June 3, 1982 ·

Total Page:16

File Type:pdf, Size:1020Kb

June 3, 1982 · Going. going, gone. Another building- this time at Bishop and de Maisonneuve- makes w~y.for the downtown library project. Concordia University - Montreal, Queb·ec Volume S, Number 25 - June 3, 1982 · Quebecers support - . higher education, survey shows A majority of Quebecers (55%) is satisfied respondents thought faculty pay was "just • 52% said they thought it important that with the contribution of the university right". Incidentally, 44% of the res pondents faculty be unionized; system and its contributions to Quebec said they thought the average faculty • 77% indicated they think professors are society. Furthermore, the vast majority of member earns between $30,000 and $50,000. very or quite c_ompetent. _the population (85%) believe the Quebec Fully 46% of the responden.ts said they · As for the respondents themselves, a government should maintain or increase its thought the average professor worked over plurality (27%) was between the ages of 25 level of support of higher education in the 30 hours a week on university-related tasks. and 34; 69% were married (25%, single); 58% province. This generally favourable attitude toward were heads of families; a plurality (38%) had These are just two of the findings from an academics was also reflected in the following from 10 to 12 years of schooling; fully 82% opinion survey of Quebecers carried out in su!'vey results: · had never spent time at university but 44% Convocation '82 Apri,1 by Sorecom for the Conference of • 62% said faculty are generally of the respondents' immediate families were Rectors and Principals of Quebec . conscientious in their work; at or had already_attended university. Seepage3 Universities (C REPUQ) and the'Federation des associations des professeurs des universites du Quebec (FAPUQ). Sorecom-questioned 837 Quebecers by telephone between March 30 and April 6. -committee-asks Senate to IOok at Eighty-nine per cent of the res pondents indicated they spoke mostly French at hdme; 8%, English; 3%, both languages. computers, .computer literacy The results were disclosed today at a news conference. They indicate a relatively By Ken Whittingham a bout the proliferation of'courses designed computer iiteracy as a "major concern," a·nd sophisticated level of opinion about The proliferation of word processors, to provide students with s~-called "computer consult with CEGEPs and high schools to university life in general, coupled with a mini-computers and other assorted gadgetry literacy"- the ability to understand and use define the needs for computer skills at each favorable disposition toward he university's is getting out of hand at Concordia, and a wide range of computer-related level and consider possible ways of meeting importance in society. steps should be taken to coordinate their equipment- and the lack of a policy to set them. · On the other hand, the respondents purchase and .use among all faculties and priorities for space allocations for equipment It also requested that all departments harbour few illusions about the departments. and support facilities. report to the committee by the end of marketability of the university degree. Thus, That, in essence, is the principal finding of Among other things, the committee October outlining their needs in the area of 77% feel a university graduate is as likely to the yearcold computer science sub­ recommended that Concordia recognize See "Senate", page 2. be unemployed as a high school graduate. committee, which told Senate last week that And .62% do not believe that spending more a university-wide policy on the use of money on universities will lead to less computer-related equipment and services unemployment. A large number of should be adopted by the fall, if possible, to 1982-83 budget,-ou presque respondents (41%) felt the province's seven avoid any further waste and duplication. The university has adopted a provisional aimed at avoiding staff layoffs. universities were not doing a particularly At present, individuals often purchase budget for 1982-83, but considerable The attrition policy is the major new good job in preparing .studentsJor a career. equipment without seeking expert advice to uncertainty exists now concerning the effects . retrenchment scheduled for 1982-83, but As might be expected, an even larger determine if the machine involved is the on it of the government's public sector wage those $3.4 million cuts brought in last year number (67%) believe preparation for the most effective available for the tasks roll-back legislation, tabled last week. remain in effect. job market is a very important function of required, or whether it is compatible with The highlights of the university budget, Meanwhile, university officials were the university. existing university equipment, the committee accepted by the Board of Governors on ,meeting this week in an attempt to determine When asked what areas of study are the said. April 15, include admissible expenditures of the effect of Bill 70, the wage roll-back bill, most important, health, business and science This is particularly true in the research $92. 9 million and an attendant deficit of on Concordia employees. were mentioned the most often by 97%, 96% area. "The relatively low cost of many items $2.75 million, as well as a new attrition The legislation would permit the and 92% of the respondents respectively. The makes them easy to purchase out of research policy that will see only one employee government to recuperate in the first three liberal arts are the least popular (mentioned grants·and other monies." But it must be replaced for every three that leave the months of 1983 the lion's share of the public as important by only 66% of the remembered there remitins.-"the matter of university. sector wage increases slated to be awarded respondents) among the five areas of study maintenance and replacement.as The attrition policy, which began June I, between June I and Dec. 31 , when current mentioned in the survey. obsolescence becomes increasingly rapid". is expected to save the university $1.07 collective agreements expire. As for university professors, 55% of the The comrQittee also expcessed concern million over the next 12 months and is also 2 / Senate continuedfrom page /. academic computer usage (for research and Dance fever outgrows undergraduate and graduate courses) as well as any planned courses (with full details of their human and material resource requirements). Victoria School In other business, Senate: By Minko Sotiron students? Accordingly, she took her class to • approved the creation of a pilot project Recently, Concordia's two-year--0ld dance dance. in the university's art gallery in front beginning January 1983 to allow senior program risked becoming a victim of its of the works of Ivan Eyre as an inspiration. citizens 65 and older to register in non-credit · own success. The popular courses had so Another time the class danced amidst the courses; Concordia comings and gomgs: ·Among many students that the dance studios, works of Nancy Hubert, a fibre artist. "That • approved procedures that will allow the other things, June brings a host of located in the former Victoria School, were was inspirational,dancing amid all those Concordia University Students' Association profess ional promotions to Concordia. And constantly jammed. string, rope and plastic hanging sculptures. to distribute its allotted Senate seats to so our congratulations go out to the "I've sat on so many committees trying All the students loved it, and so.did Nancy's undergraduate student representatives based following faculty members. Moving from to solve the university's critical space little ones at the FA<2E school." on annual enrolments in each faculty; lecturer to assistant professor in the Faculty problems," said dance program director Langley was also impressed with the • • modified the masters program in public of Fine Arts are L. Adams and L. Plotek in Elizabeth Langley. "So many other improvisational work the students did in policy and public administration to allow painting a nd drawing; Kevin Austin in departments had the same problem. After a front of the paintings of artist Rene Drouin students to serve a three-month internship in music; Mario Falsetto and ·Gabor-Szilasi in while there really seemed to be no solution, at the Musee d'Art contemporain. "I was The Quebec civil service (generally after the cinema and photography; W. Krol in especially when the budget cut campaign surpised that the museum staff was so last semester of studies); sculpture arid crafts; and C. MacKenzie in began." forthcoming in allowing us to dance there. • accepted an interim report from the sub­ art history. Moving from assistant to But then she hit on a solution in a Through our dance, we really felt the spirit committee on the examination of associate professor in the Faculty of typically dance-like way. Just as she teaches of the artist's expression: competence in written expression that Commerce and Administration are M. darrce improvisation, she asked herself, why "All in all, the experience has·been so recommended that in future as a prerequisite Anvari in quantitative methods, Michel not improvise a studio setting for her good for my students. Besides taking for graduation, an students obtain a passing Bergier in marketing and K. Riener in pressure off the studios they get much grade of "C" in English course C-21 I· or finance. Those receiving the same promotion needed public exposure and experience in French courses C / 400 or C / 40 I; a final in the Faculty of Engineering and Computer dancing before people; something which report from the committee (along with a set Science are E.J. Doedel and R. Shingal in don't get dancing in our isolated studios. I of appropriate tests) will likely be submitted computer science; T.
Recommended publications
  • Movie Museum NOVEMBER 2011 COMING ATTRACTIONS
    Movie Museum NOVEMBER 2011 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY Hawaii Premiere! THE LIGHTHORSEMEN THE EEL aka Unagi MY LIFE AS A DOG WATER FOR EYE OF THE EAGLE (1987-Australia) (1997-Japan) ELEPHANTS (1997-Denmark) (1985-Sweden) uncut version in widescreen in Japanese with English (2011) Danish w/Eng subtitles & w.s. in Swedish with English subtitles & in widescreen in widescreen 12:00 & 1:30pm only subtitles & in widescreen Directed by Lasse Halström. with Anthony Andrews, with Koji Yakusho. with Robert Pattinson, Reese ------------------------------ Peter Phelps, John Walton, 12:00, 1:45 & 3:30pm 12:15, 2:15, 4:15 & 6:15pm Witherspoon, Christoph TURTLES ARE Tim McKenzie, Jon Blake, ------------------------------ Waltz, Hal Holbrook. SURPRISINGLY FAST ------------------------------ Bill Kerr, Sigrid Thornton. CHICKEN AND DUCK SWIMMERS (2005-Japan) TORA! TORA! TORA! (1970-US/Japan) TALK (1988-HongKong) Directed by Japanese w/Eng subtitles, ws Directed by Francis Lawrence. 3:15 & 5:00pm only English/Japanese w/English Simon Wincer. Cantonese w/English subtitles -------------------------------- subtitles & in widescreen with Michael Hui, Ricky Hui. 12:15, 2:30, 4:45, 7:00 & THE EEL aka Unagi Martin Balsam, Sô Yamamura. 12:30, 3, 5:30 & 8pm 8:30pm ONLY 9:15pm 7:00pm only 5:30 & 8:00pm ONLY 3 4 5 6 7 Movie Museum Movie Museum TELL NO ONE TAMPOPO aka Ne le dis à personne (1985-Japan) Movie Museum Closed Closed (2006-France) in Japanese with English Closed French w/Eng subtitles & w.s. subtitles & in widescreen with François Cluzet. 4:00pm only 4:00pm only ------------------------------------ ------------------------------------ THAT MAN FROM RIO TAMPOPO (1964-Italy/France) (1985-Japan) in French/English/Portuguese in Japanese with English with English subtitles subtitles & in widescreen & in widescreen Directed by Juzo Itami.
    [Show full text]
  • A FILM by NICOLAS MAURY CG CINÉMA Presents
    A FILM BY NICOLAS MAURY CG CINÉMA presents NICOLAS MAURY NATHALIE BAYE PRESS RENDEZ-VOUS VIVIANA ANDRIANI / AURÉLIE DARD [email protected] / [email protected] Tel.: +33 1 42 66 36 35 A FILM BY NICOLAS MAURY Mob : +33 6 80 16 81 39 INTERNATIONAL SALES LES FILMS DU LOSANGE 22 Avenue Pierre 1er de Serbie - 75116 Paris Tél.: +33 1 44 43 87 24 www.filmsdulosange.com FRANCE • 2020 • 1H50 • IMAGE 2,35 • SOUND 5.1 Photos and press pack can be downloaded at https://filmsdulosange.com/en/film/my-best-part/ 4 5 pcoming actor Jérémie is going through an existential crisis. Pathologically jealous and plagued by romantic, professional and familial misadventures, he flees Paris to reset in the country with his mother – who turns out to be more than a little invasive… 6 7 The main theme of My Best Part is jealousy. passionate characters. I think that jealousy is a Jérémie, the lead character says that it burns powerful decipherer of the world, in the sense his blood. Did you do research? that it encourages the urge to overcome what The most basic item of research was my you imagine. The tragedy, if I can call it that, is own life. When I arrived in Paris as a teenager that the jealous person is not always wrong. raised in the country, in the Limousin region, They picture things in their mind, and crazily almost immediately I fell head over heels in enough it turns out the picture is often right. love and, like all devouring passions, it involved Jealousy is like tinnitus, background noise only overpowering jealousy.
    [Show full text]
  • Dossier Marco Bellocchio
    MARCO BELLOCCHIO Cinema, amor i ràbia Filmoteca de Catalunya Dijous, 18 d’octubre 2012 Marco Bellocchio presentarà la retrospectiva que li dediquem el dijous 18 d’octubre, a les 20.00, a Sala Chomón de la Filmoteca de Catalunya Del 16 d’octubre al 30 de novembre 2012 programem el cicle “Marco Bellocchio: cinema, amor i ràbia” La Filmoteca de Catalunya, en col∙laboració amb l’Institut Italià de Barcelona, la Cinemateca Nazionale, la Cinemateca di Bologna i de l’IVAC, presenta fins al 30 de novembre la retrospectiva “Marco Bellocchio: cinema, amor i ràbia”. Marco Bellocchio i Bernardo Bertolucci van recollir l’herència de Pier Paolo Pasolini per aixecar la bandera del Nou Cinema italià dels seixanta amb I pugni in tasca i Prima della rivoluzione com a vaixells insígnia. Des de llavors, l’obra de Bellocchio s’ha desenvolupat a cavall entre la política i la psicoanàlisi, des d’un cinema militant que ha evolucionat cap a postures més reflexives fins a la solució de complexos edípics sense necessitat de matar la mare per buscar models universals en els clàssics de la literatura. La retrospectiva, tan àmplia com hem pogut en funció de la disponibilitat d’unes còpies d’accés gens fàcil, arrenca aquest mes amb sis llargmetratges que inclouen des de les històriques denúncies de l’autoritarisme d’I pugni in tasca, Sbatti il mostro in prima pagina i Nel nome del padre fins a les exploracions psicoanalítiques de l’erotisme a Il diavolo in corpo i La condanna o la sublim interpretació de Marcello Mastroianni del pirandellià Enrico IV.
    [Show full text]
  • 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.
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • Claretta E Benito, Amanti Burattini a Salò
    Claretta e Benito, amanti burattini a Salò - Gianfranco Capitta, LASTRA A SIGNA,14.11.2015 A teatro. Massimo Sgorbani, drammaturgo lombardo, autore di Arcitaliani, che racconta con cura i giorni dell'infausta repubbica sociale mescolando l'universo ideologico e visionario di Pasolini Pasolini ormai può essere, oltre che un piacere letterario «in proprio», anche punto di partenza per nuove creatività, come capita del resto a tutti i grandi classici. Massimo Sgorbani, puntuto drammaturgo lombardo (la sua ultima trilogia era dedicata alla «donne» di Hitler), parla questa volta insieme di un periodo storico e di noi oggi. Usa le cronache della fine della seconda guerra mondiale, e luniverso ideologico e visionario di Pasolini. Usa la satira e il cabaret, il balletto e il circo, il dramma borghese e la pochade. Tutto mescolato e instancabilmente sovrapposto, per costituire una amarissima quanto ridicola «commedia allitaliana». Anzi forse proprio una commedia sullItalia, di ieri, e pericolosamente anche di oggi. In cui si avverano e degenerano, incontrollati, visioni e incubi pasoliniani, che li aveva organizzati nei minuetti atroci del suo ultimo film, uscito postumo e quasi testamentario, Salò-Sade. Arcitaliani, o le seicento giornate di Salò è il titolo dellopera, che con cura millimetrica racconta i giorni dellinfausta repubblica sociale in cui si avvita tragicamente questo paese. Ma a raccontarcela sono i due «amanti perduti» Claretta e Benito (qui ridotto a Ben della retorica più sdata), impersonati da due attori/burattini (lei è Giusi Merli ormai icona santona della Grande bellezza) che si avviano con fatale incoscienza, come in un film di telefoni bianchi, verso il piazzale Loreto dellintera nazione.
    [Show full text]
  • The Beauty of the Real: What Hollywood Can
    The Beauty of the Real The Beauty of the Real What Hollywood Can Learn from Contemporary French Actresses Mick LaSalle s ta n f or d ge n e r a l b o o k s An Imprint of Stanford University Press Stanford, California Stanford University Press Stanford, California © 2012 by Mick LaSalle. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or in any information storage or retrieval system without the prior written permission of Stanford University Press. Printed in the United States of America on acid-free, archival-quality paper Library of Congress Cataloging-in-Publication Data LaSalle, Mick, author. The beauty of the real : what Hollywood can learn from contemporary French actresses / Mick LaSalle. pages cm Includes bibliographical references and index. ISBN 978-0-8047-6854-2 (cloth : alk. paper) 1. Motion picture actors and actresses--France. 2. Actresses--France. 3. Women in motion pictures. 4. Motion pictures, French--United States. I. Title. PN1998.2.L376 2012 791.43'65220944--dc23 2011049156 Designed by Bruce Lundquist Typeset at Stanford University Press in 10.5/15 Bell MT For my mother, for Joanne, for Amy and for Leba Hertz. Great women. Contents Introduction: Two Myths 1 1 Teen Rebellion 11 2 The Young Woman Alone: Isabelle Huppert, Isabelle Adjani, and Nathalie Baye 23 3 Juliette Binoche, Emmanuelle Béart, and the Temptations of Vanity 37 4 The Shame of Valeria Bruni Tedeschi 49 5 Sandrine Kiberlain 61 6 Sandrine
    [Show full text]
  • Classifieds for North Woods Trader - Thursday, 10 A.M
    PAID ECRWSS Eagle River PRSRT STD PRSRT U.S. Postage Permit No. 13 POSTAL PATRON POSTAL baths 2 ⁄ 1 King & Queen! Passage * 5,210 feet finished * Superb kitchen & appliances * 11-foot ceilings * Attached 3-car garage * Finished lower level * Workshop * Bedroom suite for * 5.48 acres * 265 ft. frontage, swimming! * Part of Poh-Wah-Gom * 872-acre lake, 90 ft. deep * Close to national forest * Boating to Big Sand also * Custom landscaped * FACES WEST! * 3 bedrooms, Wednesday, Wednesday, May 29, 2019 29, May (715) 479-4421 AND THE THREE LAKES NEWS A SPECIAL SECTION OF THE VILAS COUNTY NEWS-REVIEW THE VILAS COUNTY SECTION OF SPECIAL A Phelps proudly presentsproudly NORTH WOODS NORTH THE PAUL BUNYAN OF NORTH WOODS ADVERTISING WOODS OF NORTH BUNYAN THE PAUL Ultra Custom Long Lake Manor Lake Long Custom Ultra www.burkettrealty.com Century 21 Burkett & Associates & Burkett 21 Century EAGLE RIVER DOWNTOWN KIOSK THREE LAKES LAND O’ LAKES 715-479-3090 715-477-1800 715-546-3900 715-547-3400 © Eagle River Publications, Inc. 1972 Inc. Publications, ForFor thethe bestbest inin newsnews coveragecoverage && award-winningaward-winning photos,photos, checkcheck outout thethe VilasVilas CountyCounty News-ReviewNews-Review Subscribe today! PRINT/ONLINE EDITION: VILAS COUNTY THE THREE LAKES NEWS-REVIEW NEWS Vilas & Oneida Wisconsin Out-of-State 1 YEAR $55.00 $63.00 $75.00 9 MONTHS 47.00 54.00 64.00 6 MONTHS 36.00 42.00 50.00 3 MONTHS 20.00 22.00 26.00 FREE Check Online Access Mail to: out our with Print Vilas County News-Review Flip-Book Edition P.O.
    [Show full text]
  • CELEBRATING FORTY YEARS of FILMS WORTH TALKING ABOUT I Love the August Festivals, Though Not As Much As I Love Cinema
    3 AUG 18 6 SEP 18 1 | 3 AUG 18 - 6 SEP 18 88 LOTHIAN ROAD | FILMHOUSECinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT I love the August festivals, though not as much as I love cinema. You? I usually take the opportunity when writing this column every August to grumble about how distracted potential cinema-goers appear to be by the world’s largest arts festival that takes place in our glorious (a word which currently also describes the weather!) city every year, but this year I’m seeing it as nothing more than a challenge. A challenge, dear reader, which I feel we have risen to in impressive style with a stunning array of great cinema, much of which is, as it happens, of a ‘one-off’ nature and will likely not come around again any time soon… That sounds like I’m trying to dragoon you into coming to the cinema in August (instead of going to the Tattoo, perhaps?), and conceivably I am, but try not to see it that way… Rather, I simply wouldn’t want you to miss out on any of the must-see cinema experiences contained within these pages. In any case, cinema is surely the best of all the art forms wouldn’t you say, as well as being one of the cheaper days/nights out? Beyond the form itself, with cinema, you rarely have to worry about not liking a film and it being apparent to the people who made it, because they’re generally not there in the room.
    [Show full text]
  • Cannes 2021 Riviera #D1
    CANNES 2021 RIVIERA #D1 Camille Neel | Head of International Sales Yasmina Tamer | International Sales Executive PARIS OFFICE: +33 6 84 37 37 03 | [email protected] + 33 6 60 74 79 21 | [email protected] 5, rue Darcet, 75017 Paris, France Tel: +33 1 44 69 59 59 Nathalie Jeung | Senior Sales Manager Maxime Perret-Cortassa | Festivals & Marketing Visit our website: www.le-pacte.com/international +33 6 60 58 85 33 | [email protected] +33 6 45 02 60 70 | [email protected] SCREENING IN CANNES MARKET PREMIERE IN POST- COMPLETED BIGGER IS BEAUTIFUL PRODUCTION by Charlotte de Turckheim ON THE EDGE MAMA WEED MARKET SCREENING by Giordano Gederlini by Jean-Paul Salomé THREE TIMES NOTHING by Nadège Loiseau THE FAMILY THE LAST TYCOONS ONODA -10 000 NIGHTS by Fabien Gorgeart by Florence Strauss IN THE JUNGLE TOKYO SHAKING BESTIES ATOMIC SUMMER by Arthur Harari by Olivier Peyon by Marion Desseigne Ravel by Gaël Lépingle SCREENINGS ONODA – 10 000 NIGHTS IN THE JUNGLE by Arthur Harari Wednesday, July 7th Opening UCR Salle Debussy Gala Screening Thursday, July 8th 12:00pm Olympia 2 Market screening Saturday, July 10th 9:15am Olympia 4 Market screening Sunday, July 11th 2:15pm Riviera 1 Market screening Monday, July 12th 9:00am Olympia 5 Market screening BIGGER IS BEAUTIFUL by Charlotte de Turckheim Wednesday, July 7th 9:00am Arcades 3 Market screening Friday, July 9th 1:45pm Arcades 3 Market screening Monday, July 12th 12:00pm Riviera 1 Market screening TOKYO SHAKING by Olivier Peyon Tuesday, July 6th 11:30am Riviera 2 Market screening Thursday, July 8th 9:15am Olympia 4 Market screening THREE TIMES NOTHING by Nadège Loiseau Thursday, July 8th 2:15pm Riviera 1 Market screening Friday, July 9th 11:30am Olympia 6 Market screening 4TRAILER UN CERTAIN REGARD ONODA - 10 000 NIGHTS IN THE JUNGLE by ARTHUR HARARI (Dark Inclusion) with YUYA ENDO YUYA MATSUURA SHINSUKE KATO Japan, 1944.
    [Show full text]
  • Like Someone in Love
    1 MK2 & Eurospace present A film by Abbas Kiarostami INTERNATIONAL PRESS INTERNATIONAL SALES Vanessa Jerrom & Claire Vorger MK2 11 rue du Marché Saint-Honoré - 75001 Paris (France) 55 rue Traversière - 75012 Paris (France) Email: [email protected] Juliette Schrameck - [email protected] Cell: +33 6 14 83 88 82 (Vanessa Jerrom) Dorothée Pfistner - [email protected] Cell: +33 6 20 10 40 56 (Claire Vorger) Victoire Thevenin - [email protected] In Cannes : Five Hotel 1 rue Notre-Dame - 06400 Cannes France Photos and presskit can be downloaded on www.mk2pro.com 2 3 synopsis An old man and a young woman meet in Tokyo. She knows nothing about him, he thinks he knows her. He welcomes her into his home, she offers him her body. But the web that is woven between them in the space of twenty-four hours bears no relation to the circumstances of their encounter. 4 5 new awakening Without doubt, there was an underlying sense of gnawing depravity that surfaced in Certified Copy and took me by surprise. I was sure that I already had a good understanding of the work of this film-maker that I have been lucky enough to come across so often in the past 25 years. So I was not expecting his latest film to outstrip the already high opinion I have of his work. Some people like to feel that they can describe and pigeonhole his films as ‘pseudo-simplistic modernism’. But Abbas’ films have never failed to surprise and now here, not for the first time, is a new wake-up call, for me, and I am sure many others.
    [Show full text]
  • ISABELLE HUPPERT: a Retrospective 19 & 26 June 2013 (Wednesdays)
    The Cultural Center of the Philippines in cooperation with the Ambassade de France aux Philippines presents ISABELLE HUPPERT: A Retrospective 19 & 26 June 2013 (Wednesdays) CCP Tanghalang Manuel Conde Schedule of Screenings 19 June/Wednesday 04:00PM SAUVE QUI PEUT (LA VIE) by Jean Luc Godard (1979) 07:00PM LOULOU by Maurice Pialat (1980) 26 June/Wednesday 01:00PM UNE AFFAIRE DE FEMMES (STORY OF WOMEN) by Claude Chabrol (1988) 04:00PM LA CÉRÉMONIE (THE CEREMONY) by Claude Chabrol (1995) 07:00PM WHITE MATERIAL by Claire Denis (2009) All screenings are free. First come, first served. For more information, please call CCP Media Arts at 832 1125, locals 1702 & 1704. ‐‐‐ A special photo exhibition on Ms. Huppert, courtesy of Institut Francais, will be presented at the CCP Little Theatre lobby during the screenings. ‐‐‐ Sauve Qui Peut (la Vie) (Slow Motion) Synopsis Sauve Qui Peut (la Vie), a pessimistic but visually stunning film, marks Jean‐Luc Godard's return to cinema after having spent the 70s working in video. The film presents a few days in the lives of three people: Paul Godard (Jacques Dutronc ), a television producer; Denise Rimbaud (Nathalie Baye), his co‐worker and ex‐ girlfriend; and Isabelle Riviera (Isabelle Huppert), a prostitute whom Paul has used. Denise wants to break up with Paul and move to the country. Isabelle wants to work for herself instead of her pimp. Paul just wants to survive. Their stories intersect when Paul brings Denise to the country cottage he is trying to rent and Isabelle comes to see it without knowing that the landlord has been her client.
    [Show full text]