakers ...

Each screening will be followed by a discussion with guests and speakers.

The first Festival REGARD TO WOMEN experienced last year a great success with all audiences. After the involvement of women in society shown in 2008, this year the committee, in partnership with Jean Renoir film highlights the place of women within the family. The filmmakers invite us to discover the woman who fits the many situations in a changing society. On the other hand, the committee innovates and offers a place for young people the option of Audiovisual Film-school Jean Lurcat by offering a "blank check" on the topic. Finally, the discussions led by experts following the screenings will answer all our questions.

The Inter Districts film selection

moments ...
VIEWS OF WOMEN is now an important appointment of Jean Renoir Cinema in Martigues. Initiated by a group of Women under the leadership of the house of St. Roch neighborhood of Paradise, this meeting around house films will be a time of sharing and reflection on women's issues. The move reflects a genuine desire to better understand the changes in our contemporary societies and the special role of women, their relationships to the world, men, nature ... The films selected for this edition marks in all their diversity concern directors to probe the part of humanity that lies behind each of us, the universal is close!

Florian Salazar-Martin Assistant for Culture

Friday, March 20


Saturday, March 21


Sunday, March 22

(click on the documents)



1 movie 4 euros, 16 euros Pass 5 films.
Reservation Pass in Homes and Neighborhoods
at Renoir Cinema from March 11


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Wednesday 1 April

Cinema & Debate
Citizen Encounter The secularism

Nights theme, in partnership with
Jean Renoir Cinema, Mediatheque Louis Aragon and
library Clause.
dinner aperitif between film and discussion, participation fee of 3 €

6:30 p.m.

citizen Debate on Secularism
led by Vladimir Biaggi
with Benedict Spinoza philosopher
Claude Gueydan lecturer in law at the University of Aix en Provence
Being secular sometimes passes for corny and archaic! The resurgence of religious forms brutal and politically, has promoted new offensive against the principle of secularism and against the secular ideal: it is called happy "secular fundamentalism" and it calls into question the very spirit of secularism in the name of a "Positive secularism" that would be an ideal "modern"! The meeting will question the very concept of secularism to recall the meaning and show the values it seeks to promote: freedom of conscience, the equal dignity of men and their beliefs (or lack of belief), the distinction beneficial to the private space and public space.

8:00 p.m.

dinner aperitif

9:00 p.m.

Jesus Camp
Heidi Ewing and Rachel Grady
U.S., 2007, 1:25


The families you see in the film represent an influential voting power, which is increasingly vocal in the cultural and political U.S.. They not only prepare the return of Jesus, but they also are preparing "to regain power in America in the name of Christ, carrying with them their children ...

The" Jesus Camp "is a summer camp for children , for some very young, living as a reward, everything is bound to shape minds. Music, pictures, toys, everything is used, exploited, abused to serve the cause. The message is unequivocal, extremist politics. Bush is adored (especially in a hallucinatory scene in which a statue is worshiped cardboard chair), judges in favor of abortion are reviled. Toddlers take them to the "millions of dead bodies" caused by abortion, falling into trances impressive, cry and boo the enemies of the movement as a docile herd. The evangelicals have understood: they are the generation is in power tomorrow, head full of ideas regressive extremist and sectarian violence. Led brilliantly, 'Jesus Camp' is one of those documentaries that you leave a nasty aftertaste. Much has been learned, but nothing very reassuring ...

A thematic bibliography prepared by the library and bookstore Louis Aragon L paragraph is available from our partners.



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8:30 p.m. Thursday, April 2

Evening CHILE

a preamble Day of discovery and
of Solidarity with the Mapuche people.
In partnership with the Cultural Department of the City of Martigues and the Association France Latin America.

My friend Machuca

Andres Wood Chile, Spain, France, 2005, 2:00
Starring: Matias Quer, Manuela Martinelli ...
Andrés Wood had eight years in 1973. Mon Ami Machuca is thus the first work of fiction made by a filmmaker of this generation on this dramatic period of Chilean history. Andrés Wood indeed brings a new perspective: the faces of those who were children in September 1973 and who have suffered the brunt of the violence of the coup of General Pinochet. The director focused on the reconstitution of the 70 very fair includes providing special care to work on music and light. To tell the history up to a child, he inspired by his own memories: those of the coup, the social and political tension that prevailed at the time, but also "educational experiences" of social diversity that has itself known by a liberal priest who serve as a model for the character of Father Mac Enroe

"Nobody has ever approached in this way the end of democracy in Chile. These are the children watching. They do not judge, they do not give their opinion. They are simply witnesses to the facts. And it gives the story a very authentic. It is human beings, with their sizes and their weaknesses. "

THE COUP, CHILE 1973
by Ken Loach

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2:30 p.m. Saturday, April 4

Spring Dance 2009.
In partnership with the Conservatory of Dance Henri Sauget
Dance Jazz musicals.
Conference Babeth Angelvin
Policy Officer of the DMDTS
Ministry of Culture for the work of State High dance teacher.

WEST SIDE STORY

Robert Wise, Jerome Robbins Music: Leonard Bernstein USA, 1962, new copy, 2007, 2:31 Starring: Natalie Wood, Richard Beymer ... The film won 10 Oscars.

After opening the most dramatic in the history of music (choreographed gang war by Jerome Robbins in the streets of New York), the film adapts Romeo and Juliet in a contemporary America, the youth offender, where the clan Jets
is threatened in its territory by the Puerto Rican Sharks.
"The balance of the film is perfect, its intensity, unalterable. Not too sweet a duo that is not immediately relieved by a torrid pace, a symphony ballet jazz fiddler that does come shoving. America! remains one of the numbers most exciting since the invention of the musical. Dialogues on the Status of punks and immigrants are also funny and politically incorrect. The entire troupe competes supercharged talent. Even the inconsistency of Richard Beymer can pass for a blessing: it leaves plenty of time to have eyes for Natalie Wood. In the end, deeply moving, it is on its knees before the monument ever-present. " Guillemette Odicino

I FEEL PRETTY

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Thursday, April 9 at 18:30

One summer evening, a stranger
by director Olivier Bertrand
(Liberation Journal correspondent in Lyon)
and a CIMADE

Debate Around the Clandestine Immigration
In partnership with Citizens Together and
the Network Education Without Borders

One summer evening, a Foreign
Olivier Bertrand
France, 2007, 46 min




Ten years ago, residents of a village of Ile-de-France had hidden an illegal immigrant from Morocco in their attics. Ten years later, I return to this village, to try to understand why they opened their doors. What did we enter into resistance? film by Olivier Bertrand soberly presents the history of Miloud, clandestine crossed Europe in a truck, some ten years. His adventure was the opportunity of an article: Olivier Bertrand, who is covered the case for the newspaper Liberation.

A man fleeing abroad had appeared at the bottom of their garden, it told them a few words they did not understand, but they said the man fled. Without thinking, they ran after him, gave him to eat, have hosted ... But now, "without thinking", they became outlaws.
What, how, where to go, who to trust ... for this family and small low for a few neighbors into the secret, no way to put this man in the street without papers as required by the law!
This all happened 10 years earlier, in a pleasant little town of Ile de France, the memories go back ... We will not soon forget those families generous, friendly, funny, who do not always return this bizarre situation in which they are filled without thinking, but they do not regret.
It is this history which is counted there, little story modest, unpretentious like those of all those people who at one time or another in our history, by a courageous decision and instinctive, saved our country from absolute disgrace. Olivier BERTRAND shares with us a good meeting and pays tribute to all the "naughty" that at some point find that it is necessary to say NO to an unjust law and unbearable.

Marie-Odile Gaunet

Preview:

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Tribute to Jean Renoir
1894 / 1979

Renoir speaks of his art

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Is Eating A Beet A Day Harmful

Revolutionary Road: The American way of life or conformism VIVALDI

American cinema ever since its origins surprise us in size, with the equal to the country that generates it. If it is an undeniable fact that culture has always excelled in Yankie art to impose its tastes and format the dreams of every citizen of the world, it is clear that this country has never ceased to convey him images of Epinal, images of grandeur and magnificence, images of absolute freedom, condensed perfectly by a way of life presented as a myth in itself, " American way of life ", it is equally undeniable that it is not foreign countries have also expressed criticism against virulent this lifestyle that the U.S. themselves.
film by Sam Mendes, currently on our screens, make a key contribution, if any, to the building of a violent denunciation of the lure that is in so this " American way of life .

should first of all, for those who are not convinced of the importance of this film, chasing a possible misunderstanding: the French poster of the film does not escape the effect of standardization. The couple is exposed shows the features of Leonardo DiCaprio and Kate Winslet. Yes! the unforgettable couple that moved the world in a three-hour movie that told in real time (matching the time of the projection and the temporality of fiction) the sinking of the Titanic! Should we interpret the choice of casting as a supreme irony of Sam Mendes himself? Indeed, it is an abyss that separates the two works! Let those who intend to attend a beautiful sentimental romance whose character "rebel" represents only the central part of the film when the end would be the umpteenth victory of love-between-two-people-who-will-be-played-are-almost-but-will-break -Have-in-final triumph-of-all-the-barriers, these viewers then go their way, he could cook them severely.
First Revolutionary Road is not a sentimental romance. The love story does not occupy the focus of the film. Sam Mendes, a hard copy adaptation of a novel published in the sixties, has an unusually rich film, the one who is regrettable that European cinema will also rises more often than before toward such high peaks.

Everything here reflects the honesty of a business man who cares nothing tastes formatted a certain audience. Certainly, there are so many American films that merely being a showcase for stars in search of rewards. If Leonardo DiCaprio and Kate Winslet both carry an impressive performance, justly rewarded at the last Academy Awards, however their talent not overwrite the other performers, either Kathy Bates Michael Shannon and David Harbour, all admirable exactness and sobriety. The ambition of the remark made by Sam Mendes finished strongly to perfect a work of rare consistency, the best American film I have ever discovered on our screens for three or four years.

Revolutionary Road share similarities with other films that had already, to varying degrees, addressed the same theme as Far from Heaven and Safe , both written and directed by Todd Haynes at the top of his art, The Hours by Stephen Daldry, Virgin Suicides by Sofia Coppola, American Beauty Sam Mendes, The Stepford Wives Frank Oz and, more distant, the Blue Velvet by David Lynch. Whatever the time represented in these works (the fifties for Far From Heaven and The Hours ; the seventies for Virgin Suicides ; the years ninety for Safe , same conclusion, overwhelming, remains. The American way of life , tenacious in its desire of a society civilized, houses within the evils which have names Conformity, hypocrisy, Puritanism, Racism. The lure is all the more striking that these films strive to take part for the wise ordering of these suburban cities dear to wealthy Americans fleeing the city center (place of depravity and violence, instead of all disqualifications) for come to find in the suburban peace and quiet to which they aspired dream of the American way of life. Thus, not a blade of grass not to exceed pristine properties that do not even need closure (no violence in this world where kindness and helpfulness are in order in the neighborhood).

The Hours (Stephen Daldry)

Far From Heaven (Todd Haynes)

Virgin Suicides (Sofia Coppola)

Safe, sanitized or pollution (Todd Haynes)

move in April and Frank Wheelers early Revolutionary Road in one of those sanitized suburbia. While the husbands are working to bring the grain to the house, the wise wives preparing good food and lovely cakes to reward their dear and tender. The homes are well kept that not even the children fail to animate their mischievous chaos.
Already, Wheelers swear a little smoother in this universe: the first scene of the film allowed us to attend their first meeting, during an evening meeting of two kindred spirits united by the same spirit, two proud souls and exalted, free, appetite to achieve their fondest dreams, refractory conformisation the social stalking around them. A few months later, once married, what's going on? April had to go to the obvious: his love of theater has not revealed her undeniable talent, Frank does not hesitate to throw him in the face (the most beautiful scene of contention that I could see film, a certain authenticity and strikingly with dialogue). And Frank ends up working, how annoying! in a box where he holds a position so far from its initial aspirations.

Frank and April Wheelers in the early days yet before the standardization of their existence

The Wheelers have been learning many couples of all time: they have adapted to the mold that society tended to be a culmination of all the dreams they have set aside their own dreams. Contrary to Kathleen Turner in The Virgin Suicides and Julianne Moore in Far From Heaven , April (Kate Winslet) is fully aware of the impasse in her marriage has strayed. And in a touching scene, she is able to analyze the origin of the malaise that has developed between her and Frank (Leonardo DiCaprio), able to understand that the only possible solution to this impasse is the rebellion: the escape cocoon of ennui (the white death worse than all hell), reconnecting with his original aspirations, find the path of authenticity itself again ...

Revolutionary Road deserve an analysis film worthy of the name but I do not dare: in It would be a shame if deflower beautiful dramatic structure of the film, the more admirable as it dares linearity, in these times where there is yet the most erudite narrative deconstruction: 21 Grams and Babel or syndrome Memento , otherwise excellent film. But About Sam Mendes is so clear, his actors so inspired, that linearity becomes an asset. Dare we say, in his last game, Revolutionary Road reach a real intensity that is not without reminding me, all Proportionately, the keen eye of an Ingmar Bergman.

I had also never seen an American film that addresses the folly in such an angle, with the possible exception of A Woman Under the Influence of John Casavaetes .
It is a character in the film that reveals what lurks rebels, refractory this American way of life: Giving John (Michael Shannon). outset, John is presented as the patient's history, a medical treatment hopes to return to the household gods of conformity. It is he who can not deal with things without breaking the codes of propriety. When he met the Wheelers, it flushes them into the traps that staked their move into the neighborhood. He asks questions that ignore insensitive respect for privacy and expresses judgments without appeal that leave no room for spread. Why do we stoop to give the slightest interest in what it says a mental patient? This is shown by his mother (wonderful Cathy Bates) who diverts the conversation awkwardly when the latter, because of his son, takes a turn indecent. It emerges unprecedented violence in the fact that Helen turns Giving to the window, then turns back to his son, to escape the unbearable truths he firmly told the young couple. When he mocks the lifestyles of Wheelers and standardization in the art of Frank, Helen prefers, as an escape, his attention to the sunshine that bathes the garden outside. Everything is told from the malaise of the society that has elevated to the rank hypocrisy of conformist most pathetic, stigmatizing taboos, fear, cowardice. In the role of Giving John Michael Shannon is the right distance between aggression and vulnerability, naivete and clairvoyance. John is the one who knows because he went through hell of everyone and had the courage to say no to this lifestyle that requires it, so it's a mental patient whose words do not deserve attention. Do you know a lot of American films that deal with such maturity and honesty as the relationship between madness and normality, and abandoning the dream? For these reasons, Revolutionary Road is an important work of public health. May it find echoes in every spectator in the hope that it draws the impetus to reflect on oneself and the sense that it is ready to give his life.