Elenco Dei Film (291)
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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. -
Filmverleih- Unternehmen in Europa
Filmverleih- unternehmen in Europa André Lange und Susan Newman-Baudais unter Mitarbeit von Thierry Hugot Einleitung .............................................................................................................................................. 3 Hinweise zur Benutzung ........................................................................................................................ 5 Kapitel 1 Filmverleihunternehmen in Europa .........................................................................9 1.1 Ein Überblick 1.2 Wirtschaftliche Analyse INHALT Kapitel 2 Individuelle Gesellschaftsprofi le ............................................................................ 23 AT Österreich ..............................................................25 BE Belgien ...................................................................29 BG Bulgarien ...............................................................41 CH Schweiz ..................................................................45 CZ Tschechische Republik ............................................51 DE Deutschland ...........................................................59 DK Dänemark ..............................................................67 EE Estland ...................................................................73 ES Spanien ..................................................................79 FI Finnland .................................................................95 FR Frankreich ............................................................101 -
Promotion 2017 Après Avoir Présenté Leur Court Métrage À Verte De Talents Émergents Par Un Accom- Cannes En Mai, Les Cinéastes Sont Invités À Pagnement Sur Mesure
Promotion #4 2017 Next Step accueille sa 4e promotion travers son programme Next Step, la formation, le Moulin d’Andé-CÉCI propose À Semaine de la Critique accompagne une résidence d’écriture d’un mois à l’un des vers le long métrage, les réalisateurs sélec- réalisateurs participants et le TorinoFilmLab tionnés pour sa compétition courts mé- invite le producteur de l’un des projets à trages parmi les 1 700 films soumis chaque prendre part à son programme Up&Coming. année. Cette sélection prend le pari que chacun de ces films courts révèle une person- Avec Next Step, la Semaine de la Critique nalité de cinéma qui ambitionne de place le cinéaste et la mise-en-scène au cœur s’exprimer sur le format long. du processus de développement d’un long métrage et prolonge son travail de décou- Promotion 2017 Après avoir présenté leur court métrage à verte de talents émergents par un accom- Cannes en mai, les cinéastes sont invités à pagnement sur mesure. À ce jour, 29 #4 4 – 8 Décembre participer à Next Step au Moulin d’Andé en réalisateurs ont bénéficié du soutien de décembre. Durant cet atelier de formation Next Step et nous nous réjouissons du d’une semaine organisé en collaboration parcours des 3 premiers films terminés : The avec le TorinoFilmLab, ils sont accompagnés Maus de Gerardo Herrero (Festivals de Sitges dans le développement de leur long métrage et Austin), Guarda In Alto (Look Up) de Fulvio par des consultants internationaux qui les Risuelo (Festival de Rome) et A Ciambra de conseillent à la fois sur l’écriture de leur Jonas Carpignano (Quinzaine des Réalisateurs scénario et son lancement sur le marché. -
La Vida De Adèle
LA VIDA DE ADÈLE BLUE IS THE WARMEST COLOR Título original/Original title: LA VIE D'ADÈLE Otros títulos/Other titles: LA VIE D'ADÈLE CHAPITRES 1 ET 2 (España/Spain 10%Financiera-Francia/France 70%- Bélgica/Belgium 20%) Dirigido por/Directed by ABDELLATIF KECHICHE Productoras/Production Companies: VERTIGO FILMS, S.L. (10% Financiera) Carranza, 25, 7º. 28004 Madrid. Tel.: 91 524 08 19. Fax: 91 523 27 19. www.vertigofilms.es ; [email protected] WILD BUNCH, S.A. 99 rue de la Verrerie. 75004 Paris. (Francia) Tel.: + 33 1 53 01 50 20. Fax: + 33 1 53 01 50 49. www.wildbunch.biz ; [email protected] QUAT'SOUS FILMS. France. (Francia) SCOPE PICTURES. (20%) Belgium. (Bélgica) Con la participación de/With the participation of: FRANCE 2 CINÉMA, RTBF - RADIO TÉLÉVISION BELGE, CANAL+, CINÉ+, FRANCE TELEVISIONS. Director: ABDELLATIF KECHICHE. Producción/Producers: VINCENT MARAVAL, BRAHIM CHIOUA, ABDELLATIF KECHICHE. Producción ejecutiva/Executive Producers: ALCATRAZ FILMS, OLIVIER THERY LAPINEY, LAURENCE CLERC. Coproducción/Co-producers: GENEVIÈVE LEMAL, ANDRÉS MARTÍN. Dirección de producción/Line Producer: DIANA ANGULO. Guión/Screenplay: GHALYA LACROIX, ABDELLATIF KECHICHE. BASADA EN EL CÓMIC "EL AZUL ES UN COLOR CÁLIDO" DE JULIE MAROH / BASED ON THE COMIC BOOK "LE BLEU EST UNE COULEUR CHAUDE" BY JULIE MAROH - ÉDITIONS GLÉNAT Fotografía/Photography: SOFIAN EL FANI. Dirección artística/Production Design: JULIA LEMAIRE. Vestuario/Costume Design: PALOMA GARCIA MERTENS. Montaje/Editing: ALBERTINE LASTERA, CAMILLE TOUBKIS, JEAN- Web: www.lavidadeadele.es/ MARIE LENGELLÉ, GHALYA LACROIX. Montaje de sonido/Sound Design: PATRICK HUBARD. Sonido/Sound: JÉRÔME CHENEVOY. Sonido directo/Sound Mixers: FABIEN POCHET, ROLAND VOGLAIRE. Mezclas/Re-recording Mixer: JEAN-PAUL HURIER, YOANN NALLET. -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
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. -
Here Was Obviously No Way to Imagine the Event Taking Place Anywhere Else
New theatre, new dates, new profile, new partners: WELCOME TO THE 23rd AND REVAMPED VERSION OF COLCOA! COLCOA’s first edition took place in April 1997, eight Finally, the high profile and exclusive 23rd program, years after the DGA theaters were inaugurated. For 22 including North American and U.S Premieres of films years we have had the privilege to premiere French from the recent Cannes and Venice Film Festivals, is films in the most prestigious theater complex in proof that COLCOA has become a major event for Hollywood. professionals in France and in Hollywood. When the Directors Guild of America (co-creator This year, our schedule has been improved in order to of COLCOA with the MPA, La Sacem and the WGA see more films during the day and have more choices West) decided to upgrade both sound and projection between different films offered in our three theatres. As systems in their main theater last year, the FACF board an example, evening screenings in the Renoir theater made the logical decision to postpone the event from will start earlier and give you the opportunity to attend April to September. The DGA building has become part screenings in other theatres after 10:00 p.m. of the festival’s DNA and there was obviously no way to imagine the event taking place anywhere else. All our popular series are back (Film Noir Series, French NeWave 2.0, After 10, World Cinema, documentaries Today, your patience is fully rewarded. First, you will and classics, Focus on a filmmaker and on a composer, rediscover your favorite festival in a very unique and TV series) as well as our educational program, exclusive way: You will be the very first audience to supported by ELMA and offered to 3,000 high school enjoy the most optimal theatrical viewing experience in students. -
Liste De Films Autour De La Nourriture Ou De La Cuisine
Liste de films autour de la nourriture ou de la cuisine Il y a un intérêt au cinéma pour des films s’intéressant en grande partie à la nourriture, à la cuisine, à la gastronomie, à la restauration et/ou à l’industrie agroalimentaire ou l’on y retrouve une scène marquante. En voici une liste : Année Titre du film Réalisateur Principaux acteurs / actrices 1895 La charcuterie Louis Lumière - mécanique 1899 Au cabaret Alice Guy - 1900 Chapellerie et Alice Guy - charcuterie mécaniques 1900 Le repas fantastique Georges Méliès - 1905 La charité du Alice Guy - prestidigitateur 1906 Madame a des envies Alice Guy - 1907 La course à la saucisse Alice Guy - 1907 Le billet de banque Alice Guy - 1914 Charlot et les saucisses Mack Sennett Charlie Chaplin, Mabel (Mabel’s Busy Day) Normand, Chester Conklin 1914 Charlot mitron Charlie Chaplin Charlie Chaplin, Chester (Dough and Dynamite / Conklin The Doughnut Designers) 8 2 janvier 2019, François Brouard [Liste de films autour de la nourriture ou de la cuisine] 1 Année Titre du film Réalisateur Principaux acteurs / actrices 1916 Karzy Kat & Ignatz Frank Moser et - Mouse Discuss the Leon Searl Letter ‘G’ 1928 A la soupe Edgar Kennedy Stan Laurel, Oliver Hardy (From Soup to Nuts) 1929 Piccadilly Ewald André Gilda Gray, Anna May Wong, Dupont Jameson Thomas 1932 The Whoopee Party Wilfred Jackson (Mickey Mouse) 1933 Ham and Eggs Walter Lantz et (Oswald and the girl beagle) Bill Nolan 1934 The Hot Chocolate Walt Disney - Soldiers 1935 Carnaval des gateaux Ben - (The Cookie Carnival) Sharpsteen 1938 La femme -
LOVATO-DISSERTATION-2015.Pdf
Copyright by Martino Lovato 2015 The Dissertation Committee for Martino Lovato Certifies that this is the approved version of the following dissertation: Harboring Narratives: Notes Towards a Literature of the Mediterranean Committee: Hélène Tissières, Supervisor Samer Ali Paola Bonifazio Tarek El-Ariss Barbara Harlow Norma Bouchard Harboring Narratives: Notes Towards a Literature of the Mediterranean by Martino Lovato, Laurea; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2015 Dedication To all those suffering in the Mediterranean the calamity of war. To my family. Acknowledgements I owe my deepest gratitude to my supervisor Dr. Hélène Tissières, and to all the distinguished faculty members who served on my dissertation committee: Professors Samer Ali, Tarek El-Ariss, Paola Bonifazio, Norma Bouchard, and Barbara Harlow. Without their mentoring and advice, their rigor and insightful comments, this work would not have been possible. I am also forever indebted with The Program in Comparative Literature, and particularly with Elizabeth Richmond-Garza, César Salgado, and Lynn Wilkinson, for their constant encouragement and example. I am grateful to many programs, departments and study groups at the University of Texas at Austin, whose precious contributions allowed me advance in my research. My heartfelt thanks to the Department of French and Italian, and particularly to professors Daniela Bini and David Birdsong. I also want to thank The Middle Eastern Studies Department, The Center for European Studies, The European Union Center of Excellence at the University of Texas at Austin, particularly to professor Douglas Biow, The Medieval Studies Research Group and Alison Frazier, and The Ethnic and Third World Literatures Concentration. -
Prof. Alain-Philippe Durand Humanities Seminar 520-621-5452 Spring 2014 E-Mail: [email protected] W 1:00-4:00Pm Po
Prof. Alain-Philippe Durand Humanities Seminar 520-621-5452 Spring 2014 E-mail: [email protected] W 1:00-4:00pm Poetry Center WHAT MAKES THE FRENCH LAUGH: FRENCH FILM COMEDY CLASSICS RECOMMENDED READINGS (subject to change) Gordon, Rae Beth. Why the French Love Jerry Lewis: From Cabaret to Early Cinema. Palo Alto: Stanford UP, 2001. Lanzoni, Rémi Fournier. French Cinema. From Its Beginnings to the Present. New York: Continuum, 2004. Sypher, Wylie, ed. Comedy. An Essay on Comedy by George Meredith. Laughter by Henri Bergson. Baltimore: Johns Hopkins UP, 1956. FILMOGRAPHY (subject to change) L’arroseur arrosé [The Sprinkler Sprinkled]. Dirs. Lumière Brothers, 1895, 00:01:13. Boudu sauvé des eaux [Boudu Saved From Drowning]. Dir. Jean Renoir, 1932, 01:26:00. Mon Oncle [My Uncle]. Dir. Jacques Tati, 1958, 01:56:00. La Grande Vadrouille [Don’t Look Now, We’re Being Shot at]. Dir Gérard Oury, 1966, 01:59:00. Le Distrait [The Daydreamer]. Dir. Pierre Richard, 1970, 01:40:00. Les Aventures de Rabbi Jacob [The Mad Adventures of Rabbi Jacob]. Dir. Gérard Oury, 1973, 01:32:00. Un éléphant, ça trompe énormément [Pardon Mon Affaire]. Dir. Yves Robert, 1976, 01:45:00. La Chèvre [The Goat]. Dir. Francis Veber, 1981, 01:30:00. Trois hommes et un couffin [Three Men and a Cradle]. Dir. Coline Serreau, 1985, 01:46:00. Les Visiteurs [The Visitors]. Dir. Jean-Marie Poiré, 1993, 01:47:00. Gazon maudit [French Twist]. Dir. Josiane Balasko, 1995, 01:41:00. La Vérité si je mens [Would I Lie to You?]. Dir. -
Chicken with Plums
CHICKEN WITH PLUMS a film by Marjane Satrapi and Vincent Paronnaud Adapted from the graphic novel Chicken with Plums by Marjane Satrapi Venice International Film Festival 2011 Toronto International Film Festival 2011 Tribeca Film Festival 2012 91 min | Language: French (with English subtitles) East Coast Publicity West Coast Publicity Distributor Hook Publicity Block Korenbrot Sony Pictures Classics Jessica Uzzan Ziggy Kozlowski Carmelo Pirrone Mary Ann Hult Tami Kim Lindsay Macik 419 Lafayette St, 2nd Fl 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10003 Los Angeles, CA 90036 New York, NY 10022 [email protected] 323-634-7001 tel 212-833-8833 tel [email protected] 323-634-7030 fax 212-833-8844 fax 646-867-3818 tel SYNOPSIS Teheran, 1958. Since his beloved violin was broken, Nasser Ali Khan, one of the most renowned musicians of his day, has lost all taste for life. Finding no instrument worthy of replacing it, he decides to confine himself to bed to await death. As he hopes for its arrival, he plunges into deep reveries, with dreams as melancholic as they are joyous, taking him back to his youth and even to a conversation with Azraël, the Angel of Death, who reveals the future of his children... As pieces of the puzzle gradually fit together, the poignant secret of his life comes to light: a wonderful story of love which inspired his genius and his music... DIRECTORS’ STATEMENT By Marjane Satrapi & Vincent Paronnaud Chicken with Plums is the story of a famous musician whose prized instrument has been ruined. -
The Use of Songs in Films by Claude Lelouch: a Comprehensive Typology Jérôme Rossi (Nantes)
The Use of Songs in Films by Claude Lelouch: A Comprehensive Typology Jérôme Rossi (Nantes) Claude Lelouch became part of the history of cinema at the age of twenty- nine, when he won a Palme d’Or and the Academy Award for the best foreign film in 1966 with UN HOMME ET UNE FEMME. He directed forty- four movies after that1. The sincerity, exceptional longevity and abundant production of Claude Lelouch’s works have – no offense to some critics – built a unique, although uneven work, where coherence and unity were undeniable. Yves Alion and Jean Olle-Laprune state: We feel that, even after reviewing his films again and again, we haven’t even opened all the doors of possibilities that his work offers. We still haven’t gone tired of exploring a world whose richness and complexity are now becoming clearer to us. We are proud to place Claude Lelouch among the greatest of our cinema, along with Jean Renoir, Henri-Georges Clouzot, François Truffaut and Claude Sautet to name only a few. (Alion/Olle-Laprune 2005) If we look at his filmography, it appears that with the exception of two films, all of Lelouch’s movies have at least one song in them. But what strikes us most beyond this constant use of songs, is the variety of his use of songs. I will first describe the musical composition method and then expose a typology which can describe the different aspects of his ability to handle songs in films. 1 See Rossi 2016 for an overview of songscoring evolution in Lelouch’s films.