DOCSLIB.ORG

Brochure-28P-177,8X215,95 V3 Happy End Corrigé.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

FRENCH SEPTEMBER FILMS 07 - 17, 2017 IN TORONTO IN A CHANGING WORLD, YOU WILL ALWAYS BE INSPIRED BY CINEMA BNP PARIBAS SPONSOR OF CINEMA BNP Paribas supports cinematographic production, through film fund, festival sponsoring and digital platform dedicated to Cinema. EXE_FRENCHNIGHT_215,9x177,8_V2.indd 1 01/08/2017 14:20 IN A CHANGING WORLD, “The presence of French YOU WILL ALWAYS cinema in the film market continues to become more diverse, thanks in part to its collaboration in international BE INSPIRED BY CINEMA co-productions. Undoubtedly, it remains a major player on © Sébastien Vincent / UniFrance © Sébastien Vincent the international scene.” Piers Handling TIFF Director & CEO EMERGING TALENTS UNDER THE SPOTLIGHT With a line-up of 40 French films (28 feature films and TIFF provides a fabulous showcase for emerging 12 shorts), Toronto is this year giving pride of place talent in French cinema while remaining true to its to premieres and to discovering young filmmakers. values of openness and diversity. At a time when From Deniz Gamze Ergüven, whose second film the festival is launching a fundraising campaign for is presented in the Gala section, to Teddy Lussi- women directors (“Share Her Journey”), the presence Modeste, Xavier Legrand, Mélanie Laurent and of many French women filmmakers in the selection Joan Chemla, whose first feature is screening in highlights a particularity of our industry, a pioneer competition, along with Coralie Fargeat, who is on the international movie scene which is still largely making her first foray into the horror genre Revenge( ), masculine. WOMEN TAKE CENTER STAGE Women’s struggle for creative freedom has put its mention Master Agnès Varda’s latest opus Faces stamp on the selection this year, whether in France, Places. Tangiers or Casablanca today (Number One by Tonie We are especially delighted by the presence in Toronto Marshall, Custody by Xavier Legrand, Razzia by Nabil this year of some great French actresses – Nathalie Ayouch and Catch the Wind by Gaël Morel), the Baye, Sandrine Bonnaire and Ariane Ascaride – along countryside during the 1914-18 war (The Guardians with some young newcomers like Iris Bry, who will all by Xavier Beauvois), or the South Central district of proudly fly the flag for this socially-engaged line-up. LA in 1992 (Kings by Deniz Gamze Ergüven), not to FRENCH ACTIVISM STRIKES AGAIN After the stunning international success of Raoul latest film by Mahamat-Saleh Haroun A( Season in Peck’s documentary I Am Not Your Negro, which France) about the struggle of immigration. screened at TIFF last year, French cinema continues And we should also salute the festival’s recognition of to be the standard-bearer of political and social two specificities of French cinema : comedy (with the BNP PARIBAS SPONSOR OF CINEMA engagement and we are proud to present to North selection of C’est la vie ! by Olivier Nakache and Éric BNP Paribas supports cinematographic production, American audiences one of the first dramas of the Toledano) and coproductions, with some top-notch through film fund, festival sponsoring and Act Up era (BPM by Robin Campillo), the latest work selections, including The Death of Stalin by Armando digital platform dedicated to Cinema. by one of our most celebrated militant cineastes, Iannucci and The Insult by Ziad Doueiri. Robert Guédiguian (The House by the Sea), and the We’d like to thank the TIFF team for their loyalty to French cinema and we wish all the best to the French producers, artists and sales companies attending this year’s edition ! Serge Toubiana (UniFrance President) Isabelle Giordano (UniFrance Executive Director) 3 EXE_FRENCHNIGHT_215,9x177,8_V2.indd 1 01/08/2017 14:20 © Matias Indjic / UniFrance; © Jean-Baptiste Le Mercier / UniFrance; © Coadic Guirec / Bestimage; © Claude Lair; © Guy Ferrandis; © Veeren Ramsamy / Bestimage – UniFrance; © Brigitte Lacombe; © FOLIVARI / PANIQUE! / STUDIOCANAL / RTBF (Télévision belge) – OUFtivi / VOO / Be tv; © Éric Guillemain; © DR; © R.Arpajou / TAOS Films - ARTE France; © Julian Torres; © Bestimage / UniFrance; © Michaël Crotto; © Fabrice Dall’Anese / UniFrance; © Laurent Thurin-Nal / Kazak 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 ATTENDING TALENTS IN TORONTO* Ariane Ascaride(1), Nabil Ayouch(2), Nathalie Baye(3), Xavier Beauvois(4), Bérénice Bejo(5), Sandrine Bonnaire(6), Iris Bry(7), Robin Campillo(8), Joan Chemla(9), Deniz Gamze Ergüven(10), Louis Garrel(11), Alain Gomis(12), Robert Guédiguian(13), Michael Haneke(14), Mahamat-Saleh Haroun(15), Michel Hazanavicius(16), Patrick Imbert(17), Mélanie Laurent(18), Xavier Legrand(19), Gilles Lellouche(20), Lise Leplat Prudhomme(21), Teddy Lussi-Modeste(22), Maïwenn(23), Tonie Marshall(24), Denis Ménochet(25), Gaël Morel(26), Olivier Nakache(27), Nahuel Pérez Biscayart(28), Benjamin Renner(29), Eric Toledano(30), Marine Vacth(31), Roschdy Zem(32) And also Halle Berry, Lucien Castaing-Taylor, Suzanne Clément, Daniel Craig, Eriq Ebouaney, Coralie Fargeat, Gael García Bernal, Emmanuel Gras, Alireza Khatami, Matilda Lutz, Narimane Mari, Véréna Paravel, Ben Russell, Maryam Touzani, Véro Tshanda Beya, María Valverde… * subject to change 4 8 VENUES V1 Scotiabank Theatre V5 Ryerson Theatre Alliance Française 259 Richmond Street West 43 Gerrard Street East de Toronto 24 Spadina Road V2 TIFF Bell Lightbox V6 Jackman Hall, 350 King Street West Art Gallery of Ontario 317 Dundas Street West V3 Elgin Theatre 189 Yonge Street V7 Roy Thomson Hall 60 Simcoe Street V4 Princess of Wales Theatre V8 Winter Garden Theatre 300 King Street West 189 Yonge Street 5 FRENCH FILMS IN TORONTO FEATURE FILMS 79 min CONTEMPORARY WORLD CINEMA The Big Bad Fox and Other Tales Le Grand Méchant Renard et autres contes Directors : Benjamin Renner & Patrick Imbert International Sales : Studiocanal US Distributor : GKIDS Canadian Distributor : GKIDS From the creators of Academy Award-nominated animation feature Ernest & Celestine, comes a charming and hilarious collection of animated tales set on a farm. The countryside isn’t as peaceful as it’s made out to be, and these farm animals are especially agitated : a fox mothering chicks, a rabbit playing the stork, and a duck wanting to be Santa Claus… Life in the countryside isn’t a walk in the park ! Attending : Benjamin Renner & Patrick Imbert 09/08 2:00PM (P&I/V1), 09/09 4:15PM (PS/V1), 09/17 3:15PM © FOLIVARI / PANIQUE! / STUDIOCANAL / PANIQUE! © FOLIVARI (Télévision belge) – OUFtivi / VOO Be tv RTBF (PS/V2) 144 min SPECIAL PRESENTATIONS BPM (Beats Per Minute) 120 battements par minute Director : Robin Campillo Cast : Nahuel Pérez Biscayart, Arnaud Valois, Adèle Haenel, Antoine Reinartz International Sales : Films Distribution US Distributor : The Orchard Canadian Distributor : MK2 MILE END Early 1990s. With AIDS having already claimed countless lives for nearly ten years, Act Up-Paris activists multiply actions to fight general indifference. Nathan, a newcomer to the group, has his world shaken up by Sean, a radical militant. Attending : Robin Campillo & Nahuel Pérez Biscayart 09/07 9:15AM (P&I/V1), 09/10 2:15PM (PS/V1), 09/12 3:45PM © Céline Nieszawer (PS/V1) 117 min GALA PRESENTATIONS (CLOSING FILM) C’est la vie ! World Premiere Le Sens de la fête Directors : Eric Toledano & Olivier Nakache Cast : Jean-Pierre Bacri, Gilles Lellouche, Suzanne Clément, Jean-Paul Rouve, Benjamin Lavernhe International Sales : Gaumont Canadian Distributor : MK2 MILE END Pierre and Helena have decided to celebrate their union in a gorgeous chateau outside of Paris. We follow the party from setup to sunrise, almost in real time, but only through the eyes of those who work to make the night as magical as possible. Needless to say, it will be an evening full of surprises. Attending : Eric Toledano, Olivier Nakache, Gilles Lellouche & Suzanne Clément 09/08 8:30AM (P&I/V1), 09/11 8:30AM (P&I/V1), 09/16 6:30PM (PS/V4), 09/16 8:00PM (PS/V7), 09/17 9:00AM (PS/V1) PS Public screening P&I Press & Industry screening V1 Scotiabank Theatre V2 TIFF Bell Lightbox V3 Elgin Theatre V4 Princess of Wales Theatre V5 Ryerson Theatre V6 Jackman Hall, Art Gallery of Ontario V7 Roy Thomson Hall V8 Winter Garden Theatre 6 90 min WAVELENGTHS Caniba Directors : Lucien Castaing-Taylor & Véréna Paravel International Sales : Elle Driver Caniba is a fresco about flesh and desire. It reflects on the discomfiting significance of cannibalism in human existence through the prism of one Japanese man, Issei Sagawa, and his mysterious relationship with his brother, Jun Sagawa. Attending : Lucien Castaing-Taylor & Véréna Paravel 09/10 9:30PM (PS/V6), 09/11 2:15PM (P&I/V1), 09/12 10:15PM (PS/V2), 09/14 7:00PM (P&I/V1) 103 min SPECIAL PRESENTATIONS Catch the Wind World Premiere Prendre le large Director : Gaël Morel Cast : Sandrine Bonnaire, Mouna Fettou, Kamal El Amri, Ilian Bergala, Lubna Azabal International Sales : Doc & Film International Edith, a 45-year-old textile factory worker, sees her life turned upside down by the company’s downsizing measures. Estranged from her son and without any other ties, rather than go into unemployment, she decides to leave her life behind and follow her work at the factory which has been relocated in Morocco. Attending : Gaël Morel & Sandrine Bonnaire 09/08 9:00AM (P&I/V1), 09/10 9:45PM (PS/V2), 09/12 11:45AM (PS/V2), 09/13 2:45PM (P&I/V1), 09/16 12:30PM (PS/V1) © Jean-Claude Lother 90 min PLATFORM Custody PLATFORM Jusqu’à la garde Director : Xavier Legrand Cast : Denis Ménochet, Léa Drucker, Thomas Gioria, Mathilde Auneveux International Sales : Celluloid Dreams Myriam and Antoine Besson have divorced, and Myriam seeks sole custody of their son Julien to protect him from a father she claims is violent. Antoine pleads his case as a scorned Dad and the appointed judge rules in favor of joint custody.
Recommended publications
  • Robin Campillo © Veeren Ramsamy / Bestimage - Unifrance

    Robin Campillo © Veeren Ramsamy / Bestimage - Unifrance

    10 NOUVEAUX TALENTS À SUIVRE 10 RISING TALENTS 10 TO TO WATCH WATCH Ils ont fait l’actualité du dernier Festival de Cannes et seront pour certains présents au 42ème Festival de Toronto. UniFrance fait le pari que vous entendrez parler de ces dix talents. Ils sont le cinéma français d’aujourd’hui et seront sur les écrans de demain. A suivre… There were in the spotlights during the last Cannes Film Festival. Some of them will attend the 42nd Toronto International Film Festival. UniFrance is ready to bet that you will certainly Sept. 2017 hear about these ten talented people. They represent the French cinema of today and will soon be on the screens worldwide. To be continued… ROBIN CAMPILLO © VEEREN RAMSAMY / BESTIMAGE - UNIFRANCE Réalisateur, monteur et scénariste, Robin Campillo, débute sa formation à La Fémis au début des années 80. Il coécrit avec Laurent Cantet L’Emploi du temps en 2001, Vers le sud en 2005 et Entre les murs en 2008, qui remporte cette année-là la Palme d’Or au Festival de Cannes. Robin Campillo obtient également le César de la meilleure adaptation en 2009. Les Revenants, son tout premier film en tant que réalisateur, sort en 2004 et sera le sujet d’inspiration de la série du même nom produite par la chaîne Canal+. En 2013, Robin Campillo réalise son deuxième film, intitulé Eastern Boys, dont il signe également le scénario et le montage. Il obtient le Prix du meilleur film en 2013 dans la catégorie « Orizzonti » à la Mostra de Venise et le Prix du meilleur film en 2014 au Festival de Santa Barbara.
  • Downloaded From: Publisher: Taylor & Francis (Routledge) DOI

    Downloaded From: Publisher: Taylor & Francis (Routledge) DOI

    Vanderschelden, I (2016) Money for writing: Screenplay development and screenwriters earnings in French cinema. Studies in French Cinema, 16 (2). pp. 118-133. ISSN 1471-5880 Downloaded from: https://e-space.mmu.ac.uk/618584/ Publisher: Taylor & Francis (Routledge) DOI: https://doi.org/10.1080/14715880.2016.1164418 Please cite the published version https://e-space.mmu.ac.uk Money for writing: Screenplay development and screenwriters’ earnings in French cinema Isabelle Vanderschelden1 Department of Languages Information and Communication, Manchester Metropolitan University, 70 Oxford St, Manchester, M1 5NH ABSTRACT The funds allocated to developing screenplays currently constitute on average 2 to 3% of the overall budget of a film in France. Producers are more than ever dependent on presenting attractive draft screenplays to find their financial partners. As a result, screenwriters undoubtedly are active economic partners of production planning, but they do not seem to receive much professional recognition for this vital role. Moreover, their earnings often fail to reflect the amount of work produced and do not reward adequately the risks taken, including the possibility that production could stop after the screenplay is written. This article investigates the place of screenplay development within the economics of French cinema. Using recently published official reports and interviews, we identify different types of screenwriters and address their working conditions – freestanding screenwriters, writing teams, and screenwriters co-writing with the director. We survey some of the contract modalities for the remuneration of professional screenwriters. Finally, we review the proposals made by different professional bodies to improve the remuneration of screenwriters and reform the financing of screenwriting.
  • Cinemabreweryarts.Co.Uk | 01539 725133 Jan-Mar 2019

    Cinemabreweryarts.Co.Uk | 01539 725133 Jan-Mar 2019

    Cinema Jan-Mar 2019 breweryarts.co.uk | 01539 725133 Capernaum | Mar 01 For listings, information and online bookings, go to breweryarts.co.uk/cinema 02 Island of Hungry Ghosts The Brewery Cinema USEFUL INFO Doors open 10 minutes prior to January-March 2019 advertised start time and includes adverts & trailers All screenings have allocated seating; choose your preferred view when elcome to a new season of films We’ll also be welcoming back the booking Destroyer at the Brewery Cinema. Japan Foundation Touring Film You are welcome to enjoy alcoholic Programme with a selection of This winter/spring we will drinks in our cinema screens - served films, based around the theme of be bringing you the best in in plastic glasses only. Please drink love, in the intimate surroundings mainstream film and a selection responsibly TICKETS & OFFERS of British independent and of our Warehouse Cinema. The first W Only food & drink purchased at *Ticket Prices unless stated: specialist films from around the film in the series will be Tonight at the Brewery may be taken into the £8.50 | £7.50 OAP/NUS | £7.00 U18 world. the Movies which will be screened cinemas on Valentine’s Day – perfect timing! Book online: breweryarts.co.uk/cinema The 2019 Awards Season is This year, the Brewery will be Please note that hot drinks or via our box office: 01539 725133 well under way, and we’re are not permitted in Screen 3 looking forward to screening celebrating Inspirational Women some of the main contenders. in the Arts with special theatre, Screens 1 & 2 are equipped with an The Reel Deal Enjoy a movie & a pizza for only £15 Titles to look out for include comedy and spoken word infra-red assisted listening system & audio description facility.
  • The Cutting Edge of French Cinema

    The Cutting Edge of French Cinema

    BACKWASH: THE CUTTING EDGE OF FRENCH CINEMA J’IRAI AU PARADIS CAR L’ENFER EST ICI , Xavier Durringer ( France, 1997 ) MA 6T VA CRACK-ER , Jean-Francois Richet ( France, 1997 ) LE PETIT VOLEUR , Érick Zonca ( France, 1998 ) L’HUMANITÉ , Bruno Dumont ( France, 1999 ) POLA X , Leos Carax ( France, 1999 ) RESSOURCES HUMAINES (Human Resources), Laurent Cantet ( France, 1999 ) À MA SOEUR! , Catherine Breillat ( France-Italy, 2000 ) PARIA , Nicolas Klotz ( France, 2000 ) SAINT-CYR , Patricia Mazuy ( France-Belgium, 2000 ) SELON MATTHIEU , Xavier Beauvois ( France, 2000 ) SOUS LE SABLE , François Ozon ( France-Belgium-Italy-Japan, 2000 ) ÊTRE ET AVOIR , Nicolas Philibert ( France, 2001 ) IRRÉVERSIBLE (Irreversible), Gaspar Noé ( France, 2001 ) LA CHATTE À DEUX TÊTES , Jacques Nolot ( France, 2001 ) LA VIE NOUVELLE , Philippe Grandrieux ( France, 2001 ) LE PACTE DES LOUPS , Christophe Gans ( France, 2001 ) LE STADE DE WIMBLEDON , Mathieu Amalric ( France, 2001 ) ROBERTO SUCCO , Cédric Kahn ( France-Switzerland, 2001 ) TROUBLE EVERY DAY , Claire Denis ( France-Japan, 2001 ) DANS MA PEAU , Marina De Van ( France, 2002 ) UN HOMME, UN VRAI , Jean-Marie Larrieu, Arnaud Larrieu ( France, 2002 ) CLEAN , Olivier Assayas ( France-UK-Canada, 2003 ) INNOCENCE , Lucile Hadzihalilovic ( France-UK-Belgium, 2003 ) L’ESQUIVE , Abdellatif Kechiche ( France, 2003 ) LE CONVOYEUR , Nicolas Boukhrief ( France, 2003 ) LES CORPS IMPATIENTS , Xavier Giannoli ( France, 2003 ) ROIS ET REINE , Arnaud Desplechin ( France-Belgium, 2003 ) TIRESIA , Bertrand Bonello ( France, 2003 ) DE BATTRE MON COEUR S’EST ARRÊTÉ (The Beat That My Heart Skipped), Jacques Audiard ( France, 2004 ) LES REVENANTS , Robin Campillo ( France, 2004 ) LES ANGES EXTERMINATEURS , Jean-Claude Brisseau ( France, 2005 ) VOICI VENU LE TEMPS , Alain Guiraudie ( France, 2005 ) À L’INTERIEUR , Alexandre Bustillo, Julien Maury ( France, 2006 ) AVIDA , Benoît Delépine, Gustave Kervern ( France, 2006 ) LES CHANSONS D’AMOUR , Christophe Honoré ( France, 2006 ) 24 MESURES , Jalil Lespert ( France-Canada, 2007 ) L’HISTOIRE DE RICHARD O.
  • Phoenix Films 1999-2019/20 Sorted by Film Title 10

    Phoenix Films 1999-2019/20 Sorted by Film Title 10

    Phoenix Films 1999-2019/20 Sorted by Film Title Film Date Rating(%) 2046 1-Feb-2006 68 120BPM (Beats Per Minute) 24-Oct-2018 75 3 Coeurs 14-Jun-2017 64 35 Shots of Rum 13-Jan-2010 65 45 Years 20-Apr-2016 83 5 x 2 3-May-2006 65 A Bout de Souffle 23-May-2001 60 A Clockwork Orange 8-Nov-2000 81 A Fantastic Woman 3-Oct-2018 84 A Farewell to Arms 19-Nov-2014 70 A Highjacking 22-Jan-2014 92 A Late Quartet 15-Jan-2014 86 A Man Called Ove 8-Nov-2017 90 A Matter of Life and Death 7-Mar-2001 80 A One and A Two 23-Oct-2001 79 A Prairie Home Companion 19-Dec-2007 79 A Private War 15-May-2019 94 A Room and a Half 30-Mar-2011 75 A Royal Affair 3-Oct-2012 92 A Separation 21-Mar-2012 85 A Simple Life 8-May-2013 86 A Single Man 6-Oct-2010 79 A United Kingdom 22-Nov-2017 90 A Very Long Engagement 8-Jun-2005 80 A War 15-Feb-2017 91 A White Ribbon 21-Apr-2010 75 Abouna 3-Dec-2003 75 About Elly 26-Mar-2014 78 Accident 22-May-2002 72 After Love 14-Feb-2018 76 After the Storm 25-Oct-2017 77 After the Wedding 31-Oct-2007 86 Alice et Martin 10-May-2000 All About My Mother 11-Oct-2000 84 All the Wild Horses 22-May-2019 88 Almanya: Welcome To Germany 19-Oct-2016 88 Amal 14-Apr-2010 91 American Beauty 18-Oct-2000 83 American Honey 17-May-2017 67 American Splendor 9-Mar-2005 78 Amores Perros 7-Nov-2001 85 Amour 1-May-2013 85 Amy 8-Feb-2017 90 An Autumn Afternoon 2-Mar-2016 66 An Education 5-May-2010 86 Anna Karenina 17-Apr-2013 82 Another Year 2-Mar-2011 86 Apocalypse Now Redux 30-Jan-2002 77 Apollo 11 20-Nov-2019 95 Apostasy 6-Mar-2019 82 Aquarius 31-Jan-2018 73
  • Fevereiro 2014

    Fevereiro 2014

    FEVEREIRO 2014 SESSÕES FEVEREIRO 2014 | JON JOST | ANTE-ESTREIAS | CINEMATECA JÚNIOR [2] Fevereiro 2014 | Cinemateca Portuguesa-Museu do Cinema CINEMATECA JÚNIOR As duas primeiras sessões deste mês na Júnior realizam-se em parceria com a primeira edição do Festival Play que CINEMATEca PORTUGUESA-MUSEU DO CINEMA rua Barata Salgueiro, 39 decorre em Lisboa entre 1 e 9 fevereiro. Esta parceria vai para além das sessões públicas abrangendo também as 1269­‑059 Lisboa, Portugal atividades para escolas que têm lugar durante a semana no Salão Foz. O Festival Play tem como objetivo ser o tel. 213 596 200 | fax. 213 523 180 [email protected] primeiro festival português de cinema exclusivamente dedicado a crianças e jovens e a sua programação incide www.cinemateca.pt na exibição de curtas e longas-metragens, ateliers e debates dirigidos ao público infantojuvenil, população escolar e famílias. Perante tal desígnio, tão similar ao trabalho que é desenvolvido na Cinemateca Júnior desde 2007, acolhemos de braços abertos esta proposta. SESSÕES FEVEREIRO 2014 3 Este mote comum estende-se à programação das sessões de fevereiro onde as crianças e os jovens são protagonistas: JON JOST 12 começamos dia 1 com o mítico ANIKI-BOBÓ de Manoel de Oliveira, uma viagem aos anos quarenta da cidade ANTE-ESTREIAS 13 do Porto e às aventuras e amores de um bando de crianças. Na sessão seguinte, a 8, apresentamos duas curtas- CINEMATECA JÚNIOR 2 metragens francesas: ZERO EM COMPORTAMENTO de Jean Vigo, obra irónica e dura sobre a educação, e LES CALENDÁRIO 15 MISTONS de François Truffaut, a descoberta por cinco adolescentes do amor e da sexualidade.
  • FIRST RUN FEATURES the Film Center Building 630 Ninth Ave

    FIRST RUN FEATURES the Film Center Building 630 Ninth Ave

    France / 2013 / 128 min / Scope 2.35 / Color / French, Russian, Ukrainian, English w/ English subtitles FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 / Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] Synopsis: Arriving from all over the Eastern Bloc, the men who loiter around the Gare du Nord train station in Paris are scraping by however they can, forming gangs for support and protection, ever fearful of being caught by the police and deported. When the middle-aged, bourgeois Daniel (Olivier Rabourdin) approaches a boyishly handsome Ukrainian who calls himself Marek for a date, he learns the young man is willing to do anything for some cash. What Daniel intends only as sex-for-hire begets a home invasion and then an unexpectedly profound relationship. The drastically different circumstances of the two men’s lives reveal hidden facets of the city they share. Presented in four parts, this absorbing, continually surprising film by Robin Campillo (director of the 2004 film Les Revenants and a frequent collaborator of Laurent Cantet’s) is centered around relationships that defy easy categorization, in which motivations and desires are poorly understood even by those to whom they belong. Director’s Note: Far from casting judgment on the situation of illegal immigrants, or from being a reflection on paternity, this film first and foremost follows the logic of its fictional narrative. It portrays characters living clandestinely who represent both a danger and a promise for one another. Much like Daniel who, when faced with these young men from the East, oscillates between fear and desire, the film threads its way through ambiguous feelings, borderline, indeed marginal situations, but also, I do hope, through moments of pure jubilation.
  • King's Film Society Past Films 1992 –

    King's Film Society Past Films 1992 –

    King’s Film Society Past Films 1992 – Fall 1992 Truly, Madly, Deeply Sept. 8 Howard’s End Oct. 13 Search for Intelligent Signs of Life In the Universe Oct. 27 Europa, Europa Nov. 10 Spring 1993 A Woman’s Tale April 13 Everybody’s Fine May 4 My Father’s Glory May 11 Buried on Sunday June 8 Fall 1993 Enchanted April Oct. 5 Cinema Paradiso Oct. 26 The Long Day Closes Nov. 9 The Last Days of Chez-Nous Nov. 23 Much Ado About Nothing Dec. 7 Spring 1994 Strictly Ballroom April 12 Raise the Red Lantern April 26 Like Water for Chocolate May 24 In the Name of the Father June 14 The Joy Luck Club June 28 Fall 1994 The Wedding Banquet Sept 13 The Scent of Green Papaya Sept. 27 Widow’s Peak Oct. 9 Sirens Oct. 25 The Snapper Nov. 8 Madame Sousatzka Nov. 22 Spring 1995 Whale Music April 11 The Madness of King George April 25 Three Colors: Red May 9 To Live May 23 Hoop Dreams June 13 Priscilla: Queen of the Desert June 27 Fall 1995 Strawberry & Chocolate Sept. 26 Muriel’s Wedding Oct. 10 Burnt by the Sun Oct. 24 When Night Rain Is Falling Nov. 14 Before the Rain Nov. 28 Il Postino Dec. 12 Spring 1996 Eat Drink Man Woman March 25 The Mystery of Rampo April 9 Smoke April 23 Le Confessional May 14 A Month by the Lake May 28 Persuasion June 11 Fall 1996 Antonia’s Line Sept. 24 Cold Comfort Farm Oct. 8 Nobody Loves Me Oct.
  • NAOSHIMA Dossier De Présentation EN.1.1

    NAOSHIMA Dossier De Présentation EN.1.1

    NAOSHIMA Written by Martin Provost and Séverine Werba A film by Martin Provost 7 avenue Franklin D. Roosevelt 75008 Paris +33 1 55 34 98 08 - [email protected] SAS au capital de 45 000 € - RCS 813 251 535 - APE 5911 C - TVA FR44 813 251 535 Two French women, Irène, a renowned sexologist, and Joséphine, her interpreter, meet by chance in Japan, go in search of a lost and future love, and discover, beyond temporality, the mysterious and marvelous ties that unite all human beings. 2 CASTING CATHERINE DENEUVE as IRÈNE 3 SANDRINE KIBERLAIN as JOSÉPHINE 4 NOTE OF INTENT I went to Japan for the first time 4 years ago with my film “Violette”. I took advantage of the trip to take a break there for 3 weeks. I, of course, went to visit Kyoto and its temples, the Emperor’s marvelous gardens, but I also endeavored to get off the beaten track by going to visit Ozu’s grave in Kamakura, by walking through the wild forests, by spending the night in a traditional Osen usually reserved for the Japanese and by trying to immerse myself in the simplest fashion in this culture that seemed so foreign to me. And then I went to Naoshima. It was a very powerful experience. On this industrial island, one man, Soichiro Fukutake, had had the brilliant idea of asking Tadao Ando to design a modern and contemporary art center in the midst of nature. I live in France very close to Giverny where Monet painted his famous Waterlilies. His landscapes are familiar to me because, like him before, I live just on the banks of the Seine, very close to the church of Vétheuil, where he had his first house, in the hills of Chantemesle which he painted so often.
  • Rodrigo Sorogoyen

    Rodrigo Sorogoyen

    presents MADRE A FILM BY RODRIGO SOROGOYEN PRESS NOTES OFFICIAL SELECTION Venice Film Festival Country of Origin: Spain / France Format: DCP/2.39/Color Sound: 5.1 Surround Running Time: 129 minutes Genre: Drama Not Rated In Spanish with English Subtitles National Press Contact: ​ Carly Hildebrant Strand Releasing Phone: 310.836.7500 [email protected] SYNOPSIS Ten years have gone by since Elena’s six-year old son has disappeared. The last thing she heard of him was a phone call he gave her, saying that he was lost on a beach in France and couldn’t find his father. Nowadays, Elena lives on this same beach and manages a restaurant. She is finally beginning to emerge from this tragic episode when she meets a French teenager who strongly reminds her of her lost son. the two of them will embark on a relationship which will sow chaos and distrust around them. DIRECTOR’S NOTE THE STORY Why make a continuation of the short? After shooting the short film “Madre”, we were all left with a feeling of immense satisfaction. From the very outset, I had mentioned to creative collaborators and crew members that this short film had always motivated me like a very long first scene of a feature film. And everybody I told agreed with me. It was obvious we had a great piece of material. We wanted to carry on with Elena’s story. We couldn’t just leave her like that, rushing out of her house, terrified, in search of her son. We put so much effort into telling the story of Elena’s tragedy (or its beginnings) that the key creative talent involved, producer María del Puy Alvarado, actress Marta Nieto and the humble author of these lines, always thought that we owed something to the story and the character.
  • 1525256334 691.Pdf

    1525256334 691.Pdf

    ROSEBUDmai2018_Mise en page 1 27/04/2018 14:37 Page 1 Rosebud le magazine du Cinéma katorza n° 71 - mai 2018 / Plaire, aimer et courir vite de Christophe Honoré / 15ème édition du festival CinéPride un Ciné aveC bébé ? Honoré, le bien-aimé ROSEBUDmai2018_Mise en page 1 27/04/2018 14:37 Page 2 no drôle P oP- d'endroit Corn Pour on une tHe renContre ents agenda des événem floor à venir au katorza édito éPHémère Tout le monde le sait (Everybody Knows), Aimer, Jeudi 03 mai à 20H30 plaire et courir vite peut nous faire entrer En guerre, l’absurde séance voire nous planter Un couteau dans le coeur. mais présente Les Négriers étrangement, l’amour, qui le moteur de trois de ces films cannois à découvrir tout au long du mois de de franco Prosperi et mai, est comme relégué au second plan. révolu chez gualtiero Jacopetti ashgar fahradi et Yann gonzalez, impossible à l’absurde séance s’associe à la accomplir à cause d’une époque et ses maux chez Commémoration de l’abolition de Christophe Honoré. l’esclavage par la ville de nantes à sa façon avec un faux-documentaire de légèrement décentré, il continue pourtant à briller 1971, suivi d’une table ronde entre discrètement, à dicter nos actes, nos folies quitte à ce ciritique de cinéma et historiens autour que l’on soit tenté de le détourner vers des desseins de la représentation de l’esclavage. plus ambigüs. int-16 ans. alors que dire de messaouda dendoune, 82 ans, dans les années 60, deux réalisateurs ita - mère de 9 enfants mais surtout épouse et amoureuse liens lancent, à grands coups de polé - de mohand depuis 63 ans, qui se souvient entre mille miques et de scandales, un nouveau sous- genre du cinéma d’exploitation : le instants de vie, d’avoir savouré Des figues en avril ? “mondo”, caractérisé par son approche ne rien dire, bien sûr, mais juste écouter un de ses faussement documentaire particulièrement enfants, nadir dendoune, la filmer, en parler avec crue et son aspect racoleur et voyeur (sexe, nous le 17 mai à 19h00, et regarder un amour qui violence, …).
  • GSC Films: S-Z

    GSC Films: S-Z

    GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything.