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A Film by Catherine BREILLAT Jean-François Lepetit Présents
a film by Catherine BREILLAT Jean-François Lepetit présents WORLD SALES: PYRAMIDE INTERNATIONAL FOR FLASH FILMS Asia Argento IN PARIS: PRESSE: AS COMMUNICATION 5, rue du Chevalier de Saint George Alexandra Schamis, Sandra Cornevaux 75008 Paris France www.pyramidefilms.com/pyramideinternational/ IN PARIS: Phone: +33 1 42 96 02 20 11 bis rue Magellan 75008 Paris Fax: +33 1 40 20 05 51 Phone: +33 (1) 47 23 00 02 [email protected] Fax: +33 (1) 47 23 00 01 a film by Catherine BREILLAT IN CANNES: IN CANNES: with Cannes Market Riviera - Booth : N10 Alexandra Schamis: +33 (0)6 07 37 10 30 Fu’ad Aït Aattou Phone: 04.92.99.33.25 Sandra Cornevaux: +33 (0)6 20 41 49 55 Roxane Mesquida Contacts : Valentina Merli - Yoann Ubermulhin [email protected] Claude Sarraute Yolande Moreau Michael Lonsdale 114 minutes French release date: 30th May 2007 Screenplay: Catherine Breillat Adapted from the eponymous novel by Jules Barbey d’Aurevilly Download photos & press kit on www.studiocanal-distribution.com Produced by Jean-François Lepetit The storyline This future wedding is on everyone’s lips. The young and dissolute Ryno de Marigny is betrothed to marry Hermangarde, an extremely virtuous gem of the French aristocracy. But some, who wish to prevent the union, despite the young couples’ mutual love, whisper that the young man will never break off his passionate love affair with Vellini, which has been going on for years. In a whirlpool of confidences, betrayals and secrets, facing conventions and destiny, feelings will prove their strength is invincible... Interview with Catherine Breillat Film Director Photo: Guillaume LAVIT d’HAUTEFORT © Flach Film d’HAUTEFORT Guillaume LAVIT Photo: The idea “When I first met producer Jean-François Lepetit, the idea the Marquise de Flers, I am absolutely “18th century”. -
Abuse of Weakness
Strand Releasing presents ABUSE OF WEAKNESS A film by CATHERINE BREILLAT Starring Isabelle Huppert & Kool Shen Official Selection: Toronto International Film Festival COLCOA French Film Festival New York Film Festival Country of Origin: France / Germany / Belgium Format: DCP/2.35/Color Sound Format: Dolby SR Running Time: 104 minutes Genre: Drama Not Rated In French with English Subtitles National Press Contact: Jenna Martin / Marcus Hu Strand Releasing Phone: 310.836.7500 [email protected] [email protected] Please download photos from our website: http://extranet.strandreleasing.com/secure/login.aspx?username=PRESS&password=STRAND SYNOPSIS Inspired by director Catherine Breillat’s (FAT GIRL, ROMANCE) true life experiences, her latest film, ABUSE OF WEAKNESS, is an exploration of power and sex. Isabelle Huppert (THE PIANO TEACHER, 8 WOMEN) stars as Maud, a strong willed filmmaker who suffers a stroke. Bedridden, but determined to pursue her latest film project, she sees Vilko (Kool Shen), a con man who swindles celebrities, on a TV talk show. Interested in him for her new film, the two meet and Maud soon finds herself falling for Vilko's manipulative charm as their symbiotic relationship hurdles out of control. DIRECTOR’S NOTE Abuse of weakness is a criminal offense. I used it as the film’s title because I like the sound of it, but also because it has another meaning. Abuse of power. Yes, Maud has strength of character; paradoxically, it’s her weakness. Being an artist means also revealing one’s weaknesses to others. I would have preferred Maud not to be a film director and the story not to seem autobiographical, since even the spectator (at least in intimate movies, and mine are) looks at himself in a mirror. -
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. -
THE LAST MISTRESS (UNE VIEILLE MAÎTRESSE) a Film by Catherine Breillat
Presents THE LAST MISTRESS (UNE VIEILLE MAÎTRESSE) A Film by Catherine Breillat FILM FESTIVALS CANNES INTERNATIONAL FILM FESTIVAL 2007 TORONTO INTERNATIONAL FILM FESTIVAL 2007 NEW YORK FILM FESTIVAL 2007 CHICAGO INTERNATIONAL FILM FESTIVAL 2007 AFI FILM FESTIVAL 2007 SAN FRANCISCO FILM FESTIVAL 2008 – OPENING NIGHT (114 mins, France/Italy, 2007) Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS THE LAST MISTRESS is a smoldering adaptation of Jules Barbey d’Aurevilly’s scandalous 19 th- century novel. Set during the reign of “citizen king” Louis Philippe, it chronicles the surprising betrothal of the aristocratic, handsome Ryno de Marigny (newcomer Fu-ad Aît Aattou) to Hermangarde (Roxane Mesquida of FAT GIRL), a young, beautiful and virginal aristocrat. Lurking in the margins – and in the imaginations of high society’s gossip-hounds – is de Marigny’s older, tempestuous lover of ten years, the feral La Vellini (Argento). Described as, “a capricious flamenca who can outstare the sun,” La Vellini still burns for de Marigny, and she will not go quietly. Though a fascinating departure into more traditional storytelling, THE LAST MISTRESS sees Breillat continuing her career-long interest in the ramifications of female desire, casting Argento as an impassioned independent woman for the ages, but it is also a surprisingly witty and touching – and needless to say sexily explicit - period drama that explores the age-old battle of the sexes. -
Download: 15Th Tau Isff 2013.Pdf
The 15th International Student Film Festival Tel Aviv June 19th-24th 2013 Summary Report The 15th International Student Film Festival Tel Aviv The 15th International Student Film Festival took place on June 19th-24th 2013 in Tel Aviv Cinemateque. This year, the Festival was produced as an annual event for the first time (rather than being a biannual event). Still, as one of the biggest and most important in its field, the Festival set its goal to portray a vast portrait of current international student films, create a unique and free environment for cinematic discourse and to expose the students to new and classic films, technologies, creators and more. The biggest event of the festival was the "2013 CILECT Prize", featuring 100 short student films from all over the world. 80 international students arrived to Israel for the festival, as well as a dozen lecturers of film studies from major international film schools (all from CILECT institutes). Alongside the International Panorama (CILECT Prize), the Israeli Competition was held, the largest and most important in Israel, the Mediterranean and Arab Countries Competition. Also for the first time – we held an Israeli independent Short Films Competition (short films who weren't produced as part of an academic institute). The Festival collaborated with the Israeli Film & TV Academy, and initiated a new academy award for the best Israeli Short Film. The winning film will be chosen out of a shortlist created by the Festival's jury. We believe this will give the Israeli student films a greater exposure for the wide audience as well as for the film industry persons, members of the academy, thus giving young filmmakers new opportunities. -
THE SLEEPING BEAUTY from the Internationally Acclaimed Director of Bluebeard, the Last Mistress, Fat Girl, Romance, Sex Is Comedy, and Anatomy of Hell
FOR MORE INFORMATION: FOR IMMEDIATE RELEASE: Samantha Klinger - 310.836.7500 Street Date - November 8, 2011 [email protected] Pre-Book Date - October 11, 2011 THE SLEEPING BEAUTY From the internationally acclaimed director of Bluebeard, The Last Mistress, Fat Girl, Romance, Sex Is Comedy, and Anatomy Of Hell On Tuesday, November 8, 2011 Strand Releasing proudly releases on DVD the latest of French provocateur Catherine Breillat's subverted fairytales, THE SLEEPING BEAUTY, a twisted retelling that ends far from "happily ever after". Starring Clara Besnaïnou, Julia Artamonov, Kerian Mayan, and David Chausse. Based on a tale by Charles Perrault, three fairies alter a curse on a young princess who is destined to die at an early age. Instead she embarks upon a hundred-year sleep, in which she is allowed to live a full and vivid life within her dreams. She experiences a sexual awakening that reshapes her view on Prince Charming when she has no clear perception of reality. Charles Perrault's Stories or Fairy Tales From Bygone Eras has drawn countless retellings in the form of animated films, ballets and children's books. BLUEBEARD was the first film Catherine Breillat deconstructed from one of his classic tales as THE SLEEPING BEAUTY is her second quintessential fairytale retold for adults and SNOW WHITE AND THE SEVEN DWARFS will be the final installment of her vision to the trilogy. Winner of the Art Cinema Award (C.I.A.E.) at the Venice International Film Festival. An Official Selection at the Rendez-Vous with French Cinema in New York, ColCoa (French Film Festival in Los Angeles), Toronto, and San Francisco International Film Festivals. -
Portrayal of the Disabled Body in Catherine Breillat's Abus
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by espace@Curtin ‘C’était moi mais ce n’était pas moi’: portrayal of the disabled body in Catherine Breillat’s Abus de faiblesse (2013) Kath Dooley [[email protected]] Department of Screen Arts, Curtin University, Kent St, Bentley WA 6102, Australia Writer/director Catherine Breillat's most recent film Abus de faiblesse (2013) explores an important moment of bodily transition: the change from able to disabled body. This semi-autobiographic film follows the story of film director, Maud (Breillat's alter ego), who forms a destructive relationship with a conman, Vilko, after she suffers a disabling stroke. This film shows consistency with Breillat's previous work in its exploration of the constructed nature of the female body onscreen. In the past the filmmaker has portrayed moments of trauma and transition (such as childbirth, loss of virginity or rape) to subvert processes of objectification. The article argues that Abus de faiblesse challenges and subverts representation of the post-menopausal and disabled body onscreen. The film interrogates binary oppositions such as able/disabled and independence/dependency to challenge representations of the disabled body as 'other'. With reference to scholarly work on disability (Mitchell and Snyder 2006) and the aging female body (Markson 2003; Ussher 2006) the article suggests that Maud's sadomasochistic relationship with Vilko is driven by a quest to retain her subjectivity after her stroke. The article demonstrates that the film dissects the feared and the unknown territory of the aging female body. -
Style and Sensation in the Contemporary French Cinema of the Body Tim Palmer
Style and Sensation in the Contemporary French Cinema of the Body tim palmer I expect an artist to show me the edge. And to show me that edge, they must go over a bit to the other side. —Bruno Dumont as an art form and a professional prac- poraries (Neupert 299–304), however, this is a tice, cinema thrives on its ability to induce group connected more loosely, through com- forceful, vivid sensation—a tendency that in monalities of content and technique. The recent some cases is taken to extremes. Yet while the work of Denis, Dumont, and Noé, a trio best majority of world film engages its viewers to thought of as filmmaking figureheads or cata- convey satisfaction or gratification, there occa- lysts, offers incisive social critiques, portraying sionally emerges an opposite tendency, aggres- contemporary society as isolating, unpredict- sive and abrasive forms of cinema that seek a ably horrific and threatening, a nightmarish more confrontational experience. It is in this series of encounters in which personal relation- context that we can begin to gauge the impact ships—families, couples, friendships, partner- of a group of high profile French-language film- ships—disintegrate and fail, often violently. But makers, notably Claire Denis, Bruno Dumont, at the center of this cycle, a focal point most and Gaspar Noé. Polarizing recent films such famously emblematized by Trouble Every Day, as Denis’s Trouble Every Day (2001), Dumont’s is an emphasis on human sexuality rendered in Twentynine Palms (2003), and Noé’s Irrevers- stark and graphic terms. The filmmaking agenda ible (2002) have, in fact, already become icons here is an increasingly explicit dissection of the of notoriety in international film culture. -
Proquest Dissertations
The Romance of Catherine Breillat Amanda D'Aoust A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada December 2008 © Amanda D'Aoust, 2008 Library and Archives Bibliothgque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'6dition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votra reference ISBN: 978-0-494-63313-7 Our file Notre r6f4rence ISBN: 978-0-494-63313-7 NOTICE: AVIS: The author has granted a non- L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Catalogue 2021
PYRAMIDE INTERNATIONAL CATALOGUE 2021 CONTENTS INDEX BY FILMS 2 HIGHLIGHTS 17 DIRECTORS’ COLLECTIONS 35 FILMS 59 INDEX BY FILMS AVAILABLE IN HD 424 INDEX BY DIRECTORS 434 INDEX BY ACTORS 450 INDEX BY FILMS 57 000 KM BETWEEN US 60 ANGELE AND TONY 72 57 000 KM ENTRE NOUS ANGÈLE ET TONY Delphine Kreuter Alix Delaporte ANNA 73 A Nikita Mikhalkov ANTONIO’S GIRLFRIEND 74 ABUSE OF WEAKNESS 61 LA PETITE AMIE D’ANTONIO ABUS DE FAIBLESSE Manuel Poirier Catherine Breillat APACHES 75 ACTORS ANONYMOUS 62 LES APACHES LES ACTEURS ANONYMES Thierry De Peretti Benoît Cohen APPRENTICE 76 AFTER THE WAR 63 LES APPRENTIS DOPO LA GUERRA Pierre Salvadori Annarita Zambrano AS HE COMES 77 ALEXANDRIA... NEW YORK 64 COMME IL VIENT Youssef Chahine Christophe Chiesa ALL IS FORGIVEN 65 TOUT EST PARDONNÉ Mia Hansen-Løve B ALL THE FINE PROMISES 66 BAB EL WEB 78 TOUTES CES BELLES PROMESSES Merzak Allouache Jean-Paul Civeyrac BABY BALLOON 79 AMAZING CATFISH, THE 67 Stefan Liberski LOS INSOLITOS PECES GATO Claudia Sainte-Luce BACK HOME 80 REVENIR AMBITIOUS 68 Jessica Palud LES AMBITIEUX Catherine Corsini BARBER OF SIBERIA, THE 81 SIBIRSKIY TSIRYULNIK AMIN 69 Nikita Mikhalkov Philippe Faucon BARNABO OF THE MOUNTAINS 82 AMONG ADULTS 70 BARNABO DELLE MONTAGNE ENTRE ADULTES Mario Brenta Stéphane Brizé BED, THE 83 ANATOMY OF HELL 71 LE LIT ANATOMIE DE L’ENFER Marion Hänsel Catherine Breillat BEIJING BICYCLE 84 Wang XiaoShuai 2 INDEX BY FILMS BELLE EPINE 85 BREATH OF LIFE 100 Rebecca Zlotowski L’ORDRE DES MÉDECINS David Roux BENARES 86 Barlen Pyamootoo BRIDGET 101 Amos Kollek -
Bluebeard Pressbook
BLUEBEARD (Barbe Bleue) the new film by Catherine Breillat with Dominique Thomas Lola Creton Daphné Baïwar Premiered at the Berlin Film Festival (Panorama Section) 2009 Selected for the forthcoming London Film Festival 2009 France 2009 / 80 minutes / 1.85 / Certificate: tbc Release date: Spring 2010 FOR ALL PRESS ENQUIRIES OR TO REQUEST IMAGES PLEASE CONTACT: Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/ E-Mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT: Robert Beeson – New Wave Films 10 Margaret St London W1W 8RL Tel: 020 3178 7095/ E-Mail: [email protected] new wave films Bluebeard DIRECTOR Catherine BREILLAT SCREENPLAY Catherine BREILLAT (adapted from the story by Charles Perrault) DIR. OF PHOTOGRAPHY Vilko FILAC SOUND Yves OSMU EDITING Pascale CHAVANCE PRODUCTION DESIGN Oliver JAQUET COSTUMES Rose-Marie MELKA PRODUCER Jean-François LEPETIT, Sylvette FRYDMAN PRODUCTION Flach Film Co production CB Films/Arte France TECHNICAL DATA Digital / 1:1.85 / 80 min / Colour /Stereo in French with English subtitles new wave films Bluebeard BARBE BLEUE Dominique THOMAS MARIE-CATHERINE Lola CRETON ANNE Dapné BAÏWAR CATHERINE Marilou LOPES-BENITES MARIE-ANNE Lola GIOVANNETTI MOTHER SUPERIOR Farida KHELFA MOTHER Isabelle LAPOUGE new wave films Bluebeard SYNOPSIS In the 1950s, Bluebeard was the favourite tale of good little girls, one of whom is Catherine, who loves to frighten her older sister Marie-Anne by reading this fairy tale to her until she starts to cry. Catherine also puts herself in the fairy tale by becoming Princess Marie-Catherine, Bluebeard's last wife, the one who escapes the fate of all those he hanged before her because she is the virgin princess that the ogre cannot make up his mind to kill. -
Genre Trouble and Extreme Cinema
Genre Trouble and Extreme Cinema A Dissertation Submitted to the Committee of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Faculty of Arts and Sciences Trent University Peterborough, Ontario, Canada © Copyright by Troy Michael Bordun 2015 Cultural Studies Ph.D. Graduate Program September 2015 Abstract Genre Trouble and Extreme Cinema Troy Michael Bordun This dissertation re-evaluates theories of genre and spectatorship in light of a critic- defined tendency in recent art cinema, coined extreme cinema. It argues that the films of Mexican director Carlos Reygadas and French director Catherine Breillat expand our generic classifications and, through the re-organization of the visual presentation of genre-specific clichés and devices, their films transform sense experience and thought. My approach loosely follows Stanley Cavell’s various assertions of film as a medium of thought or, simply, that films think. Reygadas and Breillat allow spectators to reflect on the genre-film experience; I contend that their films make it apparent that genre is not established prior to the viewing of a work but is recollected and assembled by spectators in ways that matter for them. In fostering this experience of collection, these two directors propose a kind of ethics of curatorship: spectators are tasked with collecting and recollecting their film experience to generate particular social, cultural, and political critiques. To further accomplish and foster film as thought, the directors appeal to spectators’ sense experiences. I therefore deploy contemporary film theories on the senses, both phenomenological and affect theory, and partake in close readings of the films’ forms and narratives.