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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
Land of Horses 2020
LAND OF HORSES 2020 « Far back, far back in our dark soul the horse prances… The horse, the horse! The symbol of surging potency and power of movement, of action in man! D.H. Lawrence EDITORIAL With its rich equine heritage, Normandy is the very definition of an area of equine excellence. From the Norman cavalry that enabled William the Conqueror to accede to the throne of England to the current champions who are winning equestrian sports events and races throughout the world, this historical and living heritage is closely connected to the distinctive features of Normandy, to its history, its culture and to its specific way of life. Whether you are attending emblematic events, visiting historical sites or heading through the gates of a stud farm, discovering the world of Horses in « Normandy is an opportunity to explore an authentic, dynamic and passionate region! Laurence MEUNIER Normandy Horse Council President SOMMAIRE > HORSE IN NORMANDY P. 5-13 • normandy the world’s stables • légendary horses • horse vocabulary INSPIRATIONS P. 14-21 • the fantastic five • athletes in action • les chevaux font le show IIDEAS FOR STAYS P. 22-29 • 24h in deauville • in the heart of the stud farm • from the meadow to the tracks, 100% racing • hooves and manes in le perche • seashells and equines DESTINATIONS P. 30-55 • deauville • cabourg and pays d’auge • le pin stud farm • le perche • saint-lô and cotentin • mont-saint-michel’s bay • rouen SADDLE UP ! < P. 56-60 CABOURG AND LE PIN PAYS D’AUGE STUD P. 36-39 FARM DEAUVILLE P. -
BORSALINO » 1970, De Jacques Deray, Avec Alain Delon, Jean-Paul 1 Belmondo
« BORSALINO » 1970, de Jacques Deray, avec Alain Delon, Jean-paul 1 Belmondo. Affiche de Ferracci. 60/90 « LA VACHE ET LE PRISONNIER » 1962, de Henri Verneuil, avec Fernandel 2 Affichette de M.Gourdon. 40/70 « DEMAIN EST UN AUTRE JOUR » 1951, de Leonide Moguy, avec Pier Angeli 3 Affichette de A.Ciriello. 40/70 « L’ARDENTE GITANE» 1956, de Nicholas Ray, avec Cornel Wilde, Jane Russel 4 Affiche de Bertrand -Columbia Films- 80/120 «UNE ESPECE DE GARCE » 1960, de Sidney Lumet, avec Sophia Loren, Tab Hunter. Affiche 5 de Roger Soubie 60/90 « DEUX OU TROIS CHOSES QUE JE SAIS D’ELLE» 1967, de Jean Luc Godard, avec Marina Vlady. Affichette de 6 Ferracci 120/160 «SANS PITIE» 1948, de Alberto Lattuada, avec Carla Del Poggio, John Kitzmille 7 Affiche de A.Ciriello - Lux Films- 80/120 « FERNANDEL » 1947, film de A.Toe Dessin de G.Eric 8 Les Films Roger Richebé 80/120 «LE RETOUR DE MONTE-CRISTO» 1946, de Henry Levin, avec Louis Hayward, Barbara Britton 9 Affiche de H.F. -Columbia Films- 140/180 «BOAT PEOPLE » (Passeport pour l’Enfer) 1982, de Ann Hui 10 Affichette de Roland Topor 60/90 «UN HOMME ET UNE FEMME» 1966, de Claude Lelouch, avec Anouk Aimée, Jean-Louis Trintignant 11 Affichette les Films13 80/120 «LE BOSSU DE ROME » 1960, de Carlo Lizzani, avec Gérard Blain, Pier Paolo Pasolini, Anna Maria Ferrero 12 Affiche de Grinsson 60/90 «LES CHEVALIERS TEUTONIQUES » 1961, de Alexandre Ford 13 Affiche de Jean Mascii -Athos Films- 40/70 «A TOUT CASSER» 1968, de John Berry, avec Eddie Constantine, Johnny Halliday, 14 Catherine Allegret. -
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). -
Entretien Avec François Ozon Michel Coulombe
Document generated on 09/27/2021 10:01 a.m. Ciné-Bulles Le cinéma d'auteur avant tout Entretien avec François Ozon Michel Coulombe Volume 19, Number 1, Fall 2000 URI: https://id.erudit.org/iderudit/33649ac See table of contents Publisher(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (print) 1923-3221 (digital) Explore this journal Cite this document Coulombe, M. (2000). Entretien avec François Ozon. Ciné-Bulles, 19(1), 32–36. Tous droits réservés © Association des cinémas parallèles du Québec, 2000 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/ Entretien avec i Ozon «Je provoque des réactions excessives: adhésion totale ou rejet total. » François Ozon PAR MICHEL COULOMBE Comme bien des réalisateurs, François Ozon n'aime pas particulièrement assurer la promotion de Ses films. Le service après-vente, très peu pour lui. Surtout que le prochain film n'est jamais très loin. Ayant exploré le circuit des festivals avec ses courts métrages puis avec son premier long métrage, Sitcom, de son propre aveu, il sature. Mais voilà, Bernard Giraudeau, la vedette de Gouttes d'eau sur pierres brûlantes, ne voyage pas. Aussi lui a-t-il fallu faire trois petits tours au Festival des films du monde pour parler de son adaptation de la pièce de Rainer Werner Fassbinder, cette curieuse histoire de Leopold, vieux beau qui rencontre le jeune Franz qui renoncera à épouser Anna pour vivre avec lui, quoiqu'il soit impossible en ménage, comme peut d'ailleurs en témoigner la mystérieuse Véra qui revient, après des années, montrer la femme qu'elle est devenue pour lui plaire. -
DOC DE PRESS-V3.Indd
présente, Une production Saga Film Un film d’Hubert Toint Avec Marie Gillain, Jean-François Stévenin, Eduardo Paxeco 97 min • Belgique - France – Suisse • Scope • Couleur • 5.1 SORTIE LE 23 MARS 2016 DISTRIBUTION KANIBAL FILMS DISTRIBUTION DIRECTRICE DE LA DISTRIBUTION Arnaud Kerneguez Sylvie Grosperrin 10, rue du Colisée – 75008 Paris 01.79.36.01.03 01.47.24.75.22 [email protected] [email protected] Assistée de RELATIONS PRESSE Thomas Giezek Laurent Donzé 01 79 36 01 02 LD Communication [email protected] 06.63.84.62.26 [email protected] Matériel de presse téléchargeable sur www.kanibalfilms.fr Toute l’actualité du film sur Facebook : www.facebook.com/kanibalfilms Années 1920, dans le désert d’Acatama au nord du Chili se trouve Pampa-Terminal, une petite ville minière dans laquelle vivent des ouvriers de la mine, des cadres et quelques familles. Il y a une phar- macie, un théâtre ouvrier, une boulangerie, une boucherie. Il y a aussi des bordels dans la rue. Dans le cinéma de la ville, Hirondelle Rivery del Rosario (Marie Gil- lain) accompagne des films muets au piano. Elle vit chez son père, Alexandre Rivery (Jean-François Stévenin), un barbier anarchiste qui organise des réunions syndicales dans son salon de coiffure. Il faudra compter avec les élucubrations anarchistes d’Alexandre Rivery, les fantaisies amoureuses de Yémo, l’acrobate, les chaudes soirées au bordel de Cocoliche, la minutieuse constitution d’une fanfare et la répression violente d’un pouvoir dictatorial… Hirondelle responsable de la fanfare d’accueil pour l’arrivée du Pré- sident chilien va faire la connaissance de Bello Sandalio (Eduardo Paxeco). -
6-Jeudis-De- Lodeon.Pdf
L’ODÉON VOUS PROPOSE DES SOIRÉES CLÉ EN MAIN Accueil personnalisé pour vos invités dans le hall du théâtre Places réservées et groupées en première catégorie Espace de réception partiellement ou entièrement privatisé Remise des programmes de spectacle à l’arrivée de vos invités Service de vestiaire Orientation et filtrage des invités au moment de la réception par l’équipe d’accueil Prise en charge de l’organisation et de la logistique de votre réception Terrasse du Théâtre de l’Odéon 6e © Benjamin Chelly NOS FORMULES Formule champagne Une coupe de champagne, avant, à l’entracte ou après la représentation 90 euros TTC / personne dans un espace partiellement privatisé 120 euros TTC / personne dans un espace entièrement privatisé Formule cocktail Cocktail 12 pièces et coupe de champagne avant ou après la représentation 190 euros TTC / personne dans un espace partiellement privatisé 250 euros TTC / personne dans un espace entièrement privatisé Richard III de William Shakespeare, mis en scène par Thomas Ostermeier © Arno Declair L’ODÉON-THÉÂTRE DE L’EUROPE DEUX SALLES POUR RECEVOIR VOS INVITÉS Le Théâtre de l’Odéon / 6e Inauguré en 1782 par Marie-Antoinette, le Théâtre de l’Odéon est le plus ancien théâtre-monument de Paris. LE GRAND FOYER Situé au cœur du théâtre, ce lieu est idéal pour partager une coupe de champagne avec vos invités dans un espace partiellement privatisé. De 10 à 20 personnes LES STUDIOS GÉMIER, SERREAU ET LA TERRASSE Espaces de répétition pour les artistes, les deux studios sont situés au troisième niveau du théâtre. Séparés l’un de l’autre par une vue plongeante sur le grand foyer, ils donnent accès à la terrasse du théâtre, offrant une vue imprenable sur la place de l’Odéon. -
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. -
Kering and the Festival De Cannes Will Present the 2017 Women in Motion Award to Isabelle Huppert the Young Talents Award Will Be Presented to Maysaloun Hamoud
Kering and the Festival de Cannes will present the 2017 Women in Motion Award to Isabelle Huppert The Young Talents Award will be presented to Maysaloun Hamoud International film icon Isabelle Huppert will receive the third Women in MotionAward presented by Kering and the Festival de Cannes. Isabelle Huppert has chosen director and scriptwriter Maysaloun Hamoud to receive the Young Talents Award. François-Henri Pinault, Chairman and CEO of Kering, Pierre Lescure, President of the Festival de Cannes, and Thierry Frémaux, General Delegate of the Festival of Cannes, will present these awards during the official Women in Motion dinner on Sunday, 21 May 2017. Credits: Brigitte Lacombe For the third Women in Motion programme, official partner Kering and the Festival de Cannes will present the Women in Motion Award to French actress Isabelle Huppert. Exceptionally free-spirited and bold, Isabelle Huppert has taken many artistic risks in her career, and whilst acting with leading names, she has successfully established her own style in a variety of registers ranging from drama to comedy. She has pushed back boundaries with the strong and far-from-stereotypical roles that she has played since the early days of her career. Whether being directed by legendary filmmakers or by a brilliant new generation of talented filmmakers, Isabelle Huppert is one of the most inspirational figures in the world of cinema. Isabelle Huppert has in turn chosen to honour Maysaloun Hamoud by awarding her the Young Talents prize. In 2016 this young Palestinian director and scriptwriter made her first feature film, In Between (Bar Bahar), which chronicles the daily lives of three young Palestinian women living in Tel Aviv, torn between family traditions and their desire for independence. -
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. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.