DOCSLIB.ORG

African Diaspora Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
African Diaspora Cinema african diaspora cinema 17. bis 27. september 2015 in köln www.filme-aus-afrika.de www.facebook.com/FilmInitiativ locations ☎ 8 Lenauplatz U U 5 U U 3 • 4 13 5 U 5 6 U U Venloer Straße U 2 Ebertplatz U U 5 Maybachstraße 13 U 3 • 4 • 5 Hansaring Breslauer Platz U U U U 9 12 • 15 3 • 4 • 5 U U U Rhein U Dom/Hbf 1 U 1 • 7 7 16 • 18 U U U 1 • 7 Neumarkt 1 • 7 • 9 Rudolfplatz U U U 9 4 U U U U U U 16 • 18 16 • 18U Sachsenring 13 U Zülpicher Straße U U 9 U Lindenburg 3 Ulrepforte U U Kinos : 1 Filmforum im Museum Ludwig, Bischofsgartenstr.1 (U: Dom/Hauptbahnhof) Cinemas/Cinés 2 Filmhauskino Köln, Maybachstr. 111 (U: Hansaring) 3 Institut français, Sachsenring 77 (U: Ulrepforte) Ausstellung Exhibition: 4 Zentralbibliothek, Josef-Haubrich-Hof 1 (U: Neumarkt) Global Player Klubnacht: 5 YUCA Club Bahnhof Ehrenfeld / Bartholomäus-Schink-Str. 65/67 (U: Venloer Str. / Gürtel) Lesung Reading / Lecture: 6 King Georg, Sudermanstr. 2 (U: Ebertplatz) Hotel der Festivalgäste: 7 Flandrischer Hof, Flandrische Straße 3 (U: Rudolfplatz) o ☎ Bür Office /Bureau: 8 FilmInitiativ Köln e. V., Heidemannstr. 76 a, Tel: +49 (0)221.46 96 243 (U: Lenauplatz) Hauptbahnhof (Hbf) 9 Central station / Gare central (U: Dom/Hauptbahnhof) inhalt table of contents / table des matières 3 DYANA GAYE – SCHIRMFRAU PATRON / MARRAINE 4 AFRICAN DIASPORA CINEMA: 42 FILME AUS 5 KONTINENTEN 7 Diaspora-Filmpreis beim FESPACO 7 Charakteristika der Diaspora 8 Afrique sur Seine – Diaspora-Klassiker 8 Die Macht der Bilder 9 Port-au-Prince – Kinshasa – Paris – Berlin 10 Flucht und Migration – Ausstellung „Schwarz ist der Ozean“ 11 Schwarze FilmemacherInnern in Deutschland: Filme, Podiumsdiskussion & Schulvorführungen 12 Eine Generation in Bewegung 13 Live Musik und Abschlussparty 14 AFRICAN DIASPORA CINEMA: 42 FILMS FROM 5 CONTINENTS / 42 FILMS DE 5 CONTINENTS 15 28 INTERNATIONALE GÄSTE NACH TAGEN 28 GUESTS BY DATE / 28 INVITÉS PAR DATES 27 TERMINÜBERSICHT IN DER MITTE DES HEFTS SCHEDULE / PROGRAMME FILME UND BEGLEITVERANSTALTUNGEN NACH TAGEN 49 FILMS AND ACCOMPANYING EVENTS BY DATE / FILMS ET ÉVÉNEMENTS PARALLÈLES PAR DATES 9.9. Institut francais: Diaspora-Klassiker 50 17.9. Filmforum: Eröffnung mit Live-Musik, Filmen und Gästen Opening / Ouverture 52 18. – 20.9. Filmforum: Filme, Gäste, Kurzfilmnacht & Schulvorführung 55 20.9. Filmforum: LGBTI Jamaika Themenabend 65 21.9. Zentralbibliothek: Schwarz ist der Ozean (Vernissage) 66 22.9. Filmhauskino: Filme & Gäste 68 23. – 24.9. Filmforum: Filme & Gäste 70 25.9. Filmforum: Podiumsdiskussion panel discussion / table ronde: 75 „Schwarze Deutsche in Medien und Gesellschaft“ 26.9. Filmforum: Filme & Gäste 77 YUCA – Club-Bahnhof Ehrenfeld: Global Player – Abschlussparty 80 27.9. King Georg: Lesung mit Marius Jung „Singen können die alle!“ & „Moral für Dumme“ 81 INITIATIVEN STELLEN SICH VOR Initiatives introduce themselves / les associations se présentent 82 BITTE VORMERKEN: Weitere Veranstaltungstermine save the date / reservez la date 86 INDEX GÄSTE guests / invités 92 INDEX FILME films 93 EINTRITTSPREISE & IMPRESSUM PRICES & CREDITS / PRIX & MENTIONS LÉGALES 94 FÖRDERER, KOOPERATIONS- UND MEDIENPARTNER SPONSORS & PARTNERS 95 4 dyana gaye (schirmfrau) „Mein Haus sagt mir: ‚Verlass mich nicht, Deine Vergangenheit liegt hier.’ Die Straße sagt mir: ‚Komm, folge mir. Ich bin Deine Zukunft.’ Und ich antwortete ihnen: ‚Ich habe weder Vergangenheit noch Zukunft. In einem Haus voll Vergangenheit strebt mein Ich nach der Zukunft. Auf dem Weg in die Zukunft nimmt mein Ich die Vergangenheit mit. Nur die Liebe und der Tod können das alles ändern.’“ Khalil Gibran Le sable et l’écume, 1926 Die erste Begegnung: Im Jahr 2002 bin ich zum Festival „Jenseits von Europa – Neue Filme aus Afrika“ nach Köln gekommen, um meinen ersten Kurzfilm UNE FEMME POUR SOULEYMANE zu präsentieren. Ich hatte den obigen Text dabei, der mich beim Schreiben der Filmgeschichte geleitet hatte. Es war meine erste Reise nach Deutschland. Wertvolle Erinnerungen. Welche Auszeichnung und welche Freude nach Köln zurückzukehren, zu denen, die meine Anfänge als Regisseurin miterlebt haben… Ich komme in diesem Jahr nicht nur als Schirmfrau der Diaspora-Reihe zurück, sondern auch um meinen ersten Lang- spielfilm DES ÉTOILES zu präsentieren. Der Text von Gibran begleitet mich noch immer und wird dies auch weiter- hin tun. Er enthält erneut die Essenz des Films DES ÉTOILES, der Beziehungen im Exil und in der ­senegalesischen Diaspora nachzeichnet. „Mein Haus“ das ist Paris. „Die Straße“ führt mich sehr häufig nach Dakar. Ich drehe keine Filme in meinem „Haus“. Mithilfe fiktiver Filmgeschichten versuche ich, den Teil meiner Identität zu erforschen, den ich am wenigsten kenne und der im Senegal liegt. Meine doppelte (dreifache) kulturelle Prägung beruht darauf, dass ich aus mehreren Ländern gleichzeitig stamme oder aus einem einzigen Land, das noch gar nicht existiert. Einem Fantasiereich zwischen zwei Ufern und zwei Kon- tinenten. Aus diesem Reichtum schöpfe ich, diesen versuche ich zu bewahren, indem ich „meine Vergangenheit stets mitnehme“ auf meinen „Wegen in die Zukunft“. Mein Dank geht an die OrganisatorInnen von FilmInitiativ Köln e. V. für Eure Unterstützung und Beständigkeit. Dank für Eure Bemühungen über all die Jahre, Fenster aufzustoßen, durch die Kinowelten aus Afrika und der Diaspora nach Deutschland dringen können. Dank für den Dialog, den Ihr schon mehr als zwanzig Jahre lang ermöglicht. In Freundschaft Dyana Gaye Zur Person siehe Seite 28 patron / marraine 5 My house says to me, Ma maison me dit : “Do not leave me, for here dwells your past.” « Ne me quitte pas, ton passé est ici. » And the road says to me, La route me dit : « Viens suis-moi, je suis ton avenir. » “Come and follow me, for I am your future.” Et je leur dis : « Je n’ai ni passé ni avenir. And I say to both my house and the road, Dans sa maison du passé, le moi aspire à l’avenir. “I have no past, nor have I a future. Dans son chemin vers l’avenir, le moi If I stay here, there is a going in my staying; porte avec lui son passé. and if I go, there is a staying in my going. Seuls l’amour et la mort peuvent tout changer. » Only love and death will change all things.” Khalil Gibran Khalil Gibran, Le sable et l’écume, 1926 Sand and Foam, 1926 It started in 2002, when I first came to Cologne for the “Out Premières fois. Je suis venue présenter mon premier court- of Europe – New Films from Africa” festival to present my first métrage UNE FEMME POUR SOULEYMANE à Cologne, au short film UNE FEMME POUR SOULEYMANE . I had the festival « Au delà de l’Europe – Nouveaux films d’Afrique » en above text with me, which had guided me in writing the film’s 2002. J’avais ce texte dans ma poche qui m’avait guidée pour story. It was my first trip to Germany. Precious memories. What l’écriture de ce film. C’était mon premier voyage en Allemagne. an honour and a joy to return to Cologne, to those who have Des souvenirs précieux. Quel honneur et quel bonheur de witnessed my beginnings as a director… revenir à Cologne pour le festival, parmi ceux qui m’auront vu I return in this year not only as Patron of the African Diaspora naître réalisatrice… Cinema series, but also to present my first feature film, DES Je reviens cette année en tant que marraine du cycle «cinema ÉTOILES. Gibran’s words accompany me still and will continue de la diaspora africain» mais aussi pour présenter mon premier to do. They contain the essence of the film, which traces rela- long-métrage DES ÉTOILES. Le texte de Gibran m’accom- tionships in exile and the Senegalese diaspora. pagne encore et toujours. Il est à nouveau à la genèse de DES “My house” is Paris. “The road” often leads me to Dakar. I ÉTOILES qui dessine une constellation de l’exil et de la dias- don’t shoot movies in my “house”. Using fictional movie sto- pora sénégalaise. ries, I try to explore that part of my identity that lies in Senegal, « Ma maison » c’est Paris. « La route » me mène très souvent that I know the least. à Dakar. My double (triple) cultural background is based on the fact Je ne fais pas de films dans ma « maison ». A travers des récits that I come simultaneously from several countries, or from a de fiction, je m’attache à inte rroger au Sénégal, la partie de single country that does not yet exist. A fantasy kingdom be- mon identité que je connais la moins bien. tween two shores and two continents. That is the wealth that De ma double (triple) appartenance culturelle, je suis issue de I am now cultivating, “carrying my past with me”, and “going plusieurs pays à la fois et in fine d’un seul pays qui n’existe toward the future”. pas. Un territoire imaginaire, entre deux eaux, deux continents. I thank the organisers of FilmInitiativ Köln e. V. for your sup- C’est ma richesse, je la cultive au présent, « en portant avec port and your loyalty. Thank you for the commitment you have moi mon passé » et en « aspirant toujours à l’avenir ». shown throughout the years, opening windows, shining the Aux organisateurs, FilmInitiativ Koeln e.V., merci pour votre light of African cinema and the African diaspora in Germany. soutien et votre fidélité. Merci pour votre engagement à tra- Thank you for this dialogue that you have continued to pursue vers les années, à ouvrir des fenêtres faisant briller les cinémas for over twenty years. d’Afrique et de sa diaspora en Allemagne. Merci pour ce dia- logue que vous continuez d’écrire depuis plus de vingt ans ! In Friendship Amitiés, Dyana Gaye See Page 28 Dyana Gaye Voir page 28 Foto: Carlos Pericás Foto: Fatoumata Diawara voc, git Roberto Fonseca p
Load more

Recommended publications
  • Feature Films
    FEATURE FILMS NEW BERLINALE 2016 GENERATION CANNES 2016 OFFICIAL SELECTION MISS IMPOSSIBLE SPECIAL MENTION CHOUF by Karim Dridi SPECIAL SCREENING by Emilie Deleuze TIFF KIDS 2016 With: Sofian Khammes, Foued Nabba, Oussama Abdul Aal With: Léna Magnien, Patricia Mazuy, Philippe Duquesne, Catherine Hiegel, Alex Lutz Chouf: It means “look” in Arabic but it is also the name of the watchmen in the drug cartels of Marseille. Sofiane is 20. A brilliant Some would say Aurore lives a boring life. But when you are a 13 year- student, he comes back to spend his holiday in the Marseille ghetto old girl, and just like her have an uncompromising way of looking where he was born. His brother, a dealer, gets shot before his eyes. at boys, school, family or friends, life takes on the appearance of a Sofiane gives up on his studies and gets involved in the drug network, merry psychodrama. Especially with a new French teacher, the threat ready to avenge him. He quickly rises to the top and becomes the of being sent to boarding school, repeatedly falling in love and the boss’s right hand. Trapped by the system, Sofiane is dragged into a crazy idea of going on stage with a band... spiral of violence... AGAT FILMS & CIE / FRANCE / 90’ / HD / 2016 TESSALIT PRODUCTIONS - MIRAK FILMS / FRANCE / 106’ / HD / 2016 VENICE FILM FESTIVAL 2016 - LOCARNO 2016 HOME by Fien Troch ORIZZONTI - BEST DIRECTOR AWARD THE FALSE SECRETS OFFICIAL SELECTION TIFF PLATFORM 2016 by Luc Bondy With: Sebastian Van Dun, Mistral Guidotti, Loic Batog, Lena Sukjkerbuijk, Karlijn Sileghem With: Isabelle Huppert, Louis Garrel, Bulle Ogier, Yves Jacques Dorante, a penniless young man, takes on the position of steward at 17-year-old Kevin, sentenced for violent behavior, is just let out the house of Araminte, an attractive widow whom he secretly loves.
    [Show full text]
  • I Am Not Your Negro
    Magnolia Pictures and Amazon Studios Velvet Film, Inc., Velvet Film, Artémis Productions, Close Up Films In coproduction with ARTE France, Independent Television Service (ITVS) with funding provided by Corporation for Public Broadcasting (CPB), RTS Radio Télévision Suisse, RTBF (Télévision belge), Shelter Prod With the support of Centre National du Cinéma et de l’Image Animée, MEDIA Programme of the European Union, Sundance Institute Documentary Film Program, National Black Programming Consortium (NBPC), Cinereach, PROCIREP – Société des Producteurs, ANGOA, Taxshelter.be, ING, Tax Shelter Incentive of the Federal Government of Belgium, Cinéforom, Loterie Romande Presents I AM NOT YOUR NEGRO A film by Raoul Peck From the writings of James Baldwin Cast: Samuel L. Jackson 93 minutes Winner Best Documentary – Los Angeles Film Critics Association Winner Best Writing - IDA Creative Recognition Award Four Festival Audience Awards – Toronto, Hamptons, Philadelphia, Chicago Two IDA Documentary Awards Nominations – Including Best Feature Five Cinema Eye Honors Award Nominations – Including Outstanding Achievement in Nonfiction Feature Filmmaking and Direction Best Documentary Nomination – Film Independent Spirit Awards Best Documentary Nomination – Gotham Awards Distributor Contact: Press Contact NY/Nat’l: Press Contact LA/Nat’l: Arianne Ayers Ryan Werner Rene Ridinger George Nicholis Emilie Spiegel Shelby Kimlick Magnolia Pictures Cinetic Media MPRM Communications (212) 924-6701 phone [email protected] [email protected] [email protected] [email protected] [email protected] 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com SYNOPSIS In 1979, James Baldwin wrote a letter to his literary agent describing his next project, Remember This House.
    [Show full text]
  • FOR IMMEDIATE RELEASE Contacts: Annette Caine
    FOR IMMEDIATE RELEASE Contacts: Annette Caine, African American Performing Arts Center 505-222-9756; [email protected] Secondary contacts Laurel Wyckoff, New Mexico PBS 505-277-8296; [email protected] Donna Hardwick, ITVS 415-356-8383; [email protected] Signature photo downloadable here: http://bit.ly/2B9AnEe NEW MEXICO PBS AND THE AFRICAN AMERICAN PERFORMING ARTS CENTER PRESENT A SPECIAL 10th ANNIVERSARY PRESENTATION OF ACADEMY AWARD NOMINATED DOCUMENTARY I AM NOT YOUR NEGRO SCREENING TO FEATURE Q&A WITH Mr. DEVONT’E KURT WATSON (Albuquerque, New Mexico) — New Mexico PBS and African American Performing Arts Center are excited to present an Indie Lens Pop-Up screening of Raoul Peck’s I Am Not Your Negro, one of the most acclaimed films of the year and a 2017 nominee for Academy Award for Best Documentary. In 1979, James Baldwin wrote a letter to his literary agent describing his next project, to be called Remember This House. The book was to be a revolutionary, personal account of the lives and successive assassinations of three of his close friends — Medgar Evers, Malcolm X and Martin Luther King, Jr. But at the time of Baldwin’s death in 1987, he left behind only 30 completed pages of his manuscript. Now, in this incendiary documentary, which premieres on New Mexico PBS Monday, January 15, 2018, 8:00 - 9:30 PM, filmmaker Peck envisions the book James Baldwin never finished. The result is a radical, up-to-the-minute examination of race in America, using Baldwin’s original words, spoken by Samuel L. Jackson, and a flood of rich archival material.
    [Show full text]
  • IAMNOTYOURNEGRO Poly.Pdf
    i polyfilm Verleih presents I AM NOT YOUR NEGRO Directed by Raoul Peck From the writings of James Baldwin With the voice of Samuel L. Jackson ACADEMY AWARDS - Oscar Nominee Best Documentary Feature Österreichischer Kinostart: 15.6.2017 Running Time: 93min polyfilm Verleih Presse +33 6 83 22 18 06 Sonja Celeghin [email protected] [email protected] www.polyfilm.at tel.: 0680 55 33 593 ss.com Download Presskit and Stills: www.polyfilm.at SYNOPSIS Told entirely in the words of James Baldwin, through both personal appearances and the text of his final unfinished book project, I AM NOT YOUR NEGRO touches on the lives and assassinations of Malcolm X, Martin Luther King Jr., and Medgar Evers to bring powerful clarity to how the image and reality of Blacks in America today is fabricated and enforced. DIRECTOR’S NOTES TWO ORIGINAL HISTORICAL SINS I started reading James Baldwin when I was a 15-year-old boy searching for rational explanations to the contradictions I was confronting in my already nomadic life, which took me from Haiti to Congo to France to Germany and to the United States of America. Together with Aimée Césaire, Jacques Stéphane Alexis, Richard Wright, Gabriel Garcia Marques and Alejo Carpentier, James Baldwin was one of the few authors that I could call “my own”. Authors who were speaking of a world I knew, in which I was not just a footnote. They were telling stories describing history, defining structure and human relationships which matched what I was seeing around me and I could relate to them.
    [Show full text]
  • MURDER INPACOT a Film by RAOUL PECK Alex Descas Ayo Thibault Vinçon Lovely Kermonde Fifi
    VELVET FILM PRESENTS IN COPRODUCTION WITH FIGUIER PRODUCTION, APE & BJØRN ALEX DEScaS AYO MURDER INPACOT A FILM BY RAOUL PECK WITH THE FinanciaL contriBUTION OF THE EUROPEAN UNION AND THE ASSIStance OF THE ACP GROUP OF StateS WITH THE participation OF ARTE France, CENTRE NationaL DE LA CINÉmatographie ET DE L’Image ANIMÉE, MINISTÈRE DES AFFAIRES EtrangÈRES ET DU DÉVELOPPEMENT InternationaL, INSTITUT FRANÇAIS WITH THE Support OF SØRFOND - Norwegian SOUTH FILM FUND, OrganiSation InternationaLE DE LA Francophonie, CIRTEF, Brot FÜR DIE WELT - ProteStant DEVELOPMENT Service Graphic Design MACHA KASSIAN-BONNET Design MACHA Graphic MURDER IN Pacot Interview with Raoul Peck January 2015 What inspired you to make Murder in Pacot? Like almost all my films, Murder in Pacot came about as the result of an emotionally-charged, even traumatic, event. The 2010 earthquake in Haiti made me face a reality that I didn’t think was possible in my country. It laid bare both the loveliest and the ugliest facets of the human community. Following a brief moment of confusion, the categories of class, sex and racial origin inexorably came back with a vengeance. The end-of-the-world atmosphere needed something cathartic. I had to tackle it in two ways to rid myself of it, via two totally different works, based on diametrically opposed stories which, in reality, form part of a whole. In response to the implacability of Fatal Assistance (a 2013 documentary) in unmasking the folly of the humanitarian machine in action in Haiti, Murder in Pacot, following the same radical approach, reveals the distress and abandonment of human beings.
    [Show full text]
  • I Am Not Your Negro Discussion Guide About the Film
    Page 1 of 13 I Am Not Your Negro Discussion Guide About the Film In 1979, James Baldwin wrote a letter to his literary agent describing his new endeavor: the writing of his final book, Remember This House, recounting the lives and successive assassinations of his friends Medgar Evers, Malcolm X, and Martin Luther King, Jr. Baldwin was not able to complete the book before his death, and the unfinished manuscript was entrusted to director Raoul Peck (Lumumba, Sometimes in April, Moloch Tropical, Murder in Pacot) by the writer's estate. Built exclusively around Baldwin's words, Peck's I Am Not Your Negro delves into the complex legacy of three lives (and deaths) that permanently marked the American social and political landscape. Framing the unfinished work as a radical narration about race in America, Peck matches Baldwin's lyrical rhetoric with rich archival footage of the Civil Rights and Black Power movements, and connects these historical struggles for justice and equality to the present-day movements that have taken shape in response to the killings of young African-American men including Trayvon Martin, Tamir Rice, Mike Brown, and Amir Brooks. Exploring what it means to be Black in America today, Peck reflects on the legacy of racial violence that still permeates the country. In Baldwin's words, "You cannot lynch me and keep me in ghettos without becoming something monstrous yourselves. And furthermore, you give me a terrifying advantage: you never had to look at me; I had to look at you. I know more about you than you know about me.
    [Show full text]
  • Presseinformation Mord in Pacot
    EZEF präsentiert: M O R D I N P A C O T (Meurtre à Pacot) Ein Film von Raoul Peck Frankreich, Haiti, Norwegen 2014, 130 Min., Omdt.UT DCP, BluRay FSK: ab 12 Jahren Kontakt: EZEF, Kniebisstr. 29 . 70188 Stuttgart . Tel. 0711-2847243 . [email protected] Kurze Inhaltsangabe: Nachdem Raoul Peck das Erdbeben, das Port-au-Prince im Januar 2010 erschütterte, in seinem Film "Tödliche Hilfe" dokumentarisch bearbeitet hatte, stellt er in seinem Spielfilm "Mord in Pacot" ein bourgeoises Paar in den Mittelpunkt. Nachdem ihre Villa im Nobelvierte Pacot in Trümmern liegt, versuchen die beiden, ihren Alltag neu zu organisieren. Um an Geld zu kommen, vermieten sie einen Teil des Hauses an Alex, einen europäischen Katastrophenhelfer, der zusammen mit Andrémise, einer jungen Haitianerin einzieht. Die labile, dabei aber höchst unterschiedliche Situation dieser beiden Paare, spitzt sich zu... Synopsis: Port-au-Prince, Haiti, Januar 2010. Das Erdbeben hat weite Teile der Stadt in ein Trümmerfeld verwandelt. Vor der Ruine einer Villa – einzig ein Anbau ist halbwegs verschont geblieben – bemühen sich ein Mann und eine Frau darum, ihr Leben behelfsmäßig im Freien zu organisieren. Mit Tüchern schützen sie ihr neues Schlafzimmer vor der Sonne. Davor einige Sessel und Stühle, sowie ein kleiner Grill. Die Villa ist von einem großen Grundstück mit schönen alten Bäumen umgeben. Das Ehepaar – sie bleiben ohne Namen – steht im Mittelpunkt der kammerspielartigen Inszenierung, die sich – mit Ausnahme einer kurzen, deshalb auch prägnanten Sequenz – ausschließlich auf diesem Villengelände abspielen wird. Die Radionachrichten berichten von der Rettung eines Mädchens, das drei Tage verschüttet war und gerettet werden konnte. Über die Gesamtzahl der Toten und Verletzten aber gebe es noch immer nur Schätzungen.
    [Show full text]
  • August Diehl Stefan Konarske Vicky Krieps Olivier Gourmet
    AGAT FILMS & CIE AND VELVET FILM PRESENT AUGUST DIEHL STEFAN KONARSKE VICKY KRIEPS OLIVIER GOURMET A FILM BY RAOUL PECK AGAT FILMS & CIE and VELVET FILM present AUGUST DIEHL STEFAN KONARSKE VICKY KRIEPS OLIVIER GOURMET [LE JEUNE KARL MARX] A FILM BY RAOUL PECK 2017 / France-Germany-Belgium / Scope / 118 min INTERNATIONAL SALES INTERNATIONAL PRESS FILMS DISTRIBUTION RENDEZ-VOUS 5 rue Nicolas Flamel, Paris 75004 Viviana Andriani, Aurélie Dard Ph: +33 1 53 10 33 99 [email protected] www.FilmsDistribution.com [email protected] SYNOPSIS At the age of 26, Karl Marx embarks with his wife Jenny on the road to exile. In Paris in 1844 they meet young Friedrich Engels, son of a factory owner, who’s studied the sordid beginnings of the English proletariat. Engels, somewhat of a dandy, brings Karl Marx the mis- sing piece to the puzzle that composes his new vision of the world. Together, between censorship and police raids, riots and political upheavals, they will preside over the birth of the labor movement, which until then had been mostly makeshift and unorganized. This will grow into the most complete theoretical and political transfor- mation of the world since the Renaissance – driven, against all expec- tations, by two brilliant, insolent and sharp-witted young men from good families. DIRECTOR’S STATEMENT Tackling Karl Marx. And yet, as the world is experiencing a series These journalists and economists haven’t erred But which Marx? A thwarted utopia for some, of exceptional financial crises, there is an unex- in their judgement. As we’ve recently celebrated a work better forgotten for others, a traumatic pectedly renewed interest in Karl Marx, coupled the 25th anniversary of the fall of the Berlin Wall, memory for those in Europe and elsewhere in the with a rekindled popularity.
    [Show full text]
  • Best Documentary Academy Award Nominee I Am Not Your Negro Premieres on Independent Lens on Monday, January 15, 2018 on PBS
    FOR IMMEDIATE RELEASE CONTACT Donna Hardwick, ITVS 415-356-8383 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom/ Best Documentary Academy Award Nominee I Am Not Your Negro Premieres on Independent Lens on Monday, January 15, 2018 on PBS “A life-altering work.” – A.O. Scott, The New York Times “A mesmerizing cinematic experience… I Am Not Your Negro helps us face our racial divide and possibly begin to change it as well.” – Kenneth Turan, Los Angeles Times (San Francisco, CA) — One of the most acclaimed films of the year, a box office hit and a nominee for the Academy Award for Best Documentary, Raoul Peck’s I Am Not Your Negro premieres on Independent Lens Monday, January 15, 2018, 10:00- 11:30 PM ET (check local listings) on PBS. In 1979, James Baldwin wrote a letter to his literary agent describing his next project, to be called Remember This House. The book was to be a revolutionary, personal account of the lives and successive assassinations of three of his close James Baldwin in the crowd. March on friends — Medgar Evers, Malcolm X and Martin Washington for Jobs and Freedom, August 28, Luther King, Jr. But at the time of Baldwin’s death in 1963, Washington D.C. 1987, he left behind only 30 completed pages of his Credit: © Dan Budnik - All Rights Reserved manuscript. Now, in his incendiary documentary, master filmmaker Peck envisions the book James Baldwin never finished.
    [Show full text]
  • Iamnotyournegropresskitb
    i VELVET FILM presents I AM NOT YOUR NEGRO Directed by Raoul Peck From the writings of James Baldwin With the voice of Samuel L. Jackson ACADEMY AWARDS - Oscar Nominee Best Documentary Feature BERLINALE SCREENINGS 15.02.2017 17:00 International (Premiere) 16.02.2017 11:00 CineStar 7 17.02.2017 14:30 Colosseum 1 19.02.2017 14:30 Zoo Palast 2 Running Time: 93min WORLD SALES PRESS WIDE HOUSE RENDEZ-VOUS Anais Clanet Viviana Andriani, Aurélie Dard +33 6 83 22 18 06 In Berlin : +33 6 80 16 81 39 [email protected] +33 6 77 04 52 20 [email protected] / [email protected] Download Presskit and Stills: www.rv-press.com SYNOPSIS Told entirely in the words of James Baldwin, through both personal appearances and the text of his final unfinished book project, I AM NOT YOUR NEGRO touches on the lives and assassinations of Malcolm X, Martin Luther King Jr., and Medgar Evers to bring powerful clarity to how the image and reality of Blacks in America today is fabricated and enforced. DIRECTOR’S NOTES TWO ORIGINAL HISTORICAL SINS I started reading James Baldwin when I was a 15-year-old boy searching for rational explanations to the contradictions I was confronting in my already nomadic life, which took me from Haiti to Congo to France to Germany and to the United States of America. Together with Aimée Césaire, Jacques Stéphane Alexis, Richard Wright, Gabriel Garcia Marques and Alejo Carpentier, James Baldwin was one of the few authors that I could call “my own”.
    [Show full text]
  • Global Media and Cultural Policy: the European Union and Audiovisual Industries in the Global South by Benjamin A. J. Pearson A
    Global Media and Cultural Policy: The European Union and Audiovisual Industries in the Global South by Benjamin A. J. Pearson A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication Studies) in The University of Michigan 2019 Doctoral Committee: Associate Professor Aswin Punathambekar, Chair Associate Professor Daniel Herbert Assistant Professor Julia Sonnevend, The New School Professor Derek Vaillant Benjamin A. J. Pearson [email protected] ORCID iD: 0000-0002-0495-5870 © Benjamin A. J. Pearson 2019 ACKNOWLEDGMENTS I am grateful to the many family members, friends, and colleagues who provided valuable feedback and support throughout my work on this dissertation. I would especially like to acknowledge my dissertation committee. Aswin Punathambekar read drafts of chapters, proposals, and articles, and his input was valuable in many ways, especially in helping me to articulate what I found interesting and valuable about this project. Daniel Herbert, Julia Sonnevend, and Derek Vaillant also helped this project take shape through discussions about research methods, recommendations of scholarly work on obscure subjects, and encouragement and enthusiasm. Two former members of my dissertation committee also deserve special mention: Paddy Scannell, my academic advisor throughout much of the PhD program, who helped shape this project during its foundational early stages, and Shazia Iftkhar. I would also like to acknowledge the many interviewees and participants who were exceedingly
    [Show full text]
  • Meurtre À Pacot Murder in Pacot
    a_f_JahrAnmeldeNr PANORAMA SPECIAL MEURTRE À PACOT MURDER IN PACOT Raoul Peck Haiti nach dem verheerenden Erdbeben 2010. Häuser, Straßen und Frankreich/ Haiti/ Norwegen 2014 Brücken sind zerstört, Männer in weißen Schutzanzügen bergen Tau- 130 Min. · DCP · Farbe sende von Leichen. Auch die Villa eines bürgerlichen Ehepaares in Port-au-Prince ist schwer beschädigt. Eine Baukommission fordert die Regie Raoul Peck Besitzer auf, das Haus umgehend zu renovieren, andernfalls muss es Buch Lyonel Trouillot, Pascal Bonitzer, Raoul Peck abgerissen werden. Um die Kosten tragen zu können, zieht das Paar Kamera Eric Guichard in die ehemalige Dienstbotenetage und vermietet den einzigen noch Schnitt Alexandra Strauss bewohnbaren Raum an Alex, den Vertreter einer internationalen Hilfs- 2010 Marie Baronnet Foto: Musik Alexei Aigui organisation. Doch der junge Mann kommt nicht allein. Ihn begleitet Ton Eric Boisteau, Benjamin Laurent Geboren 1953 in Port-au-Prince, Haiti, die 17-jährige Haitianerin Andrémise, die ihren Namen in Jennifer än- Production Design Benoit Barouh, aufgewachsen in Zaire und in den USA. Peck dern will, um leichter Kontakt zu Ausländern zu finden. Mit ihrer pro- Frédéric Vialle studierte in Frankreich, in den USA und an vozierenden Lust am Leben und an der Liebe bringt Andrémise die Kostüm Paule der Deutschen Film- und Fernsehakademie in Verhältnisse zum Tanzen. Casting Sylvie Brocheré Berlin. Mit seinem Spielfilm L’HOMME SUR LES Regieassistenz Anne Gilles QUAIS präsentierte er 1993 den ersten Beitrag Nach seinem Dokumentarfilm FATAL ASSISTANCE widmet sich Ra- oul Peck den Auswirkungen des Erdbebens auf die bürgerliche Ober- Produzent Rémi Grellety aus der Karibik im Wettbewerb von Cannes. Co-Produzenten Raoul Peck, schicht.
    [Show full text]