AGNÈS VARDA QUINZE JOURS AVEC RÉTROSPECTIVE 16 -28JANVIER Agnès Varda Dansles Plages D’Agnès 71
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Agnès Varda in Californialand
Les Plages d’Agnès. L’ADRC CINÉ-TAMARIS hotographe, cinéaste et aujourd’hui en partenariat avec Partiste plasticienne, Agnès Varda est l’AFCAE plurielle, et ne cesse d’apporter un souffle présentent de liberté, de créativité, dans la vie culturelle française. Après une première collaboration en 2013 à l’occasion de la ressortie des films de Jacques Demy, CINÉ-TAMARIS et l’ADRC proposent une rétrospective de 9 films restaurés dans laquelle Agnès vous invite à (re)découvrir la variété de son travail. AGNÈS VARDA Rétrospective 9 films © christophe vallaux © christophe Cléo de 5 à 7 Sans toit ni loi Agnès Varda in Californialand Un film écrit et réalisé par Un film écrit et réalisé par Agnès Varda Agnès Varda Los Angeles, les plages de Venice et de Santa Monica, on les a connues, Jacques (Demy) et moi, à chacun de nos séjours. Fiction de 90 minutes Fiction de 105 minutes Elles ont été nos décors de vie et de films, dont pour moi, un film hippie et un film triste. Une jetée qui s’élance dans le Pacifique en noir et blanc filmée en couleurs, filmée en 1985 À en été 1961 – visa n° 24.864 visa n° 60.033 au bout du bout de la ruée vers l’Ouest. Des pique-niques à la plage. Des rencontres, les jeunes Harrison Ford et Jim Morrison, Produit par Images : Patrick Blossier les Knop and King et Viva! avec un point d’exclamation comme nom d’artiste. Les Black Panthers. Les peintures murales. Georges de Beauregard Son : Jean-Paul Mugel Images : Jean Rabier Décors : Jean Bauer, Son : Jean Labussière Anne Violet Décors : Bernard Evein Musique : Joanna Bruzdowicz -
Berkeley Art Museum·Pacific Film Archive W in Ter 20 19
WINTER 2019–20 WINTER BERKELEY ART MUSEUM · PACIFIC FILM ARCHIVE UNIVERSITY OF CALIFORNIA PROGRAM GUIDE ROSIE LEE TOMPKINS RON NAGLE EDIE FAKE TAISO YOSHITOSHI GEOGRAPHIES OF CALIFORNIA AGNÈS VARDA FEDERICO FELLINI DAVID LYNCH ABBAS KIAROSTAMI J. HOBERMAN ROMANIAN CINEMA DOCUMENTARY VOICES OUT OF THE VAULT 1 / 2 / 3 / 4 / 5 / 6 CALENDAR DEC 11/WED 22/SUN 10/FRI 7:00 Full: Strange Connections P. 4 1:00 Christ Stopped at Eboli P. 21 6:30 Blue Velvet LYNCH P. 26 1/SUN 7:00 The King of Comedy 7:00 Full: Howl & Beat P. 4 Introduction & book signing by 25/WED 2:00 Guided Tour: Strange P. 5 J. Hoberman AFTERIMAGE P. 17 BAMPFA Closed 11/SAT 4:30 Five Dedicated to Ozu Lands of Promise and Peril: 11:30, 1:00 Great Cosmic Eyes Introduction by Donna Geographies of California opens P. 11 26/THU GALLERY + STUDIO P. 7 Honarpisheh KIAROSTAMI P. 16 12:00 Fanny and Alexander P. 21 1:30 The Tiger of Eschnapur P. 25 7:00 Amazing Grace P. 14 12/THU 7:00 Varda by Agnès VARDA P. 22 3:00 Guts ROUNDTABLE READING P. 7 7:00 River’s Edge 2/MON Introduction by J. Hoberman 3:45 The Indian Tomb P. 25 27/FRI 6:30 Art, Health, and Equity in the City AFTERIMAGE P. 17 6:00 Cléo from 5 to 7 VARDA P. 23 2:00 Tokyo Twilight P. 15 of Richmond ARTS + DESIGN P. 5 8:00 Eraserhead LYNCH P. 26 13/FRI 5:00 Amazing Grace P. -
Catalogo-2015-Digital.Pdf
132 SND SONIDERO 134 20 000 Days on Earth | 20 000 días en la Tierra 136 Björk: Biophilia Live | Björk: Biophilia en vivo CONTENIDO | CONTENTS 138 The Devil and Daniel Johnston | El diablo y Daniel Johnston 140 A Hard Day’s Night 142 Pulp: A Film About Life, Death and Supermarkets | Pulp: una película sobre la vida, la muerte y los supermercados 144 Serrat y Sabina: el símbolo y el cuate | Serrat & Sabina: Two for the Road 4 PRESENTACIÓN | FOREWORD AMB 146 AMBULANTITOBULANTITO 148 Programa 1: El cielo y otros mundos | The Sky and Other Worlds 20 NOTAS DE PROGRAMACIÓN | PROGRAMMING NOTES 148 Programa 2: Aprender del mundo | Learning From the World 22 ASOMBRO | WONDER Colaboración con Editorial Sexto Piso 148 Programa 3: Anina 56 RF REFLECTOR 150 ENF ENFOQUE 58 Is the Man Who Is Tall Happy?: An Animated Conversation with Noam Chomsky 154 Programa 1: Ritual y cine-trance | Ritual and Cine-trance ¿Es feliz el hombre que es alto?: una conversación animada con Noam Chomsky 156 Programa 2: Mirar lo invisible | Seeing the Invisible 60 Jodorowsky’s Dune | Dunas de Jodorowsky 158 Programa 3: Autoetnografías | Self-ethnographies 62 The Look of Silence | La mirada del silencio 160 Programa 4: El sexto sentido | The Sixth Sense 64 Merchants of Doubt | Mercaderes de la duda 162 Programa 5: Umbrales sensoriales | Sensory Thresholds 66 Point and Shoot | Apunte y dispare 164 Programa 6: El tren de las experiencias | The Train of Experiences 68 The Salt of the Earth | La sal de la tierra 70 Supermensch: The Legend of Shep Gordon | Supermensch: la leyenda de Shep Gordon 166 RTR RETROSPECTIVA 72 The Visit | La visita 170 Programa 1: Nouvelle vague | Nueva ola | New Wave 74 PUL PULSOS 171 Programa 2: Podría ser cualquier lugar, pero es París | It Could Be Anyplace, But It’s Paris 172 Programa 3: Fijar una imagen. -
Ateliers D'angers
ANGERS WORKSHOPS 4-11 July 2010 6th edition 2009 participants with Jeanne Moreau, Sandrine Veysset and Claude-Eric Poiroux Artistic director : Jeanne Moreau www.premiersplans.org PRESS KIT Contact: Liza Narboni – 01 42 71 11 62 / [email protected] PARTNERS Angers Workshops receive support from: With the support of: Angers Workshops would like to thank: Université Angevine du Temps Libre // ADAMI // Bouvet Ladubay // Bureau d’accueil des tournages de la SEM Pays de la Loire // Centre Angevin des Ressources Associatives de la Ville d’Angers // Le Chabada // Ecole Supérieure des Beaux-Arts d’Angers // Elacom // Hôtel Mercure Angers Centre // Evolis Card Printer // Ford Rent // Hexa Repro // Nouveau Théâtre d’Angers // La Semaine du son // OPCAL // SACD // Sceren // Association Valentin Huäy // Yamakado. CONTACTS Premiers Plans Association President : Gérard Pilet Artistic director : Jeanne Moreau General Delegate : Claude-Eric Poiroux Coordination / Arnaud Gourmelen +33 1 42 71 83 29 - Liza Narboni +33 1 42 71 11 62 [email protected] www.premiersplans.org PREMIERS PLANS 2 PRESENTATION The 6th edition of the Angers Workshops will welcome from the 4th to the 11th of July, 9 young filmmakers from 5 European countries: France, Italy, Scotland, and Slovenia. Jeanne Moreau, who founded the Ateliers with Claude-Eric Poiroux, will be running them, as she has done every year, along with cinema professionals, including directors Olivier Ducastel (Jeanne et le garçon formidable, L’Arbre et la forêt…), Raphaël Nadjari (The Shade, Avanim…), Olivier Assayas (Clean, L’Heure d’été…)… Created in 2005, the Angers Workshops are directed toward young European filmmakers with one or two short films to their credit and a first feature film in the works. -
Film De Famille / Americano, France, 2011, 1 H 31]
Document generated on 09/25/2021 1:24 p.m. Séquences La revue de cinéma Film de famille Americano, France, 2011, 1 h 31 Sami Gnaba Number 283, March–April 2013 URI: https://id.erudit.org/iderudit/68698ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Gnaba, S. (2013). Review of [Film de famille / Americano, France, 2011, 1 h 31]. Séquences, (283), 22–22. Tous droits réservés © La revue Séquences Inc., 2013 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/ 22 ARRÊT SUR IMAGE | L'écran DVD Americano Film de famille Genre foncièrement américain, le road movie a vu moult cinéastes européens se l’approprier. De Wenders jusqu’à Bruno Dumont, en passant par Erick Zonca (Julia) ou encore Paolo Sorrentino (This Must Be the Place), ils sont plusieurs à avoir senti ce désir d’errance, de puiser un souffle d’inspiration dans la route américaine. Le dernier en lice est Mathieu Demy, acteur de métier, vu notamment chez Téchiné et Agnès Varda, sa propre mère. Sami Gnaba n convoquant autour de lui les actrices Chiara Mastroianni Très tôt, Americano prend l’allure d’un film de famille et Geraldine Chaplin, ainsi que sa demi-sœur Rosalie pour lequel il se serait donné des années de gestation pour EVarda (aux costumes et à la production), Mathieu Demy aller trier dans son héritage, dans ses souvenirs, dans son place clairement Americano sous le signe de la (ciné)filiation. -
Diario 121.Pdf
2 / SAIL OFIZIALA SECCIÓN OFICIAL OFFICIAL SECTION Zinemaldiaren egunkaria • Larunbata, 2011ko irailaren 24a AMERICANO • Frantzia Mathieu Demy (zuzendaria) • Geraldine Chaplin eta Carlos Bardem (aktoreak) Ukitu autobiografikoak athieu Demy zinemagile du. Pertsonaiaren onena at era frantsesaren Americano zuen, sakontasuna eman zion, Mfamilia-loturen indarraz «Es una película sobre funtsa, mamia”,esaten du errea- hitz egiten digu. Eta gaian sakon- lizadore frantziarrak behin eta be- tzeko, bere bizipen pertsonalak la fuerza del vínculo rriz. Hori Carlos Bardemez aritu baliatu ditu zuz endari moduan aurretik: "Hain gaiztoa ez zen gaiz- osatu duen lehen film luzean. Ho- que une a los padres to baten bila nenbilen" eta Javier nela, 1981ean ume koskorra zela- Bardemen anaia egokia zen “be- rik eta Los Angelesen bere gura- con sus hijos» re gorpuzkera sendoak eta begi- soekin, Agnés Varda eta Jacques rada samurrak kontraste erakar- Chaplin, Demy eta Bardem zinema historiaren izen gailurrak. Iñaki PARDO Demy zinegileekin,bizi zela filma- garria osatzen baitute", azaldu du turiko etxeko pelikularen zatiak tarekiko dolu-aldia. Berez fikzioa zuzendariak. txertatu ditu lan honetan,prota- da, baina ukitu autobiografikoak "Nahiko is torio pert sonala The son of great filmmakers heads for Tijuana gonistaren umetako irudiak baili- ere eman nahi izan dizkiot”,gehi- da", adierazi du berriro, txikitan The director Mathieu Demy presented Americano yesterday at the ran. tu du filmeko zuzendari, antzezle, 8 urterekin ama Agnés Vardare- Festival accompanied by actors Carlos Bardem and Geraldine Chap- Filma "hainbat burutazioen ekoizle eta gidoilariak. kin filmaturiko 16 mm-ko peliku- lin. His film tells the story of Martin, played by the director himself, emaitza da", azaldu du Demyk. -
Who's Afraid of Agnes Varda?
EDITORIAL By Elisabeth O. Sjaastad Masculine - Feminine 2010 will go down in film history on account of Kathryn Bigelow. She became the first woman to win the Academy Award for best director and best film. Yet much to the dismay of many, the Cannes film festival didn’t find a single film directed by a woman worthy of competing for the Palme d’Or this year. Regardless of whether those films simply weren’t as good as the one’s that did get selected, the situation does raise the issue of the small number of films directed by women globally. Today women seem to have no trouble getting into highly competitive film schools, but after they graduate many of them struggle more to establish themselves than their male colleagues. Several countries are now trying to redress this gender imbalance. During this year’s Cannes festival one of the most innovative directors in European film, Agnès Varda, was awarded the “Carosse d’or” by FERA member SRF. FERA joins our French members in celebrating the exceptional work of Agnès Varda, the “grandmother” of the French New Wave. The films of Agnès Varda are legally available on www.theauteurs.com . Who’s afraid of Agnès Varda? In 1954 26 year old Agnès Varda decided to make a film. She had no film training or experience. The film La Pointe Courte proved to be a watershed in modern film history and the precursor to the French new wave. Agnès Varda has made some of the most innovative and thought-provoking films in the last 50 years. -
Female, Feminine Or Feminist
University of Birmingham Feminist phenomenology and the film-world of Agnès Varda Ince, Katherine DOI: 10.1111/j.1527-2001.2012.01303.x License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Ince, K 2013, 'Feminist phenomenology and the film-world of Agnès Varda', Hypatia A Journal of Feminist Philosophy, vol. 28, no. 3, pp. 602-617. https://doi.org/10.1111/j.1527-2001.2012.01303.x Link to publication on Research at Birmingham portal Publisher Rights Statement: This is the accepted version of the following article: Ince, K. (2013), Feminist Phenomenology and the Film World of Agnès Varda. Hypatia, 28: 602–617. doi: 10.1111/j.1527-2001.2012.01303.x, which has been published in final form at http://dx.doi.org/10.1111/j.1527- 2001.2012.01303.x. Eligibility for repository : checked 12/09/2014 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. -
Cinema Comparat/Ive Cinema
CINEMA COMPARAT/IVE CINEMA VOLUME IV · No.8 · 2016 Editors: Gonzalo de Lucas (Universitat Pompeu Fabra) and Albert Elduque (University of Reading). Associate Editors: Ana Aitana Fernández (Universitat Pompeu Fabra), Núria Bou (Universitat Pompeu Fabra), Xavier Pérez (Universitat Pompeu Fabra). Advisory Board: Dudley Andrew (Yale University, United States), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Francisco Javier Benavente (Universitat Pompeu Fabra), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irleland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, United States), Haden Guest (Harvard University, United States), Tom Gunning (University of Chicago, United States), John MacKay (Yale University, United States), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Alejandro Montiel (Universitat de València), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Raffaelle Pinto (Universitat de Barcelona), Ivan Pintor (Universitat Pompeu Fabra), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, United States), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Glòria Salvadó (Universitat Pompeu Fabra), Yuri -
Jan – Mar 2018 V11
Jan – Mar 2018 V11 ∙ 3 MEMBERSHIP “Forward-looking communities strive to hold onto important parts of their past and, if practical, make sensible renovations to bring venerable structures into the future. That’s the case with the newly restored Dundee Theater.” — Omaha World-Herald Editorial, Nov 31, 2017 December was a dream. On the first day of the month, we opened the doors of the renovated Dundee Theater, and, along with our café partners Kitchen Table Members Select Central, welcomed thousands of you back to Omaha’s historic cinema. Thanks to Your voices have been heard! This year’s Members Select winner was described the generosity and efforts of so many, we reached our goal to have the project by Roger Ebert as “a movie with the courage to be about complex, sweeping completed in time to host the Omaha premiere of Film Streams Board Member emotions, and to use the star power of its actors without apology.” Alexander Payne’s latest opus, Downsizing (still showing!). And we’re just getting started. This quarter will bring outstanding new releases from around the world to both of our cinemas, along with annual traditions like Jan 5 – 11 Ruth Sokolof the Oscar Shorts and Film Streams Members Select, our first repertory series (and Courses!) in the Dundee Theater’s Linder Microcinema, and a much- Out of Africa requested return of Midnight Movies to the Dundee. Dir. Sydney Pollack — 1985 — USA 161 min — PG So, join us! The show is just getting started. Meryl Streep, Robert Redford, and cinematographer David Watkin’s sweeping images of the Kenyan plains light up the screen in this sultry drama. -
Jacquot De Nantes
Jacquot de Nantes de Agnès Varda FFICHE FILM Fiche technique France - 1991 - 2h - Couleur et N. & B. Réalisateur : Agnès Varda Scénario : Agnès Varda d’après les souvenirs de Jacques Demy Musique : Joanna Bruzdowicz et 20 chansons d’époque Interprètes : Philippe Maron (Jacquot 1) Edouard Joubeaud (Jacquot 2) Résumé Laurent Monnier (Jacquot 3) Brigitte de Villepoix Le petit Jacques Demy a de la chance : sa passion pour le cinéma. Non content de (Marilou) prime enfance, dans les années trente, est fréquenter la salle la plus proche avec une marquée du sceau de l’insouciance et du assiduité qui ne se dément pas, le jeune Daniel Dublet bonheur. Son père, garagiste, sa mère et homme entreprend de faire lui-même (Raymond) son petit frère l’entourent de toute l’affec- quelques essais en 8 mm. Son père, qui Clément Delaroche tion dont on peut rêver. Et rêver, justement, juge cette passion quelque peu déplacée, Jacquot aime cela. Rien ne l’attire davan- lui fait étudier la mécanique. Mais l’obsti- (Yvon 1) tage que le théâtre de marionnettes qui nation de Jacques a raison de cette résis- Rody Averty permet à son imagination de vagabonder. tance somme toute compréhensible. Alors (Yvon 2) La guerre ne modifie pas réellement cette que la guerre a pris fin et que la vie a peu à prédisposition au bonheur, même si les peu repris ses droits, le jeune garçon brûle Hélène Pors bombardements de 1943 lui inculquent un comme jamais de devenir cinéaste : il (Reine 1, la petite voisine) dégoût durable pour la violence. Son atti- convainc son père de le laisser partir pour rance pour le théâtre se mue peu à peu en Paris.. -
AGNÈS VARDA INTERVIEW This Interview Was Conducted by Rhonda Richford in Paris on January 31, 2019
PRESENTS Booking Inquiries: Janus Films Press Contact: Courtney Ott [email protected] • 212-756-8761 [email protected] • 646-230-6847 he final film from the late, beloved Agnès Varda is a characteristically Tplayful, profound, and personal summation of the director’s own brilliant career. At once impish and wise, Varda acts as our spirit guide on a free-associative tour through her six-decade artistic journey, shedding new light on her films, photography, and recent installation works while offering her one-of-a-kind reflections on everything from filmmaking to feminism to aging. Suffused with the people, places, and things she loved—Jacques Demy, cats, colors, beaches, heart-shaped potatoes—this wonderfully idiosyncratic work of imaginative autobiography is a warmly human, touchingly bittersweet parting gift from one of cinema’s most Agnès Varda filming Varda by Agnès luminous talents. France | 2019 | 120 minutes | Color | Stereo | 1.77:1 aspect ratio | Screening format: DCP DIRECTOR’S STATEMENT In 1994, with a retro at the Cinémathèque during that time, I mostly created art or not alone? In color or not in color? française, I published a book entitled installations, atypical triptychs, shacks of Creation is a job. Varda by Agnès. Twenty-five years later, cinema, and I kept making documentaries, The third word is sharing. You don’t the same title is given to my film made of such as The Beaches of Agnès. make films to watch them alone; you make moving images and words, with the same In the middle of the two parts, there films to show them.