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Cedric Jimenez
THE STRONGHOLD Directed by Cédric Jimenez INTERNATIONAL MARKETING INTERNATIONAL PUBLICITY Alba OHRESSER Margaux AUDOUIN [email protected] [email protected] 1 SYNOPSIS Marseille’s north suburbs hold the record of France’s highest crime rate. Greg, Yass and Antoine’s police brigade faces strong pressure from their bosses to improve their arrest and drug seizure stats. In this high-risk environment, where the law of the jungle reigns, it can often be hard to say who’s the hunter and who’s the prey. When assigned a high-profile operation, the team engages in a mission where moral and professional boundaries are pushed to their breaking point. 2 INTERVIEW WITH CEDRIC JIMENEZ What inspired you to make this film? In 2012, the scandal of the BAC [Anti-Crime Brigade] Nord affair broke out all over the press. It was difficult to escape it, especially for me being from Marseille. I Quickly became interested in it, especially since I know the northern neighbourhoods well having grown up there. There was such a media show that I felt the need to know what had happened. How far had these cops taken the law into their own hands? But for that, it was necessary to have access to the police and to the files. That was obviously impossible. When we decided to work together, me and Hugo [Sélignac], my producer, I always had this affair in mind. It was then that he said to me, “Wait, I know someone in Marseille who could introduce us to the real cops involved.” And that’s what happened. -
International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy. -
Invented Worlds
THE WIZARD OF OZ 1939, Victor Fleming Invented Worlds > This beloved classic hails from the peak of Hollywood’s Golden Age, 1939, and By Steve Chagollan was directed by the no-nonsense Victor Fleming—who also helmed Gone With the Wind, released that same year. The film’s blend of realism and fantasy is still OLLYWOOD HAS OFTEN been referred to as a fantasy striking to this day, especially the transition from Dorothy’s sepia-toned Kansas to the factory—a place where both reality and make-believe Technicolor brilliance of Oz. Sixty-five sets were constructed over six sound stages are plumbed from the vast recesses of the filmmakers’ at MGM for the effort, and the quest for perfection was so arduous it took the art imaginations. But when directors delve into literal fantasy department a week to settle on the proper and futurism, that imagination is allowed to run truly wild. shade of yellow for the Yellow Brick Road. Fleming told the film’s producer, Mervyn There have been countless milestones over the years that LeRoy, that he wanted to make “a picture that searched for beauty and decency and point to the medium’s ability to transport us to worlds that love in the world.” H only exist in the movies; here are a few choice examples. 68 DGA QUARTERLY PHOTOS: (ABOVE) AMPAS; (RIGHT) PHOTOFEST DGA QUARTERLY 69 BLADE RUNNER (1982), Ridley Scott > It’s hard to believe we’ve caught up with the time frame, 2019, in which Ridley Scott transformed Los Angeles into what he termed a near-future, “mul- tinational megalopolis,” where a rogue group of synthetic humans, known as replicants, are tracked down by a world-weary cop played by Harrison FORBIDDEN Ford. -
Extreme Leadership Leaders, Teams and Situations Outside the Norm
JOBNAME: Giannantonio PAGE: 3 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 Extreme Leadership Leaders, Teams and Situations Outside the Norm Edited by Cristina M. Giannantonio Amy E. Hurley-Hanson Associate Professors of Management, George L. Argyros School of Business and Economics, Chapman University, USA NEW HORIZONS IN LEADERSHIP STUDIES Edward Elgar Cheltenham, UK + Northampton, MA, USA Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 1 / Date: 30/10 JOBNAME: Giannantonio PAGE: 4 SESS: 3 OUTPUT: Wed Oct 30 14:53:29 2013 © Cristina M. Giannantonio andAmy E. Hurley-Hanson 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or photocopying, recording, or otherwise without the prior permission of the publisher. Published by Edward Elgar Publishing Limited The Lypiatts 15 Lansdown Road Cheltenham Glos GL50 2JA UK Edward Elgar Publishing, Inc. William Pratt House 9 Dewey Court Northampton Massachusetts 01060 USA A catalogue record for this book is available from the British Library Library of Congress Control Number: 2013946802 This book is available electronically in the ElgarOnline.com Business Subject Collection, E-ISBN 978 1 78100 212 4 ISBN 978 1 78100 211 7 (cased) Typeset by Columns Design XML Ltd, Reading Printed and bound in Great Britain by T.J. International Ltd, Padstow Columns Design XML Ltd / Job: Giannantonio-New_Horizons_in_Leadership_Studies / Division: prelims /Pg. Position: 2 / Date: 30/10 JOBNAME: Giannantonio PAGE: 1 SESS: 5 OUTPUT: Wed Oct 30 14:57:46 2013 14. Extreme leadership as creative leadership: reflections on Francis Ford Coppola in The Godfather Charalampos Mainemelis and Olga Epitropaki INTRODUCTION How do extreme leadership situations arise? According to one view, they are triggered by environmental factors that have nothing or little to do with the leader. -
OLIVIER ASSAYAS CHARLES GILLIBERT Presents
CHARLES GILLIBERT presents KRISTEN STEWART PERSONAL SHOPPER A FILM BY OLIVIER ASSAYAS CHARLES GILLIBERT presents KRISTEN STEWART PERSONAL SHOPPER A FILM BY OLIVIER ASSAYAS With LARS EIDINGER SIGRID BOUAZIZ ANDERS DANIELSEN LIE NORA VON WALDSTÄTTEN France • 2016 • 1h45 • 2.35 • Color • 5.1 aureen is a young American woman in Paris making her living as a personal shopper for a celebrity. Also, Maureen may have M the psychic ability to communicate with spirits, just like her twin brother, Lewis, who recently passed away. She soon starts receiving ambiguous messages coming from an unknown source. Photo © Carole Bethuel INTERVIEW WITH KRISTEN STEWART / Did you think you would work again with in his films. Can you say the same for him? That Olivier Assayas so quickly, only two years after he’s director you’ve always been looking for? Sils Maria ? Yes, hands down. We’ve both worked with a No. But I knew he liked acting with the same lot of people. But we share a non-verbal form of people, actors and technicians. So, deep down, communication that is perfect in our profession. I hoped I would. We got along really well on the We don’t talk a lot, but we understand one another set of Sils Maria and I figured, sooner or later, and share many of the same interests, as well as we’d work again on a creative project. But I had a similar type of curiosity. It’s a lot of fun to work no idea it would be so soon! I’m a good friend of with him. -
Olivier Assayas France
Les pouvoirs de la fiction L’auteur Zoom Olivier Assayas, né en 1955, est scénariste et réalisateur. Il Assayas par Assayas. Des débuts aux Destinées sentimentales, débute sa carrière de cinéaste en 1985 avec Désordre, après avec Jean-Michel Frodon (Stock, 2014) avoir été critique aux Cahiers du cinéma. Parmi ses longs-métrages : L’Enfant de l’hiver (1989), Paris À l’origine de ce livre ambitieux et s’éveille (1991), Une nouvelle vie (1993), L’Eau froide (1994), Irma personnel, il y a d’abord la rencontre, Vep (1996), Fin août, début septembre (1999), Les Destinées puis le dialogue jamais interrompu sentimentales (2000), Demonlover (2002), Clean (2004), Paris, je entre le critique Jean-Michel Frodon et t’aime (2006), Boarding Gate (2007), L’Heure d’été (2008), Après le cinéaste Olivier Assayas. Au-delà de Mai (2012), Sils Maria (2014). leurs conversations, le résultat est une Il a également à son actif de nombreux courts-métrages et des passionnante autobiographie artistique, documentaires. Il a, par ailleurs, réalisé la mini-série Carlos autant le destin d’un cinéaste à part qu’une (2010). réflexion sans complaisance sur son métier, une plongée au coeur même de la machine à faire du cinéma. L’œuvre Une ronde entre producteurs, actrices, acteurs, glamour et misères, financements et déboires, Assayas par Assayas. Des débuts aux Destinées sentimentales, difficultés et victoires, des débuts jusqu’aux Destinées avec Jean-Michel Frodon (Stock, 2014) sentimentales, cette adaptation à grand spectacle du roman de Rock & cinéma, de Thomas Sotinel, préface d’Olivier Assayas (La Jacques Chardonne qui fera connaître Olivier Assayas du public. -
MY KING (MON ROI) a Film by Maïwenn
LES PRODUCTIONS DU TRESOR PRESENTS MY KING (MON ROI) A film by Maïwenn “Bercot is heartbreaking, and Cassel has never been better… it’s clear that Maïwenn has something to say — and a clear, strong style with which to express it.” – Peter Debruge, Variety France / 2015 / Drama, Romance / French 125 min / 2.40:1 / Stereo and 5.1 Surround Sound Opens in New York on August 12 at Lincoln Plaza Cinemas Opens in Los Angeles on August 26 at Laemmle Royal New York Press Contacts: Ryan Werner | Cinetic | (212) 204-7951 | [email protected] Emilie Spiegel | Cinetic | (646) 230-6847 | [email protected] Los Angeles Press Contact: Sasha Berman | Shotwell Media | (310) 450-5571 | [email protected] Film Movement Contacts: Genevieve Villaflor | PR & Promotion | (212) 941-7744 x215 | [email protected] Clemence Taillandier | Theatrical | (212) 941-7744 x301 | [email protected] SYNOPSIS Tony (Emmanuelle Bercot) is admitted to a rehabilitation center after a serious ski accident. Dependent on the medical staff and pain relievers, she takes time to look back on the turbulent ten-year relationship she experienced with Georgio (Vincent Cassel). Why did they love each other? Who is this man whom she loved so deeply? How did she allow herself to submit to this suffocating and destructive passion? For Tony, a difficult process of healing is in front of her, physical work which may finally set her free. LOGLINE Acclaimed auteur Maïwenn’s magnum opus about the real and metaphysical pain endured by a woman (Emmanuelle Bercot) who struggles to leave a destructive co-dependent relationship with a charming, yet extremely self-centered lothario (Vincent Cassel). -
Network Review #37 Cannes 2021
Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening -
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. -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in Partial Fulfillment of the Re
The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Casiana Elena Ionita All rights reserved ABSTRACT The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic — republicans, Catholics, Communists, and the first film avant- garde known as the Impressionists — set out to redefine cinema by focusing particularly on shaping film viewers. To do so, these movements adopted similar strategies: they organized lectures and film clubs, published a variety of periodicals, commissioned films for specific causes, and screened commercial motion pictures deemed compatible with their goals. Tracing the history of such projects, I argue that they insisted on educating spectators both through and about cinema. Indeed, each movement sought to teach spectators of all backgrounds how to understand the new medium of cinema while also supporting specific films with particular aesthetic and political goals. Despite their different interests, the Impressionists, republicans, Catholics, and Communists all aimed to create communities of viewers that would learn a certain way of decoding motion pictures. -
Jürgen Doering Costume Designer
Jürgen Doering Costume Designer Agents Silvia Llaguno Associate Agent Shannon Black [email protected] +44 (0) 20 3214 0889 Credits Film Production Company Notes WASP NETWORK CG Cinéma / Nostromo Dir: Olivier Assayas 2019 Pictures / RT Features / Prods: Charles Gillibert, Rodrigo Scope Pictures Teixeira, Lourenço Sant'Anna ROADS Missing Link Films Dir: Sebastian Schipper 2019 Prods: David Keitsch, Sebastian Schipper L'ADIEU À LA NUIT (FAREWELL Curiosa Films Dir: André Téchiné TO THE NIGHT) Prod: Olivier Delbosc 2019 With Catherine Deneuve UNE JEUNESSE DORÉE (GOLDEN Macassar Productions Dir: Eva Ionesco YOUTH) Prods: Damien Couvreur, Mélita 2019 Toscan du Plantier, Marie-Jeanne Pascal, Julien Rouch With Isabelle Huppert DOUBLES-VIES (NON-FICTION) CG Cinéma Dir: Olivier Assayas 2018 Prod: Charles Gillibert With Juliette Binoche and Guillaume Canet United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes L'AMOUR EST UNE FÊTE (PARIS Curiosa Films / Sunrise Dir: Cédric Anger PIGALLE) Films / Umedia Prods: Olivier Delbosc, Anne 2018 Rapczyk With Guillaume Canet TOUS NOUS SÉPARE (ALL THAT Les Films du Kiosque / Dir: Thierry Klifa DIVIDES US) Nolita Cinema Prods: Maxime Delauney, 2017 François Kraus, Denis Pineau- Valencienne, Romain Rousseau With Catherine Deneuve and Diane Kruger POLINA Everybody on the Deck Dirs: Valérie Müller | Angelin 2016 Preljocaj Prods: Maxim Ajjawi, Gaëlle Bayssière, Didier Creste VOR DER MORGENRÖTE (STEFAN Dir: