DOCSLIB.ORG

Pressbook Semana Cannes 17

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pressbook Semana Cannes 17 On November 27th, SEMANA DE CINE DEL FESTIVAL DE CANNES begins. In the context of the 9th edition of Ventana Sur, the most important Latin American film market, the Cannes Festival Film Week will take place from Monday, November 27 to Sunday, December 3, at Cine Gaumont. Programmed and presented by Mr. Thierry Fremaux, General Delegate Director of Cannes Film Festival, six films that haven't been commercially released in the country but have been part of the official program of the prestigious festival's last edition will be exhibited. This is the complete schedule for the Festival: Monday, November 27th 8.30 PM LOVELESS / Andrey ZVYAGINTSEV (100´) Jury Prize 2017 Tuesday, November 28th 8.30 PM - IN THE FADE / Fatih AKIN (106´) Best Actress Award Wednesday, November 29th 8.30 PM - 120 BATTEMENTS PAR MINUTE / Robin CAMPILLO (140’) Grand Prix 2017 With Nahuel Pérez Biscayart, lead actor. Thursday, November 30th 8.30 PM - GOOD TIME / Benny & Josh SAFDIE (100’) Friday, December 1st 8.30 PM WESTERN / Valeska GRISEBACH (120´) Saturday, December 2nd 8.30 PM - REDOUBTABLE / Michel HAZANAVICIUS (107´) Sunday, December 3rd 8.30 PM - 120 BATTEMENTS PAR MINUTE / Robin CAMPILLO (140’) Grand Prix 2017 120 BATTEMENTS PAR MINUTE Robin CAMPILLO Gran Prix It’s the beginning of the ‘90s. While AIDS has been killing for almost ten years, activists from Act Up-Paris multiply actions to fight against general indifference. Nathan, the new- comer in the group, will be moved by Sean's radicalness, which consumes his last strength in action. Datasheet Direction: Robin Campillo Script: Robin Campillo Cast: Adèle Haenel, Nahuel Pérez Biscayart, Arnaud Valois, Antoine Reinartz, Félix Mari- taud, Médhi Touré, Aloïse Sauvage, Simon Bourgade, Catherine Vinatier, Saadia Ben- taieb, Ariel Borenstein, Théophile Ray, Simon Guelat, Jean-François Auguste, Coralie Russier Photography: Jeanne Lapoirie Editing: Robin Campillo Music: Arnaud Rebotini Production: Hugues Charbonneau, Marie-Ange Luciani IN THE FADE Fatih AKIN Best Actress Award Katja's life sinks when her husband and her son die in a terrorist attack. After mourning and injustice, it comes the time for revenge. Datasheet Direction: Fatih Akin Script: Fatih Akin, Hark Bohm Cast: Diane Kruger, Denis Moschitto, Johannes Krisch, Ulrich Tukur, Samia Chancrin, Numan Acar, Ulrich Brandhoff, Şiir Eloğlu, Christa Krings, Uwe Rohde, Jessica McIntyre Camera: Rainer Klausmann Editing: Andrew Bird Sound: Kai Lüde Music: Pia Hoffmann WESTERN Valeska GRISEBACH A group of German workers settles in a hard construction site in the confines of the Bul- garian lands. This stay in foreign land awakes these men's taste for adventure, while the proximity of a village confronts them with the distrust generated by linguistic barriers and cultural differences. Quickly, the village turns into the stage for the rivalry between two of them, while a strength test begins to conquer the favor and recognition from the in- habitants. Datasheet Direction: Valeska Grisebach Script:Valeska Grisebach Cast: Meinhard Neumann, Reinhardt Wetrek, Waldemar Zang, Detlef Schaich, Syuleyman Alilov Letifo, Veneta Frangipova, Viara Borisova Photography: Bernhard Keller Editing: Bettina Böhler / Scenography: Michael Randel, Beatrice Schultz / Costume design: Veronika Albert / Production: Maren Ade, Jonas Dornbach, Valeska Grise- bach, Janine Jackowski, Michel Merkt REDOUBTABLE Michel HAZANAVICIUS Paris, 1967. Jean Luc Godard, the most prestigious filmmaker of his generation, films La Chinoise with the woman he loves, Anne Wiazemsky, twenty years younger than him. They feel happy, in love, seductive. They get married. But the reception of the film after its release causes doubt to set around Jean Luc. The events of May '68 will inten- sify this process and his crisis will transform him deeply, from star filmmaker to anti-sys- tem Maoist artist, as misunderstood as incomprehensible. Datasheet Director: Michel Hazanavicius Script: Michel Hazanavicius (Autobiography: Anne Wiazemsky) Photography: Guillaume Schiffman Cast: Louis Garrel, Stacy Martin, Bérénice Bejo, Grégory Gadebois, Micha Lescot, Louise Legendre, Félix Kysyl, Arthur Orcier, Marc Fraize, Romain Goupil, Jean-Pierre Mocky, Guido Caprino, Emmanuele Aita, Matteo Martari Production: Les Compagnons du Cinéma / France 3 Cinéma / Région Ile-de-France / La Classe Américaine / Studiocanal / Forever Group / France télévisions / Ciné+ / Canal+ GOOD TIME Benny SAFDIE & Josh SAFDIE In the middle of a robbery, Connie manages to run away but her brother Nick is arrest- ed. While Connie tries to gather bail money to get her brother released, another option appears: organizing his escape. It's the beginning of a long night in the depths of New York, driven by adrenaline. Datasheet Director: Ben Safdie, Joshua Safdie Script: Ronald Bronstein, Joshua Safdie Music: Oneohtrix Point Never Photography: Sean Price Williams Cast: Robert Pattinson, Jennifer Jason Leigh, Barkhad Abdi, Cliff Moylan, Phil Cappado- ra, Souleymane Sy Savane, Buddy Duress, Mahadeo Shivraj, Jibril Goodman, Ratnesh Dubey, Shaun Rey, Laurence Blum, Marcos A. Gonzalez, Tara Lynn Wagner Production: Elara Pictures / Rhea Films. Distributed by A24 LOVELESS Andrey ZVYAGINTSEV JURY PRIZE Boris and Zhenya are undergoing divorce. They argue non-stop and receive people in his apartment to sell it as soon as possible. They are preparing their respective futures: Boris is paired up with a pregnant young woman and Zhenya is seeing a wealthy man who seems willing to marry her. None of them seems to be paying attention to Aliocha, their twelve-year-old son. Until he disappears. Datasheet Direction: Andrey Zvyagintsev Script: Andrey Zvyagintsev, Oleg Negin Music: Evgueni Galperine Photography: Mikhail Krichman Cast: Maryana Spivak, Aleksey Rozin, Matvey Novikov, Marina Vasilyeva, Andris Keishs, Alexey Fateev Production: Arte France Cinéma / Why Not Productions.
Load more

Recommended publications
  • Une Année Studieuse
    Extrait de la publication DU MÊME AUTEUR Aux Éditions Gallimard DES FILLES BIEN ÉLEVÉES MON BEAU NAVIRE (Folio no 2292) MARIMÉ (Folio no 2514) CANINES (Folio no 2761) HYMNES À L’AMOUR (Folio no 3036) UNE POIGNÉE DE GENS. Grand Prix du roman de l’Académie française 1998 (Folio no 3358) AUX QUATRE COINS DU MONDE (Folio no 3770) SEPT GARÇONS (Folio no 3981) JE M’APPELLE ÉLISABETH (Folio no 4270) L’ÎLE. Nouvelle extraite du recueil DES FILLES BIEN ÉLEVÉES (Folio 2 € no 4674) JEUNE FILLE (Folio no 4722) MON ENFANT DE BERLIN (Folio no 5197) Extrait de la publication une année studieuse Extrait de la publication Extrait de la publication ANNE WIAZEMSKY UNE ANNÉE STUDIEUSE roman GALLIMARD © Éditions Gallimard, 2012. Extrait de la publication À Florence Malraux Extrait de la publication Un jour de juin 1966, j’écrivis une courte lettre à Jean-Luc Godard adressée aux Cahiers du Cinéma, 5 rue Clément-Marot, Paris 8e. Je lui disais avoir beaucoup aimé son dernier i lm, Masculin Féminin. Je lui disais encore que j’aimais l’homme qui était derrière, que je l’aimais, lui. J’avais agi sans réaliser la portée de certains mots, après une conversation avec Ghislain Cloquet, rencontré lors du tournage d’Au hasard Balthazar de Robert Bresson. Nous étions demeurés amis, et Ghislain m’avait invitée la veille à déjeuner. C’était un dimanche, nous avions du temps devant nous et nous étions allés nous promener en Normandie. À un moment, je lui parlai de Jean-Luc Godard, de mes regrets au souvenir de trois rencontres « ratées ».
    [Show full text]
  • 22—25 Juin 2017
    22—25 juin 2017 TOULOUSE MÉTROPOLE 13e festival international de littérature LE MARATHON DES MOTS SOMMAIRE Direction - Programmation : Serge Roué Direction déléguée : Dalia Hassan Coordination générale : Noémie de La Soujeole assistée de Marion Lemmet Communication : Édouard de Cazes ÉDITOS assisté de Laure Perrinet Service de presse : Shanaz Barday Olivier POIVRE DʼARVOR ........................................ 5 (Faits & Gestes - 01 53 34 64 84) Jean-Luc MOUDENC ............................................... 5 assistée de Camille Carnevale Carole DELGA ......................................................... 7 Évènements spéciaux : Elsa Viguier Coordination des bénévoles : Charlotte Barbe Philippe WAHL ......................................................... 7 assistée de Nelly Frisicaro Serge ROUÉ | Dalia HASSAN .................................. 9 Collaboration artistique : Patrick Autréaux, Laurent Belvèze, Jean-Jacques Cubaynes (Lettres occitanes) et Guillaume Poix Coordination technique : Jean-Pierre Siguier (SED Spectacles) PROGRAMME Jeudi 22 juin ............................................................................................................ 11 TOULOUSE, LE MARATHON DU LIVRE Vendredi 23 juin ................................................................................................. 23 Association Loi 1901 (Siret 481 981 165 000 30 - Code APE : 8230Z Samedi 24 juin ..................................................................................................... 43 Licences n°2-1052821 et n° 3-1052822) Dimanche
    [Show full text]
  • Painterly Style in Robert Bresson's Au Hasard Balthazar
    Interin E-ISSN: 1980-5276 [email protected] Universidade Tuiuti do Paraná Brasil Watkins, Raymond Portrait of a Donkey: Painterly Style in Robert Bresson’s Au hasard Balthazar Interin, vol. 2, núm. 2, 2006, pp. 1-23 Universidade Tuiuti do Paraná Curitiba, Brasil Available in: http://www.redalyc.org/articulo.oa?id=504450755004 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Portrait of a Donkey: Painterly Style in Robert Bresson’s Au hasard Balthazar Raymond Watkins “[Robert Bresson] . would have us be concerned here not with the psychology but with the physiology of existence” (133). —André Bazin, “ Le Journal d’un curé de campagne and the Stylistics of Robert Bresson” (1951) “Bresson’s cinema is closer to painting than to photography.” —François Truffaut Although commentary on Robert Bresson’s Au hasard Balthazar (1966) has focused on the film’s narrative structure,1 critics invariably point to its painterly qualities. During a roundtable discussion just after the film was released, Mireille Latil-Le Dantec observes that the film “more closely resembles a non-figurative painting than Bresson’s previous works.”2 In that same discussion Michel Estève speculates that because “painting was Bresson’s first passion and has greatly influenced him,” he “wanted to make a portrait” in the form of Balthazar.3 Summarizing his interview with Bresson while the film was still being shot at Guyancourt, Paul Gilles arrives at a similar conclusion: “Bresson is not a filmmaker, he’s a painter.”4 And according to Gilbert Salachas it is not Balthazar, but the characters around him who function as a collective portrait or painting.5 Even Bresson himself, reflecting on the decision to use a donkey as his protagonist, confirms much of the critical conjecture: “Perhaps the idea came to me plastically because I am a painter.
    [Show full text]
  • Insubmersible Godard Jean Beaulieu
    Document generated on 09/26/2021 5:23 p.m. Séquences : la revue de cinéma Le redoutable Insubmersible Godard Jean Beaulieu Abdellatif Kechiche, Mektoub My Love : Canto Uno Number 314, June 2018 URI: https://id.erudit.org/iderudit/89068ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Beaulieu, J. (2018). Review of [Le redoutable : insubmersible Godard]. Séquences : la revue de cinéma, (314), 31–31. Tous droits réservés © La revue Séquences Inc., 2018 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ MICHEL HAZANAVICIUS Le redoutable Insubmersible Godard JEAN BEAULIEU Un pitch improbable. Michel Hazanavicius s’est liés à son modèle (cartons-titres géants intercalés montré plutôt gonflé de proposer à ses producteurs dans une scène, passage alternatif d’un tirage positif/ une comédie biographique ayant comme principal négatif à la Alphaville, travelling longeant le corps protagoniste l’un des monstres sacrés du cinéma dénudé de Stacy Martin calqué sur celui de Raoul moderne, Jean-Luc Godard, à un moment charnière Coutard filmant BB dans Le mépris, la voix-off de de sa carrière où, après le tournage de La Chinoise, Michel Subor, une musique de Martial Solal, etc.).
    [Show full text]
  • Jeune Fille. Anne Wiazemsky, Paris, Éditions Gallimard, 2007, 217 P. Robert Daudelin
    Document généré le 26 sept. 2021 17:56 24 images Jeune fille. Anne Wiazemsky, Paris, Éditions Gallimard, 2007, 217 p. Robert Daudelin Le pays d’Arthur Lamothe Numéro 132, juin–juillet 2007 URI : https://id.erudit.org/iderudit/13261ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Daudelin, R. (2007). Compte rendu de [Jeune fille. Anne Wiazemsky, Paris, Éditions Gallimard, 2007, 217 p.] 24 images, (132), 59–59. Tous droits réservés © 24/30 I/S, 2007 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ CIN-ECRITS Lecteur : Robert Daudelin JEUNE FILLE Anne Wiazemsky, Paris, Éditions Gallimard, 2007, 217 p. Au hasard Balthazar 'est un «roman». Du moins, c'est ce « drôle de zigoto ». Anne n'est donc pas ce qu'annonce la page titre du plus comédienne - un mot et un métier dont s'ac­ C récent livre d'Anne Wiazemsky. commode très mal le cinéaste - mais modèle Pourtant les personnages sont bien réels : pour un cinéaste qui, c'est le moins qu'on Robert Bresson est bien le grand cinéaste puisse dire, sait très bien où il veut aller.
    [Show full text]
  • GODARD FILM AS THEORY Volker Pantenburg Farocki/Godard
    FILM CULTURE IN TRANSITION FAROCKI/ GODARD FILM AS THEORY volker pantenburg Farocki/Godard Farocki/Godard Film as Theory Volker Pantenburg Amsterdam University Press The translation of this book is made possible by a grant from Volkswagen Foundation. Originally published as: Volker Pantenburg, Film als Theorie. Bildforschung bei Harun Farocki und Jean-Luc Godard, transcript Verlag, 2006 [isbn 3-899420440-9] Translated by Michael Turnbull This publication was supported by the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie of the Bauhaus-Universität Weimar with funds from the German Federal Ministry of Education and Research. IKKM BOOKS Volume 25 An overview of the whole series can be found at www.ikkm-weimar.de/schriften Cover illustration (front): Jean-Luc Godard, Histoire(s) du cinéma, Chapter 4B (1988-1998) Cover illustration (back): Interface © Harun Farocki 1995 Cover design: Kok Korpershoek, Amsterdam Layout: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 90 8964 891 4 e-isbn 978 90 4852 755 7 doi 10.5117/9789089648914 nur 670 © V. Pantenburg / Amsterdam University Press B.V., Amsterdam 2015 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book.
    [Show full text]
  • Au Hazard Balthazar 1966
    21 MARCH 2006, XII:9 ROBERT BRESSON: Au hazard Balthazar 1966. 95 min. Directed by Robert Bresson Written by Robert Bresson Produced by Mag Bodard Original Music by Jean Wiener Non-Original Music by Franz Schubert (from "Piano Sonata No.20") Cinematography by Ghislain Cloquet Film Editing by Raymond Lamy Animal trainer: Guy Renault Anne Wiazemsky....Marie François Lafarge....Gérard Philippe Asselin....Marie's father Nathalie Joyaut....Marie's mother Walter Green....Jacques Jean-Claude Guilbert....Arnold Pierre Klossowski....Merchant François Sullerot ....Baker Marie-Claire Fremont....Baker's wife Jean Rémignard.... Notary ROBERT BRESSON (25 September 1901, Bromont-Lamothe, Puy-de-Dôme, Auvergne, France—18 December 1999, Paris, natural causes) directed 14 films and wrote 17 screenplays. The films he directed were L'Argent/Money (1983), Le Diable probablement/The Devil Probably (1977), Lancelot du lac (1974), Quatre nuits d'un rêveur/Four Nights of a Dreamer (1971), Une femme douce/A Gentle Woman (1969), Mouchette (1967), Au hasard Balthazar/Balthazar (1966), Procès de Jeanne d'Arc/Trial of Joan of Arc (1962), Pickpocket (1959), A Man Escaped (1956), Journal d'un curé de campagne/Diary of a Country Priest (1951), Les Dames du Bois de Boulogne/Ladies of the Park (1945), Les Anges du péché/Angels of the Street (1943) and Les Affaires publiques/Public Affairs (1934). Ghislain Cloquet (18 April 1924, Antwerp, Belgium--November 1981) shot 55 films, among them Four Friends (1981), The Secret Life of Plants (1979), Tess (1979, won Oscar), Love and Death (1975), Mouchette (1967), Loin du Vietnam/Far from Vietnam (1967), Mickey One (1965), Le Trou (1960), Nuit et brouillard/Night and Fog (1955).
    [Show full text]
  • SWR2 Forum Buch Vom 30.11.2014
    SWR2 MANUSKRIPT ESSAYS FEATURES KOMMENTARE VORTRÄGE SWR2 Lesenswert Magazin Bücher über die 68er Sendung: Sonntag, 08. April 2018 Redaktion: Alexander Wasner Produktion: SWR 2018 Anne Wiazemsky: Paris, Mai ' 68 Aus dem Französischen von Jan Rhein Wagenbach, 168 Seiten, 18 Euro Rezension: Klaus Theweleit Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Paris, Mai ‘68 – steht auf dem Cover. Und darunter, auf der Titelseite: Ein Erinnerungsroman. Beides führt in die Irre. Weder ist das Buch ein »Roman«, noch ist die Studentenrebellion des Pariser Mai ‘68 sein Hauptthema. Wiazemskys Buch, publiziert 2015, versucht vielmehr, das zweite Jahr ihrer Ehe mit dem Filmemacher Jean-Luc Godard in ihren Erinnerungshaushalt einzuarbeiten. Das Buch handelt ausschließlich von ihrer Beziehung mit Godard in den Jahren 1968/69. Alle anderen Personen und Ereignisse dieses Zeitraums kommen nur vor in Bezug auf diese beiden; darunter auch – sehr ausführlich – der „Pariser Mai 1968“; eben weil Godard ein aktivistischer Teil davon war. Das Buch im Original heißt anders; heißt schlicht: »Ein Jahr danach« - »Un an après«. Gemeint: das Jahr nach ihrer Heirat; wie es mit ihrer Ehe da weitergeht; bzw. nicht recht weitergeht; es gibt eine Menge Konflikte. Wer sich für die Konflikte dieses Paars aus weltberühmtem Filmemacher, Alter 38 und junger Schauspielerin, Alter 21, interessiert – „berühmt“ auch sie als Enkelin des französischen Literaturnobelpreisträgers François Mauriac – wird Interessantes finden auf diesen 1 160 Seiten; plus etlichen Klatsch vom „Pariser Leben“ und seinen Prominenten, Dany le Rouge, Deleuze, Gato Barbieri, Jean-Pierre Léaud etc.
    [Show full text]
  • The Past Is Never Dead: Amorphous Time in Jean-Luc Godard's <I>Notre Musique</I>
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2019 The Past is Never Dead: Amorphous Time in Jean-Luc Godard's Notre Musique Anthony E. Dominguez The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3063 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE PAST IS NEVER DEAD: AMORPHOUS TIME IN JEAN- LUC GODARD’S NOTRE MUSIQUE by ANTHONY DOMINGUEZ A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 © 2019 ANTHONY DOMINGUEZ All Rights Reserved ii THE PAST IS NEVER DEAD: AMORPHOUS TIME IN JEAN-LUC GODARD’S NOTRE MUSIQUE by ANTHONY DOMINGUEZ This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date William Boddy Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT THE PAST IS NEVER DEAD: AMORPHOUS TIME IN JEAN-LUC GODARD'S NOTRE MUSIQUE ANTHONY DOMINGUEZ Advisor: William Boddy Jean-Luc Godard is undoubtedly one of the most central figures to cinema. A pioneer of the French New Wave, Godard’s style would go on to influence all realms of the artform.
    [Show full text]
  • Friday 23 March 2018, London. This May at BFI Southbank, We Mark The
    ONSTAGE APPEARANCES INCLUDE: DIRECTOR LUCRECIA MARTEL (ZAMA), ACTOR JOE DEMSPIE (GAME OF THRONES, SKINS), DIRECTOR WILLIAM KLEIN (MAYDAYS, MR FREEDOM), ACTOR AIDAN TURNER AND WRITER DEBBIE HORSFIELD (POLDARK), ACTOR DAVID WOOD (IF….), DIRECTOR NORA TWOMEY AND PRODUCER PAUL YOUNG (THE BREADWINNER), BROADCASTER JOAN BAKEWELL Film previews: HOW TO TALK TO GIRLS AT PARTIES (John Cameron Mitchell, 2017), JEUNE FEMME MONTPARNASSE BIENVENUE (Léonor Serraille, 2017), MY FRIEND DAHMER (Marc Meyers, 2017), THE BREADWINNER (Nora Twomey, 2017) TV previews: POLDARK (BBC, 2018), JOAN BAKEWELL ON MAY 1968 (BBC-Storyvault TV 2018) New and Re-Releases: THE OLD DARK HOUSE (James Whale, 1932), WESTERN (Valeska Grisebach, 2017), LEAN ON PETE (Andrew Haigh, 2017), REDOUBTABLE LE REDOUTABLE (Michel Hazanavicius, 2017), THE SOUND OF MUSIC (Robert Wise, 1965), ZAMA (Lucrecia Martel, 2017) Friday 23 March 2018, London. This May at BFI Southbank, we mark the 50th anniversary of the French anti-establishment protests of May ’68, with a season that looks at how cinema reacted when there was revolution in the air. The season will include a special appearance from director William Klein (Maydays, Mr Freedom) and an extended run of Michel Hazanavicius’ Redoubtable (2017), about the unravelling of the marriage of Anne Wiazemsky and Jean-Luc Godard, set against the backdrop of May ’68. UPRISING! THE SPIRIT OF ’68 will be a month-long season at BFI Southbank, followed by a series of events and screenings across the UK in partnership with the BFI Film Audience Network. The BFI’s regular Deep Focus season, programmed by Sight & Sound, will this month look at American indie cinema of the 1980s, specifically the films which continue the personal, adventurous spirit of the ‘New Hollywood’ of the 60s and 70s in their focus on story and character over the box office bottom line.
    [Show full text]
  • La Chinoise Ciné-Club Universitaire Jean-Luc Godard Activités Culturelles Culture.Unige.Ch
    Antibourgeois La Chinoise Ciné-club universitaire Jean-Luc Godard Activités culturelles culture.unige.ch Lundi 2 novembre 2015 à 20h | Auditorium Arditi âge légal: 16 ans Générique: FR, 1967, Coul., 96’, 35 mm, fr enfants de Marx et de Coca-Cola») et Deux ou Interprétation: Anne Wiazemsky, Jean-Pierre Léaud, trois choses que je sais d’elle. Deux films nés Juliet Berto, Michel Semeniako suite à la lecture d’articles de presse [...]. Pour La Chinoise, «l’enquête» incombe à Anne La Chinoise selon Arnaud Hée Wiazemsky elle-même, à qui le cinéaste de- En 1967, Jean-Luc Godard, 37 ans, a rencontré mande de fournir une sorte de rapport sur la une jeune femme deux fois moins âgée que vie universitaire à Nanterre. Si elle fréquente lui: Anne Wiazemsky [...]. Cette indigène de davantage les anarchistes, Godard se penche l’Ouest parisien entame des études de philo- finalement sur les maoïstes. En grand rhéto- sophie dans l’explosive université de Nanterre. ricien et dialecticien, son projet initial fut de Ce grand ensemble du savoir côtoie les grands mettre en présence et de faire dialoguer les ensembles d’habitations ouvrières et autres trois «familles» gauchistes: anarchistes, pro- bidonvilles. On le sait, ici fermente ce qui de- chinois et pro-soviétiques. Ce qui fut impos- viendra Mai 68. Un an auparavant, agitation sible, les uns passant aux yeux des autres pour et contestation sont déjà constantes, animées des réactionnaires, des révisionnistes, des ca- principalement par deux groupes gauchistes: pitulards, des fascistes. les anarchistes, dont Daniel Cohn-Bendit est Ces mots de Véronique (Anne Wiazemsky) déjà un des meneurs, et les marxistes-léni- viennent clore le film: «c’est de la fiction, mais nistes – c’est ainsi que se font appeler les pro- ça m’a rapproché du réel», puis elle annonce chinois, maoïstes rejetant le communisme so- «les timides premiers pas d’une très longue viétique, dénonçant son révisionnisme.
    [Show full text]
  • WINTER 2012 National Gallery Of
    FILM WINTER 2012 National Gallery of Art 9 Art Films and Events 16 Maurice Tourneur: 1930s 17 Paris to Fort Lee: French Filmmakers and the American Industry 18 David Gatten: Texts of Light 21 American Originals Now: Amie Siegel 24 PhotoFilm! 28 Robert Bresson Black Moon / Mirrored Malle p. 21 National Gallery of Art cover: Mouchette p. 32 Films are screened in the Gallery’s East Building Audito- This winter season brings a spectrum of cinema practice, rium, Fourth Street and Pennsylvania Avenue NW. Works both historic and contemporary, to the film program at are presented in original formats and seating is on a the National Gallery of Art. Film series Maurice Tourneur: first-come, first-seated basis. Doors open thirty minutes 1930s and Robert Bresson celebrate these French masters’ before each show and programs are subject to change. works with new prints. Other restorations this season For more information, visit www.nga.gov / programs / film, include Robin Hood (1912), Waiting for Godot (shown with e-mail [email protected], or call (202) 842-6799. Samuel Beckett’s Film), Jean Renoir’s French CanCan, and a program of abstract shorts by Oskar Fischinger from the Center for Visual Music. The series PhotoFilm! offers three screening-and-discussion sessions that investigate the relationship between still and motion pictures, with short films such as Chris Marker’s La Jetée and Agnès Varda’s Ulysse as studies, along with many others. For the series Texts of Light, much-lauded American filmmaker David Gatten presents three programs of his handcrafted 16 mm films, most of which form a cycle of work centered around one of the largest and most famous libraries of colonial America, that of William Byrd II.
    [Show full text]