DOCSLIB.ORG

Lux Prize 09 EUROPEAN PARLIAMENT Film Prize Inter V Ie Ws

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lux Prize 09 EUROPEAN PARLIAMENT Film Prize Inter V Ie Ws LUX PRIZE 09 WS EUROPEAN PARLIAMENT FILM PRIZE IE V INTER The European Parliament unveils the three contending films for the LUX Prize 2009 under the auspices of the 66th Venice International Film Festival. EASTERN PLAYS Director - Kamen Kalev STURM Director - Hans-Christian Schmid WELCOME Director - Philippe Lioret FILM PRIZE THE EUROPEAN PARLIAMENT IS COMMITTED TO CULTURE www.lux-prize.eu LUX PRIZE 09 WS EUROPEAN PARLIAMENT FILM PRIZE IE V TER IN Doris Pack - President of the Committee on Culture and Education of the European Parliament «There is no European conscience neither emotion nor European identity if we don’t keep in mind the specific histories of each country, that is to say if we don’t watch European films in order to discover the soul of Europe». Fatih Akin - Director AUF DER ANDEREN SEITE, winner of the LUX Prize 2007 “The LUX Prize is the most innovative award for European cinema. The sponsored subtitles enabling the laureate to present his film all around Europe is a great idea, and the election process draws attention to foreign productions from 'babylonic' Europe which otherwise would have remained unknown. Hopefully the European Parliament will continue to promote our diverse and rich cinematographic culture through the LUX Prize». FILM PRIZE THE EUROPEAN PARLIAMENT IS COMMITTED TO CULTURE www.lux-prize.eu LUX PRIZE 09 WS EUROPEAN PARLIAMENT FILM PRIZE IE V TER IN The three contending films for the LUX Prize 2009 unveiled at the 66th Mostra in Venice Left to right: Klaus Maeck (Co-producer of Auf der anderen Seite, member of the LUX Prize 2008 Selection Panel), Fatih Akin (Laureate of the LUX Prize 2007), Doris Pack (EP Culture & Education Committee Chair), Kamen Kalev (director of Eastern Plays), Britta Knöller (Producer of Sturm), Emmanuel Courcol (co-screenwriter of Welcome). @ Andrea Avezzù, Mostra Internazionale d'Arte Cinematografica 2009. Press Conference, Palazzo del Casinò, Lido di Venezia Left to right: Kamen Kalev, Britta Knöller, Emmanuel Courcol, Klaus Maeck, Doris Pack, Paolo Baratta, President of La Biennale di Venezia. EP Culture & Education Committee Chair Doris Pack with the representatives of the three contending films Left to right: Britta Knöller, Kamen Kalev, Doris Pack, Emmanuel Courcol. @ Andrea Avezzù, Mostra Internazionale d'Arte Cinematografica 2009. FILM PRIZE THE EUROPEAN PARLIAMENT IS COMMITTED TO CULTURE www.lux-prize.eu LUX PRIZE 09 WS EUROPEAN PARLIAMENT FILM PRIZE IE V TER IN Kamen Kalev - Director EASTERN PLAYS «Neonazi movements are not more present in Bulgaria than in other European countries. Intolerance is not exclusive to a single country, nor does it belong only to right-wing political forces. All politicians have the same responsibility -to help people outgrow their prejudices and learn to live together.» Hans-Christian Schmid - Director STURM «One of the main reasons for me for making and also watching films in cinema is that they can tell an audience how diverse our lives in different countries and circumstances can be. I am very interested in seeing how individuals get along in diverging societies, when they are confronted with all kinds of social and economic changes. I like to be part of their -sometimes poetic and sometimes very real- lives and fates, and how they are told by filmmakers all over the world. Films need to travel and the LUX Prize can help a great deal to make these films be seen and understood all over Europe. What more could one ask for?» Philippe Lioret - Director WELCOME Emmanuel Courcol, co-scriptwriter, with Philippe Lioret, of Welcome, reminded us «when a love story bumps into geography, human law and the absurd world order. The Amsterdam Treaty aimed at establishing an “area of freedom, security and justice” for Europeans. The selection of Welcome by the LUX Prize is an encouraging sign. We see this as a sign of support for the values which the film defends – commitment, solidarity and open-mindedness – against all attempts to go backwards.» FILM PRIZE THE EUROPEAN PARLIAMENT IS COMMITTED TO CULTURE www.lux-prize.eu BY Kamen Kalev - Director EASTERN PLAYS “The world as a smaller and better place” Besides the documentary aspect of a main character played by a non-professional actor and his real, tragic fate, Kamen Kalev’s feature debut has a wider concept and message. Cineuropa: As you were saying, Eastern Plays was inspired by your desire to make a movie about Itso and his life. But apart from that authentic element, another storyline (about his neo-Nazi brother and Itso’s acquaintance with the Turkish girl) makes its way into the film, transforming reality into fiction. What motivated you to develop the script in this direction? Kamen Kalev: I wanted to juxtapose Itso with his brother Georgi, in order to observe and understand how confusion and alienation were born. I was looking for a way to illustrate Itso’s past, the origin of his suffering, without showing it too directly. The character of Georgi – his 17-year-old little brother – illustrates the beginning of Itso’s alienation. Everything around Georgi – his parents, friends and the city of Sofia – makes him confused. Their spiritually- handicapped parents prolong personal suffering through their own children. I find the notion of parental responsibility interesting. When the two brothers meet up again, they finally communicate. They see each other as they look into a mirror. One looks into the past, the other into the future, but both are lost and afraid. And the reason the two brothers meet is because of the young Turkish girl, Isil. She speaks about strange things, souls born again and a world that trembles. She has a different kind of creative energy which goes beyond nationalities or any other label that people can invent. Many Bulgarians still feel hatred towards our southern neighbours. Five hundred years of Ottoman rule has weighed heavily. A Turkish girl can easily be poorly perceived. That’s why Itso and Isil’s relationship is unique and I felt the necessity to include it. Itso is a wood-carver, but he is unable to follow his vocation. Is this the fate of artists in Bulgaria? And to what extent does Eastern Plays reflect contemporary Bulgarian reality? I would not summarise the fate of artists in Bulgaria. I have always believed that if there is a strong writer who wants to say something, nothing can stop him. Itso continued to create his amazing works with enthusiasm. We find examples in a number of world-famous writers, artists and musicians, who kept creating their art in many poor or politically-repressed societies. Yes, Eastern Plays reflects our contemporary reality, but only partially. The dialogues, clothes, script and characters are a snapshot of our reality but the general issue and the lives of these FILM PRIZE THE EUROPEAN PARLIAMENT IS COMMITTED TO CULTURE www.lux-prize.eu BY characters are not defined, and weren’t intended to illustrate the full picture of our society. At the last “Open Class” cinema workshop in Sofia, organised by the producer Patrick Sandrin, he compared Eastern Plays to the films of the French New Wave. Do you agree with him? Which filmmakers in particular have influenced you? Maybe he found an analogy between Eastern Plays and the French New Wave more in the manner of creation than the cinematic form itself or the storyline. The New Wave directors were absolutely free in their way of expression. They did not know how it would turn out, it just happened and won over audiences. The circle widened because everyone was invited to participate. Even today, so many young filmmakers keep finding strength and inspiration in their work. One of the films that influenced me most is Contempt by Jean-Luc Godard. What does the nomination for the European Parliament Lux Cinema Prize mean to you? It’s important to me because I suppose they support the idea of all the nations united. I was interested in showing today’s reality about the world getting smaller and people meeting each other regardless of history and origins. I am not fascinated by one particular country. What does fascinate me is when borders disappear and different cultures meet. This always brings joy, an opening up and enriching of the human conscience. Mariana Hristova, Cineuropa.org FILM PRIZE THE EUROPEAN PARLIAMENT IS COMMITTED TO CULTURE www.lux-prize.eu BY Hans-Christian Schmid – Director STURM “ What we can do is create awareness among the general public.” The German director attended the press conference for Storm, shown in competition at the 59th Berlinale. These are extracts from statements that reveal a committed filmmaker. Cineuropa: How important was it for you to make this movie? Hans-Christian Schmid: I believe that the movie one is currently making is very important, it is always important. Lange and I talked a lot and did research on the topic. Basically, there were two topics that we had to deal with and we didn’t know very much about them. The first is the former Yugoslavia, and then you shift focus basically, because you have a story to tell as well, so you start trying to tell the story and bring the characters to life. Of course, these two things were very important to me. You decided to use a handheld camera during some shots. What made you do that? The whole movie was made using a handheld camera. My colleague and I are actually a good team in this respect and we like working like this. It’s a nice way to react to what the actors are doing. It is their work that is the centre of my work; it is the centre of my attention.
Load more

Recommended publications
  • DOSSIER DE PRESSE L'equipier.Pdf
    synopsis Camille arrive à Ouessant, son île de naissance, pour y vendre la maison de son enfance. Elle y passe une dernière nuit, une nuit blanche car elle va y découvrir un secret. PAGES 4 + 5 En 1963, un homme est venu sur l’île pour faire équipe avec son père, alors gardien du phare de La Jument. Il n'est resté que deux mois, mais son passage a été dévastateur. entretien Philippe Lioret Dans MADEMOISELLE, votre précédent film, Jacques communauté en nous disant que plus on irait dans la Gamblin raconte une histoire qui ressemble étrangement spécificité d’un groupe humain, plus chacun s’y à celle de L’ÉQUIPIER… retrouverait. Comme on cherchait un ”bout du monde” Chronologiquement, j’aurais dû tourner L’ÉQUIPIER et que la mer m’attire énormément, Ouessant était avant MADEMOISELLE ; c’est un projet que je porte parfait. depuis 1995. Pour MADEMOISELLE, j’avais besoin d’un sujet pour la pièce que le personnage de Jacques C’est aussi un film sur la mémoire, la transmission : Gamblin essayait d’écrire, et j’en avais un tout prêt, Camille découvre un secret en retournant dans la maison celui de L’ÉQUIPIER. MADEMOISELLE est donc un peu familiale. la bande-annonce de L’ÉQUIPIER ! J’aime les films qui nous hantent longtemps après en nous ramenant à notre propre histoire. L’ÉQUIPIER Résumeriez-vous l’histoire de la même façon aujourd’hui ? aurait tout aussi bien pu s’appeler ”Secret de famille”. PAGES 6 + 7 Pas tout à fait. Pour simplifier, disons que c’est l’histoire Je suis sensible à ça… Qui étaient vraiment nos de deux rencontres croisées, un amour et une amitié, parents, comment ont-ils vécu ? La maison de notre depuis leur naissance jusqu’à leur fin, assez tragique.
    [Show full text]
  • Catalogue-2018 Web W Covers.Pdf
    A LOOK TO THE FUTURE 22 years in Hollywood… The COLCOA French Film this year. The French NeWave 2.0 lineup on Saturday is Festival has become a reference for many and a composed of first films written and directed by women. landmark with a non-stop growing popularity year after The Focus on a Filmmaker day will be offered to writer, year. This longevity has several reasons: the continued director, actor Mélanie Laurent and one of our panels will support of its creator, the Franco-American Cultural address the role of women in the French film industry. Fund (a unique partnership between DGA, MPA, SACEM and WGA West); the faithfulness of our audience and The future is also about new talent highlighted at sponsors; the interest of professionals (American and the festival. A large number of filmmakers invited to French filmmakers, distributors, producers, agents, COLCOA this year are newcomers. The popular compe- journalists); our unique location – the Directors Guild of tition dedicated to short films is back with a record 23 America in Hollywood – and, of course, the involvement films selected, and first films represent a significant part of a dedicated team. of the cinema selection. As in 2017, you will also be able to discover the work of new talent through our Television, Now, because of the continuing digital (r)evolution in Digital Series and Virtual Reality selections. the film and television series industry, the life of a film or series depends on people who spread the word and The future is, ultimately, about a new generation of foreign create a buzz.
    [Show full text]
  • Festival Schedule
    T H E n OR T HWEST FILM CE n TER / p ORTL a n D a R T M US E U M p RESE n TS 3 3 R D p ortl a n D I n ter n a tio n a L film festi v a L S p O n SORED BY: THE OREGO n I a n / R E G a L C I n EM a S F E BR U a R Y 1 1 – 2 7 , 2 0 1 0 WELCOME Welcome to the Northwest Film Center’s 33rd annual showcase of new world cinema. Like our Northwest Film & Video Festival, which celebrates the unique visions of artists in our community, PIFF seeks to engage, educate, entertain and challenge. We invite you to explore and celebrate not only the art of film, but also the world around you. It is said that film is a universal language—able to transcend geographic, political and cultural boundaries in a singular fashion. In the spirit of Robert Louis Stevenson’s famous observation, “There are no foreign lands. It is the traveler who is foreign,” this year’s films allow us to discover what unites rather than what divides. The Festival also unites our community, bringing together culturally diverse audiences, a remarkable cross-section of cinematic voices, public and private funders of the arts, corporate sponsors and global film industry members. This fabulous ecology makes the event possible, and we wish our credits at the back of the program could better convey our deep appreci- ation of all who help make the Festival happen.
    [Show full text]
  • Welcome, Di Philippe Lioret. Sceneggiatura: Philippe Lioret, Emmanuel Courcol, Olivier Adam, Con La Collaborazione Di Serge Frydman
    Welcome, di Philippe Lioret. Sceneggiatura: Philippe Lioret, Emmanuel Courcol, Olivier Adam, con la collaborazione di Serge Frydman. Fotografia: Laurent Dailland. Montaggio: Andréa Sedlackova. Musiche: Nicola Piovani, Gabriel Yared. Scenografia: Yves Brover. Interpreti: Vincent Lindon, Firat Ayverdi, Audrey Dana, Derya Ayverdi, Thierry Godard. Francia, 2009, 110', col. SINOSSI Bilal, giovane curdo, ha lasciato il suo paese e giunge a Calais dopo un viaggio attraverso l'Europa durato oltre tre mesi. Spera di imbarcarsi per l'Inghilterra poiché dall'altra parte della Manica lo attende una fidanzata adolescente, che il padre ha però promesso in sposa a un ricco cugino. Fallito il tentativo di salire clandestinamente su un traghetto, Bilal decide di attraversare la Manica a nuoto. In una piscina comunale incontra Simon, un istruttore di nuoto di mezza età prossimo alla separazione dalla moglie, che in segreto ama però ancora disperatamente. Simon è colpito dal sentimento di profonda dedizione per la fidanzata e dall'ostinazione del giovane curdo: decide allora di allenarlo e lo incoraggia a non cedere. Bilal apre nel cuore infranto di Simon una breccia e ci trova un posto, ma il mondo fuori è avverso (espliciti i riferimenti alla legge sull'immigrazione voluta da Sarkozy) e l'amicizia complice del francese per il giovane migrante clandestino dovrà fare i conti con la delazione dei vicini di casa e con una polizia che punta a stroncare a qualunque costo il traffico di clandestini e ad ostacolare in ogni modo le organizzazioni umanitarie. CRITICA Né buoni né cattivi ma gente molto sola. Benvenuto Welcome. Arriva in Italia un film terribilmente bello, vincitore a Berlino, campione d'incassi in Francia, dove ha influenzato il dibattito politico sull'immigrazione clandestina.
    [Show full text]
  • Filosofia E Cinema” 6.0 * “M I G R a Z I O N I” * A.S
    CONVITTO NAZ. STATALE CICOGNINI * IDEE SULLO SCHERMO * PROGETTO “FILOSOFIA E CINEMA” 6.0 * “M I G R A Z I O N I” * A.S. 2015-2016 W E L C O M E Regia: Philippe Lioret Soggetto e sceneggiatura: Philippe Lioret, Emmanuel Courcol, Olivier Adam Fotografia: Laurent Daillard Montaggio: Andréa Sedlackova Musiche: Nicola Piovani, Wojciech Kilar, Armand Amar Interpreti: Vincent Lindon (Simon Calmat), Firat Ayverdi (Bilal “Bazda” Kayani), Audrey Dana (Marion), Derya Ayverdi (Mina), Thierry Godard (Bruno), Selim Akgül (Zoran), Firat Celik (Koban), Murat Subasi (Mirko), Olivier Rabourdin (tenente di polizia), Yannick Renier (Alain), Mouafaq Rushdie (padre di Mina), Behi Djanati Atai (madre di Mina). Produzione: Francia (2009). Durata: 110 min. Premi: Festival di Berlino (2009); Festival di Gijòn (2009); Festival di Varsavia (2009); Heartland Festival (2009); Premio LUX del Parlamento Europeo (2009); Premio Lumière (2010). IL REGISTA. PHILIPPE LIORET (1955) è un regista, sceneggiatore e produttore francese che ha al suo attivo numerose pellicole. Il successo internazionale arriva tuttavia solo con Welcome nel 2009, il film che toccando il problema dei migranti ottiene una grande risonanza in Francia e scatena una discussione pubblica sull’abolizione della legge che penalizza il favoreggiamento degli stranieri irregolari. LA TRAMA. Clandestino in fuga dall’Iraq, il diciassettenne curdo Bilal vuole raggiungere a Londra la ragazza che ama, ma a Calais non riesce a trovare il modo per arrivare in Inghilterra. E così decide di imparare a nuotare per attraversare la Manica: un’idea che trova un insperato appoggio in Simon, un istruttore di nuoto che si appassiona al suo destino di reietto anche per far colpo sulla ex moglie, insegnante attiva nel volontariato.
    [Show full text]
  • Keine Sorge, Mir Geht's Gut.“, Unterzeichnet Von Loïc
    PRESSEHEFT KEINE SORGE, MIR GEHT’S GUT (Originaltitel: Je vais bien, ne t'en fais pas) Ein Film von Philippe Lioret mit Mélanie Laurent – Kad Merad – Julien Boisselier – Isabelle Renauld – Aïssa Maïga Kinostart: 22. März 2007 ca. 96 Minuten / Frankreich 2006 / Format 1:2.35 / Dolby SRD Material erhältlich unter www.prokino.medianetworx.de VERLEIH PROKINO Widenmayerstr. 38 80538 München FON (089) -210114-0 FAX (089)-210114-11 E-MAIL [email protected] PRESSEBETREUUNG VERMIETUNG Filmpresse Meuser Twentieth Century Fox Niddastr. 64 H, 60329 Frankfurt Darmstädter Landstraße 114 FON 069-405 804-16 60598 Frankfurt FAX 069-405 804-13 FON 069-60 90 2-0 „KEINE SORGE, MIR GEHT´S GUT“ ist zwar kein klassischer Thriller, dennoch verdankt der Film seine Wirkung maßgeblich einem Geheimnis. Schauspieler, Techniker, Produzenten und ich selbst – sind nach Kräften bemüht es zu bewahren, damit der Zuschauer einen ungetrübten Filmgenuss erlebt. Bitte unterstützen Sie uns, indem Sie die Auflösung nicht verraten. Herzlichen Dank.“ Philippe Lioret 2 INHALT Besetzungsliste....................................................................................................................4 Stabliste ...............................................................................................................................5 Kurzinhalt.............................................................................................................................6 Inhalt ....................................................................................................................................6
    [Show full text]
  • Marion Cotillard L’Attrice Venuta Dal Passato E Proiettata Nel Futuro
    n.1 magazine Marion Cotillard L’attrice venuta dal passato e proiettata nel futuro SOMMARIO EDITORIALI 5 Mutazioni, anno 24° 7 A che punto siamo INTERVISTE Che Coss’è l’amor (Conversazione con Marco 8 Bellocchio) FUORICAMPO 13 La guerra (dei festival) è finita (?) 17 Su fronti opposti (Alan Moore e Frank Miller) 22 Lo schermo che cammina 25 NEWS COVER 26 Marion Cotillard l’attrice contemporanea SOMMARIO CANNES 65 Cannes al vento 32 Orizzontale verticale 37 39 Las cosas que no se tocan 41 Il cinema passa e libera 43 Sulla pelle, nelle ossa 45 L’autobus e il mondo 46 Il cinema è uno 47 Ragazzo solo 49 Le vite non vissute FILM DEL MESE LE PALUDI DELLA MORTE Viaggi all’inferno No Man’s Land 52 55 Ami Canaan Mann: Gotico americano 58 ULTIMI BAGLIORI La vita senza di noi 62 Il tempo che ci resta 64 (Intervista a Philippe Lioret) Lo sputo di Freud 66 72 Boys Will Be Boys Cosmopolis - L’abisso di De Lillo 68 73 Le ombre pop 75 La cura del cinema 76 Ancora vivo FACES Mel Gibson - Fuori dalla razza umana 78 Fassbinder - Urge vivere e filmare 82 n.1 magazine Mutazioni Marion Cotillard L’attrice venuta dal passato e proiettata nel futuro anno 24° Sentieri selvaggi magazine di federico chiacchiari Mensile di cinema e tutto il resto... Ottimizzato per tablet 10” Quando nel 1999, dopo la Wa- mensile in edicola, sito internet Direttore responsabile terloo di Sentieri selvaggi mensile quindicinale, poi quotidiano, poi Federico Chiacchiari in edicola dell’anno precedente, anche Scuola di Cinema, e poi decidemmo di andare esclusiva- canale You Tube, Pagina e profili Direttore Editoriale mente sul web, a molti sembrava Facebook, Friendfeed, Twitter, e Aldo Spiniello una soluzione provvisoria.
    [Show full text]
  • Pierre Deladonchamps Gabriel Arcand Catherine De Léan A
    PIERRE DELADONCHAMPS GABRIEL ARCAND CATHERINE DE LÉAN A KIDA film by PHILIPPE LIORET Fin Août Productions presents International Sales A KID LE PACTE 5, rue Darcet 75017 Paris Tel: +33 1 44 69 59 59 www.le-pacte.com A FILM BY PHILIPPE LIORET WITH PIERRE DELADONCHAMPS, GABRIEL ARCAND AND CATHERINE DE LÉAN 98 min - France - 2015 - Scope - 5.1 Press materials available for download on www.le-pacte.com SYNOPSIS Mathieu is 33, but he has never met his father. His late mother always told him that he was the result of a casual encounter. One day, Mathieu receives a call telling him that his father was Canadian, and that he had just passed away. He also discovers that he has two step brothers and decides to go to the funeral in order to meet them. But once in Montreal, he realizes that nobody is aware of his existence or even interested in it. He is alone, in hostile territory… Where does this film come from? From reading Jean-Paul Dubois’s novel, Si ce livre pouvait me INTERVIEW rapprocher de toi. It’s a great book, one of his best. I had read it a long time ago, and even though I didn’t know what film to make of it, it meant something WITH special to me and I couldn’t put the book away on the shelf. After WELCOME and ALL OUR DESIRES, I wanted a sunny film and a starting point which is not in the book, but which the book inspired, came to mind: a man discovers he’s got two brothers he didn’t know about PHILIPPE and wants to meet them.
    [Show full text]
  • Unwelcome Welcome •Fi Being •Ÿat Homeâ•Ž in an Age of Global
    Law Text Culture Volume 17 Re-orienting Hospitality, Re-orienting Law Article 4 2014 Unwelcome Welcome – Being ‘at Home’ in an Age of Global Migration Leif Dahlberg Royal Institute of Technology, Sweden Follow this and additional works at: https://ro.uow.edu.au/ltc Recommended Citation Dahlberg, Leif, Unwelcome Welcome – Being ‘at Home’ in an Age of Global Migration, Law Text Culture, 17, 2013, 44-82. Available at:https://ro.uow.edu.au/ltc/vol17/iss1/4 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Unwelcome Welcome – Being ‘at Home’ in an Age of Global Migration Abstract In this article I analyse contemporary conceptions of and attitudes to irregular immigrants in France as they are presented in national legislations and policy documents – generally as unwelcome, unwanted, undesired strangers. I also study how these laws and policies have been challenged by more hospitable and humane attitudes among activists, artists and culture producers as well as philosophers. In order to do this, I focus on a series of events and debates leading up to the most recent amendment of the French Code of Entry and Sojourn of Foreigners and of Right to Asylum (Code de l’entrée et du séjour des étrangers et du droit d’asile, abbreviated CESEDA). These events and debates highlight internal tensions and contradictions in contemporary conceptions of and attitudes to irregular migrants not only in France but in the European Union (EU) in general. This journal article is available in Law Text Culture: https://ro.uow.edu.au/ltc/vol17/iss1/4 Unwelcome Welcome – Being ‘at Home’ in an Age of Global Migration1 Leif Dahlberg En deçà de la responsabilité, il y a la solidarité.
    [Show full text]
  • March 29-April 1, 2012
    Co-academic Sponsors Virginia Commonwealth University and the University of Richmond present Richmond,Virginia March 29-April 1, 2012 March 26-28 Free special symposium in Ukrop Auditorium on UR campus French Film: Arts, Science & Technology at Work for Humanity Exclusive Media Sponsor All films have English subtitles and are presented by their actors and directors. 20th annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilmfestival.us contents FRENCH FILM: ARTS, SCIENCE AND TECHNOLOGY AT WORK FOR HUMANITY Free and Open to Public – On UR campus at Ukrop Auditorium Simultaneous translation available throughout symposium Monday, March 26th Film Arts/Living Arts .......................................... p. 6 Tuesday, March 27th Science and Digital Technology in Filmmaking: Tomorrow’s cinema and where is it heading? .................................. p. 7 Wednesday, March 28th French Filmmaking and Horizons for Humanity: Citizen Camera ......................... p. 8 Symposium Participants ........................... pp. 9-13 Films at the Symposium Free Admission ............................................... pp. 14-19 20TH FRENCH FILM FESTIVAL BYRD THEATRE Film Schedule ..................................................... p. 3 Special 20th Anniversary Screenings – Free Admission ............................................... pp. 20-23 Master Class: Next Generation Filmmakers ........................ p. 18 2012 Feature Films .................................. pp. 24-47 2012 Short Films .....................................
    [Show full text]
  • 15-26 February Glasgowfilm.Org/Festival #Gff17 Major Partners
    15-26 FEBRUARY GLASGOWFILM.ORG/FESTIVAL #GFF17 MAJOR PARTNERS SPONSORS Official Colour Chart CMYK Uncoated (Color Bridge +) Cool Gray 11 UP (30 / 17 / 8 / 51) CMYK Coated (Color Bridge +) Cool Gray 9 CP (30 / 22 / 17 / 57) Pantone Uncoated Cool Gray 11 U Pantone Coated Cool Gray 9 C RGB 122 / 125 / 129 HTML 7A7D81 SUPPORTERS Avery 900 Ultimate Cast Opaque Dark Gray (UC 900-855-O) Colour Version (Grey) W M Mann Foundation The Hugh Fraser CMYK Uncoated (Old Process Guide) DS 1-1 U (0 / 5 / 100 / 0) Consulate General CMYK CoatedFoundation (Old Process Guide) DS 1-1 C (0 / 5 / 100 / 0) of the Republic of Poland in Edinburgh Pantone Uncoated 012 U Pantone Coated 012 C RGB 254 / 221 / 0 MrHTML & Mrs William Donald’s FEDD00 Memorial Trust, Avery 900 Ultimate Cast Opaque Pantone 109 C (UC 900-216-O) MLG Colour Version (Yellow) per Mactaggart + Co. McAllister Litho Glasgow Ltd. Solicitors, Largs MEDIA PARTNERS PROGRAMME PARTNERS VENUE PARTNERS Thanks to: The Drink Cabinet, BECTU, Club Noir, Creative Media Skills, The Glue Factory, The Pearce Institute, Hoodou Bayou, H & S Coach Hire, Police Pipe Band, Govan Schools Pipe Band, Sub Club, Traveleads. WELCOME CONTENTS Ticketing 2 Enhance Your Festival Experience 4 Audience Award 5 During the craziest of years, movies have provided a constant Industry Focus 6 source of comfort and joy. We launch the 2017 Glasgow Film Behind the Scenes 7 Festival programme right in the heart of a thrilling awards season. Who hasn’t lost their heart to those foolish dreamers Emma Opening & Closing Galas 8 Stone and Ryan Gosling in La La Land or shed tears over the Dangerous Dames 9 agonisingly poignant Manchester by the Sea or marvelled at old True North: New Canadian Cinema 9 master Martin Scorsese realising his 30 year passion project Special Events 10 Silence? Movies matter to all of us - they are part of our daily lives.
    [Show full text]
  • All the Urgent Need to Live It to the Full
    FIN AOÛT PRESENTS SYNOPSIS Claire, a young magistrate at the law court in Lyon, meets Stéphane, an experienced, disillusioned magistrate who she involves in her fight against over-indebtedness. Something happens between them: a fusion of revolt and emotions, and above all the urgent need to live it to the full. CAST Stéphane VINCENT LINDON Claire MARIE GILLAIN Céline AMANDINE DEWASMES Christophe YANNICK RENIER CREW Director PHILIPPE LIORET Screenplay PHILIPPE LIORET - EMMANUEL COURCOL Inspired by Emmanuel Carrere’s book : «Lives Other Than My Own» Produced by PHILIPPE LIORET - MARIELLE DUIGOU A coproduction FIN AOUT – MARS FILMS – FRANCE 3 CINEMA – RHONE-ALPES CINEMA - MAC GUFF LIGNE – NORD-OUEST FILMS, in association with LA BANQUE POSTALE IMAGES 4, UNI ETOILE 8, the sofica MANON, SOFICINEMA 7, with the participation of CANAL PLUS, CINE +, FRANCE TELEVISIONS. PHILIPPE LIORET FILMOGRAPHY 2011 TOUTES NOS ENVIES (ALL OUR DESIRES) Starring Vincent Lindon, Marie Gillain, Amandine Dewasmes, Yannick Renier 2008 WELCOME Starring Vincent Lindon, Firat Ayverdi, Audrey Dana Berlin Film Festival 2009 – Prize of the Ecumenical Jury Label Europa cinema Berlinale 2009 Audience Award Colcoa 2009 Durban Film Festival Firat Ayverdi Male Interpretation award MARIE GILLAIN VINCENT LINDON Philippe Lioret Best Director prize 10 French Awards Cesar nomination 2006 JE VAIS BIEN, NE T’EN FAIS PAS (DON’T WORRY I’M FINE) Starring Mélanie Laurent, Kad Merad, Isabelle Renauld, Julien Boisselier ALL OUR 2 French Awards Cesars: Best supporting actor, Most promising
    [Show full text]