Virginia Commonwealth University and the University of Richmond present

Richmond,Virginia March 24-27, 2011

Exclusive Media Sponsor

All films have English subtitles and are presented by their actors and directors. 19th annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilmfestival.us Virginia Commonwealth University and the University of Richmond present

Richmond,Virginia

Official Reception with the actors & directors Saturday, March 26, 7:00 - 9:30pm

VCU Scott House 909 W. Franklin Street (Parking along W. Franklin Street from Harrison to Laurel for Reception Pass Holders)

Featuring some of Richmond’s Best of the Best

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2 Schedule

Thursday, March 24 Saturday, March 26 Sunday, March 27 6:30 p.m. Nos enfants nous 8:30 a.m. First Short Film Series 8:15 a.m. second Short Film Series accuseront by Jean-Paul Jaud Le Concile lunatique Nuit blanche by Christophe Gautry and by Samuel Tilman Preview Screening for Arnaud Demuynck Master Class Ego Sum Petrus Le Meilleur Ami de l’homme by Julien Dexant by Vincent Mariette 8:45 p.m. Hors-la-loi L’Accordeur by Rachid Bouchareb Le Sans-Nom by Olivier Treiner by Violaine Lécuyer Un jour sans Friday, March 25 L’Incroyable Voyage by Yzabel Dzisky 1:30 p.m. Master Class: de Margaux by Marc-Etienne Schwartz Discussion with directors « Partnering with France’s Samuel Tilman, Julien Dexant, renowned Cinema Schools : Discussion with director of Olivier Treiner and Yzabel Ecole Nationale Supérieure photography Sara Sponga Dzisky Louis Lumière and La Fémis » and directors Vincent Mari- ette, Violaine Lécuyer and 9:50 a.m. Hitler à Hollywood La Fémis short : by Frédéric Sojcher Coucou-les-Nuages Marc-Etienne Schwartz by Vincent Cordona Discussion with director 10:15 a.m. Deux de la vague Frédéric Sojcher Louis Lumière shorts : by Emmanuel Laurent Les Larmes de la luciole 12:05 p.m. Pieds nus sur les limaces by Antoine Mocquet Discussion with director by Fabienne Berthaud Emmanuel Laurent Son esquisse Discussion with director by Charlotte Michel 12:30 p.m. L’Âge de raison Fabienne Berthaud by Yann Samuell Discussion with Pierre-William 2:40 p.m. L’Empire du Milieu du Sud Glenn, Cinematography Discussion with actress by Jacques Perrin & Department at La Fémis, di- Juliette Chappey Eric Deroo rectors Vincent Cardona and Charlotte Michel, director of One séance with short and feature documentary Discussion with director photography Benoît Mars, Jacques Perrin and 3:00 p.m. Prunelle et Mélodie Production Manager Rob Tregenza, VCUarts Cin- by Mathieu Simonet ema professor and director, Olli Barbé Françoise Ravaux-Kirkpatrick Discussion with director 5:00 p.m. Mon pote and Peter Kirkpatrick, UR and Mathieu Simonet, producer by Marc Esposito VCU professors and French Marc-Etienne Schwartz, ac- Film Festival directors tresses Julie Voisin and Maud Forget, actor Olli Barbé and Theatre 3:30 p.m. Master Class: still photographer Matthieu “Spotlight on Biodiversity Normand The Byrd Theatre is located at 2908 W. Cary and Sustainability in Docu- St. in Richmond. A parking deck is located mentary Filmmaking” Océans directly behind the theatre. by Jacques Perrin Severn, la voix & Jacques Cluzaud de nos enfants Official Reception by Jean-Paul Jaud Discussion with director Jacques Perrin, Production The Official Reception is for all festival student, Presentation by and Manager Olli Barbé and faculty and regular VIP pass reception-hold- discussion with director Still Photogapher Mathieu ers who have purchased the $25 add-on for Jean-Paul Jaud Simonet the reception. If you have purchased a pass already and did not choose the reception 7:00 p.m Le Nom des gens Presentation of the 2011 add-on, you still may do so by contacting the by Michel Leclerc French Delegation, intro- festival office.T he reception’s event caterer- Discussion with duced by His Excellency Fran- coordinator is Peggy Guy with the following cinematographer çois Delattre,the French Am- food sponsors: Belle Vie, The Black Sheep, Vincent Mathias bassador to the United States, Pearl's Cupcake Shoppe, Café Bobette, Michel Schaffauser,Consul Millie’s, Weezie’s Kitchen and Jean-Jacques 9:30 p.m. Nos enfants nous General, VCU President Mi- Bakery. This special event will be held on the accuseront — chael Rao, UR Provost & Vice evening of Saturday, March 26, 7: 00 p.m. - Food Beware. Our President Stephen Allred 9:30 p.m. at the VCU Scott House, located at Children Will Accuse Us 909 W. Franklin St., Richmond, Va. Reserved by Jean-Paul Jaud 7:00 p.m. Official Reception parking is available for Reception Attendees Discussion with at VCU Scott House on both sides along Franklin Street from Har- rison to Laurel Streets. director Jean-Paul Jaud 9:30 p.m. Demain dès l’aube by Denis Dercourt Photo© by Matthieu Normand from the film Discussion with actor Prunelle et Mélodie by director Mathieu Simonet, Aurélien Recoing actresses Julie Voisin and Maud Forget

3 The 19th French Film Festival presents A Special Screening of Students' Shorts An introduction of two renowned Parisian cinema schools L’Ecole Nationale Supérieure Louis Lumière La Fémis

Friday, March 25 • Byrd Theatre • 1:30-3:00 p.m. • Open to all

Screenings La Fémis short: Coucou-les-Nuages presented by director Vincent Cordona

Louis Lumière short: Les Larmes de la luciole presented by director of photography Benoît Mars

Louis Lumière short: Son esquisse presented by director Charlotte Michel

Discussions with: • Pierre-William Glenn, Chair of Department of Cinematography at La Fémis, film director and director of photography

• Benoît Mars, director of photography

• Rob Tregenza, VCUarts Cinema professor and Director

• Vincent Cardona & Charlotte Michel, directors

• Françoise Ravaux-Kirkpatrick & Peter Kirkpatrick, UR and VCU professors and French Film Festival directors

4 Nos enfants nous accuseront – Food Beware. Our Children Will Accuse Us & Severn, la voix de nos enfants by Jean-Paul Jaud

An introduction of two renowned Parisian cinema schools A Special L’Ecole Nationale Supérieure Louis Lumière La Fémis Master Class” Focusing on the Use of Cinematic Images for Ecological Awareness

Friday, March 25 • Byrd Theatre 3:30-6:30 p.m. • Open to all

“Spotlight on Biodiversity and Sustainability in Documentary Filmmaking” with French director and author Jean-Paul Jaud

5 Severn, la voix de nos enfants

English synopsis feature At the Rio de Janeiro International Earth Summit in 1992, for French director the first time in history, a twelve year old child stood up and Jean-Paul Jaud presents questioned those responsible for taking care of our planet. Severn, la voix de nos enfants Our actions do not reflect our words: Planet Earth is still in the same state today, and Severn, now an adult, is expecting her first child. She once again takes the floor, explaining that although the situation is urgent, there is still time to make a change. In this emotional documentary filled with hope, Severn stands as a reference for those who, from Canada to Japan, passing by France, are taking concrete and positive action to respect biodiversity. But who will answer Severn’s appeal for change?

Synopsis en français En 1992, au Sommet de la Terre à Rio de Janeiro: pour la pre- mière fois dans l’histoire de l’humanité, une enfant de douze ans interpelle les responsables de la planète. Nos actes ne re- flètent pas les discours. La Terre est encore dans le même état et Severn attend aujourd’hui son premier enfant. Elle reprend la parole en démontrant que malgré l’urgence, il est encore pos- sible de changer les choses. Dans ce film documentaire plein d’espoir et d’émotion, Severn apparaît comme une référence pour ceux qui, du Canada au Japon en passant par la France, mettent en place des actions concrètes et positives pour re- specter la biodiversité… Qui répondra à l’appel de Severn ?

General audience director Jean-Paul Jaud screenplay Jean-Paul Jaud voice Jean-Paul Jaud director of photography Cyril Thépenier sound recordist Emmanuel Guionet editor Isabelle Szumny executive producers Béatrice Camurat Jaud, Lucile Moura running time 2h

6 Interview with director Jean-Paul Jaud Entretien avec le réalisateur Jean-Paul Jaud In your new film, Severn, la voix de nos enfants, you Dans votre nouveau long-métrage, Severn, la voix de present themes that you have already addressed in nos enfants, vous abordez des thématiques que vous Food Beware. Our Children Will Accuse Us. aviez déjà abordées dans Nos enfants nous accuseront. In June 2008, just before the release of the film Food En juin 2008, juste avant la sortie du film Nos enfants Beware. Our Children Will Accuse Us, I discovered nous accuseront, j’ai découvert le discours de Severn. Severn’s speech. It moved me deeply by its passion Celui-ci m’a bouleversé par sa force et son contenu. and content. It was the first time that a child had C’était la première fois qu’une enfant s’adressait à addressed the entire planet and alarmed humanity. I la planète entière et alarmait l’humanité. J’ai trouvé found that at the age of 12, Severn had a conviction que du haut de ses 12 ans, Severn avait une convic- and strength that many adults do not have. I im- tion et une force que beaucoup d’adultes n’ont pas. mediately wanted to find her again, hoping to learn J’ai immédiatement voulu la retrouver, je souhaitais what she had become. savoir ce qu’elle était devenue.

The next Earth Summit, in 2012, will be held in Rio. Le prochain Sommet de la Terre, prévu en 2012, Twenty years later, if you were to challenge the devrait se tenir à Rio. Vingt ans après, si vous deviez most important world leaders, what would you say interpeller les plus grands dirigeants du monde, que to them? leur diriez-vous ? This next Earth Summit must have as its overarching Ce nouveau Sommet de la Terre doit justement avoir theme the emergence of a “green economy” and pour thème principal l’émergence d’une « économie the renewal of international commitments which oc- verte » et le renouvellement d’engagements inter- cupy a more and more important place in the world’s nationaux, qui occupent une place de plus en plus political agenda. Following her example, I would say importante dans l’agenda politique mondial. À cet to the leaders exactly the same thing that Severn said instar, je dirais aux dirigeants exactement la même to them in 1992: “Stop making children cry at night chose que ce que Severn leur a dit en 1992 : « Arrêtez and make your actions reflect your words!” de faire pleurer les enfants la nuit et faites que vos actes reflètent vos paroles ! »

7 Nos enfants nous accuseront feature French director Jean-Paul Jaud presents Food Beware. Our Children Will Accuse Us

English synopsis In Europe every year, 100,000 children die of diseases caused by the environment. In Europe 70% of cancers are linked to the environment: 30% to pollution and 40% to food. In Europe cases of cancer in children have been increasing by 1.1% yearly for 30 years. In France the number of cancers in males has increased by 93% in 25 years.

In a little French community at the foot of the Cévennes Mountains, the mayor has decided to take a stance by making the school cafeteria organic. Here, as they are everywhere, people are faced with the anxiety of the dan- gers of industrial and agro-chemical pollution. It is the start of a fight against a process that could become irreversible, a fight to stop our children from accusing us in the future.

Synopsis en français Chaque année en Europe, 100 000 enfants meurent de General audience maladies causées par l’environnement. 70% des cancers director Jean-Paul Jaud sont liés à l’environnement dont 30% à la pollution et 40% à l’alimentation. Chaque année en France, on constate une screenplay Jean-Paul Jaud augmentation de 1,1% des cancers chez les enfants. En directors of photography Joël Pierron, Ammar Arhab France, l’incidence du cancer a augmenté de 93% en 25 ans chez l’homme. sound recordist Eric Münch editor Isabelle Szumny Dans un petit village français au pied des Cévennes, le executive producer Béatrice Camurat maire a décidé de faire face et de réagir en faisant passer Jaud la cantine scolaire en Bio. Ici comme ailleurs la popula- running time 1h 47min tion est confrontée aux angoisses causées par la pollution Jean-Paul Jaud's book Nos enfants nous industrielle, aux dangers de la pollution agro chimique. Ici accuseront is available for purchase and commence un combat contre une logique qui pourrait de- signing in the Byrd Theatre lobby. venir irréversible, un combat pour que demain nos enfants ne nous accusent pas.

8 Interview with Jean-Paul Jaud, director of Food Beware. Our Children Will Accuse Us Why the title: Food Beware. Our Children Will Accuse Us? “We are only borrowing this planet from our chil- dren”, said Saint-Exupery. And yet, we are giving this Earth back in a catastrophic state. And on top of that, we are poisoning our children every day. I think that in this sense, the title is not too strong! I ask you: What mammal knowingly poisons its chil- dren and destroys the habitat in which they live?

How did you learn about Barjac and its people? I began by having a type of “casting call.” I was looking for a place where school catering had been done conventionally until now, but now wanted to go organic. In March 2006, with the help of Stéphanie Veyrat from the organization UN PLUS BIO, I met Edouard Chaulet, Aline Guyonnaud and the parents of students of the Barjac school. This process was already under consideration, and my visit, I believe, accelerated the desire to put this change in motion.

Entretien avec Jean-Paul Jaud, réalisateur de Nos enfants nous accuseront Pourquoi ce titre : Nos enfants nous accuseront ? « Nous ne faisons qu’emprunter cette planète à nos enfants » disait Saint-Exupéry. Or, nous rendons cette Terre dans un état catastrophique. Et en prime, nous empoisonnons nos enfants au quotidi- en. Je pense en ce sens que le titre n’est pas trop fort ! Je vous pose une question à mon tour : quel mammifère détruit sciemment l’habitat de ses petits et empoisonne sciemment ses petits ?

Comment avez-vous connu Barjac et ses habitants ? J’ai commencé par faire en quelque sorte un « casting ». Je cherchais un lieu où la restauration collective jusqu’alors conventionnelle souhaitait passer en Bio. En mars 2006, avec l’aide de Sté- phane Veyrat de l’association UN PLUS BIO, j’ai rencontré Edouard Chaulet, Aline Guyonnaud et des parents d’élèves de l’école publique de Bar- jac. Ce processus était à l’étude et ma venue a, je crois, accéléré la volonté de mettre en œuvre ce changement.

9 Le Nom des gens

feature Cinematographer Vincent Mathias presents Le Nom des gens

English synopsis Young extrovert Bahia Benmahmoud lives by this classic motto: “Make love, not war”. In order to convert them to her cause, she sleeps with her political enemies - which mean a lot of men, because every conservative is her enemy. So far, she’s gotten good results. That is, until she meets Arthur Martin, Parental Guidance a 40-something, unassuming man and skilled at avoiding risks. director Michel Leclerc She figures that with such a common name (Arthur Martin is screenplay Michel Leclerc, Baya Kasmi a brand of stove), he is bound to be a real conservative and cinematographer Vincent Mathias thus hard to convert. Yet, names are tricky and things are not starring Jacques Gamblin, Sara Forestier, always what they seem. Baya and Arthur are as different as Zinedine Soualem, Carole Franck, two people can be, but when they fall in love, sparks fly... Jacques Boudet, Michèle Moretti running time 1h 44min Synopsis en français Bahia Benmahmoud, jeune femme extravertie, se fait une Les “César” haute idée de l’engagement politique puisqu’elle n’hésite Congratulations to Sara Forestier for receiving the César for Best Actress; pas à coucher avec ses ennemis pour les convertir à sa cause Baya Kasmi and Michel Leclerc for - ce qui peut faire beaucoup de monde vu qu’en gros, tous Best Original Screenplay. les gens de droite sont ses ennemis. En règle générale, elle ob- Congratulations to Michel Leclerc for tient de bons résultats. Jusqu’au jour où elle rencontre Arthur his 2010 film Le Nom des gens and its four César nominations, including Martin - comme celui des cuisines - quadragénaire discret, Best Film; Jacques Gamblin for Best Actor. adepte du risque zéro. Elle se dit qu’avec un nom pareil, il est forcément un peu facho. Mais les noms sont fourbes et les ap- parences trompeuses... 10 Interview with Michel Leclerc (director/ screenwriter) and Baya Kasmi (screenwriter) How did the Le Nom de gens communities, which we cannot adventure begin? stand and do not identify with. ML: When I met Baya almost The injunctions of society are ten years ago, she told me her too simplistic; they assert certain name and I answered, “Is that types of behaviors dictated by Brazilian?” and she answered, origins. But it is easy not to con- “No, it’s Algerian.” After that she form to them! asked me my name and when ML: In France, the question of ori- I told her she said, “At least you gins is both complex and obses- can tell where that’s from!” So sive. How do you stay faithful to the starting point of the film also your roots without subscribing to coincides with the starting point the community mentality? How of our personal relationship. can you be an atheist without BK: We wanted to respond to rejecting your origins? We are that whole deterministic line of fascinated by these questions. reasoning about identity and

Entretien avec Michel Leclerc (réalisateur/scénariste) et Baya Kasmi (scénariste) Comment a commencé l’aventure du Nom terministe autour de l’identité et des communautés des gens ? que l’on trouve insupportable et dans lequel on ne ML : Quand j’ai rencontré Baya, il y a près de dix se reconnaît pas. Les injonctions de la société sont ans, elle m’a dit comment elle s’appelait et je lui simplistes et imposent un certain type de comporte- ai répondu, «C’est brésilien ?», et elle m’a répondu, ment en fonction de ses origines. Or, on peut très «Non, c’est algérien.» Ensuite, elle m’a demandé bien ne pas s’y conformer ! mon nom et quand je le lui ai donné, elle m’a ML : En France, la question des origines est à la dit, «Au moins, on sait d’où ça vient !» Le point de fois complexe et obsessionnelle. Comment rester départ du film se confond donc aussi avec le point fidèle à ses racines sans être communautariste ? de départ de notre histoire personnelle. Comment être athée sans renier ses origines ? Ces BK : On avait envie de réagir à tout un discours dé- questionnements-là nous passionnent.

11 Deux de la Vague

English synopsis feature Two in the Wave is the story of a friendship. 1950, Jean-Luc French director Godard is twenty years old, François Truffaut two years younger. Emmanuel Laurent presents Their love of cinema brings them together. Soon, they go to Deux de la Vague the same film clubs, write for the same reviews, the Cahiers du Cinéma and Arts. When Truffaut becomes a filmmaker, with 400 Blows, which triumphs at Cannes in 1959, he helps his older friend make the shift into directing by offering him his screen- play titled Breathless. Throughout the 1960s, they stick together. Politics is what separates the two friends. Around 1968, Godard gets involved in the social upheaval rocking France and starts making militant films, whereasT ruffaut continues to pursue his own filmmaking path.

Synopsis en français Deux de la Vague est l’histoire d’une amitié. 1950, Jean-Luc Godard a vingt ans, François Truffaut deux ans de moins, ils se rencontrent par amour du cinéma. Bientôt, ils fréquentent les mêmes ciné-clubs, écrivent dans les mêmes revues, Les Cahiers du Cinéma et Arts. Quand le cadet devient cinéaste, avec Les Quatre Cents Coups, qui triomphe à Cannes en 1959, il aide son aîné à passer à la réalisation, lui offrant son scénario, déjà intitulé A bout de souffle. Tout au long des années 1960, ils se serrent les coudes. C’est la politique qui divise les deux amis. Autour de 68, Godard s’engage dans la révolution et les films militants tandis que General audience Truffaut poursuit son cinéma. director Emmanuel Laurent screenplay Antoine De Baecque starring Isild Le Besco running time 1h 30min

12 Director/Producer Emmanuel Laurent Writer and filmmaker, Emmanuel Laurent taught himself filmmaking by watching movies in the front rows of the Paris Cinémathèque and by editing film. He founded the independent production company Films à Trois in 1984, and has written, directed and produced more than twenty feature-length and short documentaries made for television.

Writer/Narrator Antoine De Baecque A former chief editor for Les Cahiers du Cinéma and the culture section of Libération, he is a re- breathes the best. He is fast like Rossellini, malicious nowned film critic and historian, and the author like Sacha Guitry, musical like Orson Welles, simple of biographies on both François Truffaut and like Pagnol, hurt like Nicholas Ray, efficient like Jean-Luc Godard. Hitchcock, deep, deep, deep like Ingmar Bergman and insolent like no one else. ... Professor Chiarini, the In telling of the friendship between directors director of Venice Mostra, declared: “There is the Francois Truffaut and Jean-Luc Godard, yet at the cinema before Godard and after Godard.” It’s true; same time their violent and radical quarrel, Two in the passing years confirm the certainty that Breath- the Wave explores one of the adventures and ma- less (1959) has marked a decisive turn in cinema jor ruptures of French cinema. history, just like Citizen Kane did in 1940. ... Godard turned the system upside down; he stirred up things A friendship behind the camera in cinema, just as Picasso did in painting, and like him Text from François Truffaut about Jean-Luc Godard, he made everything possible...” “Two or three things I know about him” (1966): ... Jean-Luc Godard is not the only one to film Stormy seas ahead: the destruction of a as easily as he breathes, but he is the one who friendship...

Réalisateur/Producteur Traitant de l’amitié entre les fond comme Ingmar Bergman et Emmanuel Laurent réalisateurs François Truffaut insolent comme personne. … Le Cinéaste et écrivain, Emmanuel et Jean-Luc Godard, mais professeur Chiarini, directeur de la Laurent apprend le cinéma également de leur violente et Mostra de Venise, a déclaré : “Il y a aux premiers rangs de la ciné- radicale dispute, Deux de le cinéma avant Godard et après mathèque de Paris et par la la Vague explore une des Godard.” C’est vrai, et les années pratique du montage. Il a fondé aventures et des grandes qui passent nous confirment dans la société de production in- ruptures du cinéma français. la certitude que A bout de souffle dépendante Films à Trois en 1984. (1959) aura marqué dans l’histoire Il a écrit, réalisé, et produit plus Une amitié derrière la du cinéma un tournant décisif de vingt films long-métrages et caméra comme Citizen Kane en 1940. documentaires courts pour la … Godard a pulvérisé le système, il Texte de François Truffaut sur télévision. a fichu la pagaille dans le cinéma, Jean-Luc Godard, «Deux ou trois ainsi que l’a fait Picasso dans la choses que je sais de lui» (1966) : Scénariste peinture, et comme lui il a rendu … Jean-Luc Godard n’est pas tout possible… » Antoine De Baecque seul à filmer comme il respire, mais Ancien rédacteur en chef des c’est lui qui respire le mieux. Il est Orage en vue : la destruc- Cahiers du Cinéma et des pages rapide comme Rossellini, malicieux cultures de Libération, il est un comme Sacha Guitry, musical tion d'une amitié… critique de film connu et un histo- comme Orson Welles, simple rien, ainsi que l’auteur des biog- comme Pagnol, blessé comme raphies de François Truffaut et de Nicholas Ray, efficace comme Jean-Luc Godard. Hitchcock, profond, profond, pro- 13 Mon Pote

feature Festival directors present Mon Pote

English synopsis Victor is the editor of an automobile magazine. One day, he is invited to talk about his work at a local prison. After the talk, one of the prisoners slides a letter in his pocket. His name is General audience Bruno, a former robber and a recidivist. He is a fan of Victor’s director Marc Esposito magazine. He is asking for a job as part of the work release screenplay Marc Esposito, Jean-Luc program: he would spend the day at the office, the night in Levesque prison. Victor accepts. A friendship develops between the two starring Édouard Baer, Benoît Magimel, men: the story line, taken from a true event, is about a second Diane Bonnot, Léonie Simaga, chance and a common passion… Atmen Kelif running time 1h 45min Synopsis en français Victor est le patron d’un magazine automobile. Un jour, il va parler de son travail dans une prison. Après la conférence, un des détenus lui glisse une lettre dans la poche. Il s’agit d’un braqueur et multirécidiviste, nommé Bruno, fan de son magazine. Il souhaite travailler avec lui afin de bénéficier du régime de semi-liberté : le jour au bureau, la nuit en prison. Victor accepte. Une histoire d’amitié naît entre les deux hommes : le récit, tiré d’une histoire vraie, d’une seconde chance accordée et d’une passion commune…

14 Interview with director Marc Esposito I want to give a feeling of life not of a show. Each time that this is possible, the characters are shot Mon Pote is inspired by “a real-life story.” Is it a from the front and not somewhat off-side like in story that happened to you? most of today’s movies. I try to capture a moment When I was the chief editor of Première, in the of life in the most objective way possible. mid-80’s, I responded to an invitation to give a It’s with this same concern of capturing life that I speech about my job as a film journalist at the use three cameras, including dialogue scenes with Bois d’Arcy prison. There, exactly like in the movie, two seated characters. a prisoner put a letter in my pocket. … If we hired him, he could obtain conditional freedom. … We hired him…and we made a good decision! Interview with Benoît Magimel After Jean-Luc first worked at Première as a layout What appealed to you when Marc Esposito designer, he became, a few years later, a layout proposed Mon Pote to you? designer at Studio Magazine, where he became The story of this man who reaches out his hand to the artistic director. The rest of the story is only help another pull through. I like stories of friendship pure imagination… in films.T he fact that it is inspired by a real event. On the visual composition of the film, you want us I liked this character in quest of redemption, to forget as much as possible that we are watching searching to become integrated in the world a film: fixed shots, sequence shots, frontal shots… again.

Je veux donner l’impression de vie plus que de spectacle. À chaque fois que c’est possible, les personnages sont filmés de face, et non pas un peu en biais comme dans la plupart des films d’aujourd’hui. J’essaie de capter un moment de vie, avec le re- gard le plus «objectif» possible. C’est dans le même souci de saisir la vie que je tourne à trois caméras, y compris les scènes de dialogue assis à deux person- nages.

Entretien avec le l’avons engagé, et... nous avons Entretien avec Benoît réalisateur Marc Esposito bien fait ! Puisque, après avoir Magimel d’abord travaillé à Première Mon Pote est inspiré «d’une his- comme maquettiste, Jean-Luc Qu’est-ce qui vous a séduit toire vécue» ? Levesque est devenu, quelques lorsque Marc Esposito vous a proposé Mon Pote ? Quand j’étais directeur de la années plus tard, maquettiste rédaction de Première, au milieu à Studio Magazine puis le di- L’histoire de cet homme qui des années 80, j’ai répondu à recteur artistique, mais la suite tend la main à un autre et l’aide une invitation d’aller parler de du scénario est pure invention à s’en sortir. J’aime les histoires mon métier de journaliste de ci- de scénariste… d’amitié au cinéma. Le fait que néma à la prison de Bois d’Arcy. ce soit inspiré d’un événement Côté mise en scène, vous voulez réel. J’ai aimé ce personnage en Là, exactement comme dans le faire oublier au maximum film, un prisonnier m’a mis une quête de rédemption, cherchant qu’on est au cinéma : des plans à se réinsérer. lettre dans la poche. … Si on fixes, des plans séquences, un l’engageait, il pourrait obtenir la cadrage frontal… liberté conditionnelle… . Nous

15 Océans

English synopsis feature Swirling along at 10 knots an hour in a school of hunting tuna French director Jacques Perrin, fish, leaping with dolphins in their unruly contortions, swimming Production Manager Olli Barbé shoulder to fin with the great white shark … Oceans is to be a and Still Photographer Mathieu fish among fishes. Simonet present Océans After Winged Migration, Jacques Perrin and Jacques Cluzaud, with ground-breaking filming techniques, lead us into the heart of the oceans to discover unknown or unrecognized marine creatures. Oceans queries the impact of the human footprint on wildlife and replies to the question “Ocean? What is the Ocean?” through images and emotions.

Synopsis en français Filer à 10 nœuds au cœur d’un banc de thons en chasse, ac- compagner les dauphins dans leurs folles cavalcades, nager avec le grand requin blanc épaule contre nageoire … Océ- ans c’est être poisson parmi les poissons. Après Le Peuple migrateur, Jacques Perrin et Jacques Clu- zaud nous entraînent, grâce à des techniques de tournage inédites, au cœur des océans à la découverte de créatures marines méconnues et ignorées. Océans s’interroge sur l’empreinte que l’homme impose à la vie sauvage et répond par l’image et l’émotion à la question : “L’Océan ? C’est quoi l’Océan ?”

General audience directors Jacques Perrin, Jacques Cluzaud production manager Olli Barbé screenplay Jacques Perrin, Jacques Cluzaud, John Collee still photographer Mathieu Simonet running time 1h 43min Océans books are available for purchase and signing in the Byrd Theatre lobby.

Les “César” Congratulations to Jacques Perrin and Jacques Cluzaud for receiving the César for Best Documentary. And its two César nominations, including Best Film Score and Best Sound

16 Jacques Perrin Réalisateur et producteur Progressivement, l’homme s’est aven- turé sur la mer. Ses découvertes furent autant de conquêtes. Naviguant au- dessus d’un monde mystérieux, il n’en soupçonnait pas l’infinie richesse et diversité. Si les secrets océaniques ont fasciné les explorateurs, ils ont aussi fait naître les convoitises. On n’a jamais tant découvert, on n’a jamais tant agressé. Et pourtant, la mer est encore un im- mense territoire sauvage. Océans n’est pas un documentaire mais un opéra sauvage. Chaque plongeur camera- man, chaque opérateur a apporté des fragments de la partition : celle d’un hymne à la mer.

Jacques Cluzaud Jacques Perrin Réalisateur Director and producer Pour tenter de raconter l’histoire des Man progressively ventured on the sea. His discoveries were so océans, nous avons cherché à ouvrir many conquests. Navigating above a mysterious world, he had d’autres portes que celles des statis- no conception of its infinite richness and diversity. If oceanic tiques : celles d’un conte fantastique secrets have always fascinated explorers, they have also given et magique, des merveilles du petit rise to covetous desires. There have never been so many discov- monde du récif corallien, de l’héroïsme eries, never been so many aggressions. Despite all this, the sea is des dauphins en pleine charge, des still an immense wild territory. Océans is not a documentary, but danses gracieuses des baleines à bosse a wildlife opera. Each underwater cameraman, each director of et des seiches géantes, de l’horreur des photography, bringing fragments of the score: that of a hymn to agressions faites aux océans et à leurs the sea. créatures, de l’incroyable spectacle de la mer déchaînée dans une tempête Jacques Cluzaud titanesque, du silence d’un musée des Director espèces disparues… In an attempt to tell the story of the oceans, we sought to Océans n’allait pas chercher à expli- open doors other than those of statistics: those of a fantastic quer des comportements, ne donnerait and magical tale, the marvels of the small world of the coral pas d’informations sur les espèces, ne reefs, the heroism of dolphins in full action, the gracious danc- chercherait pas à enseigner… mais à es of the hump-back-whale and giant squids, the horror of the faire ressentir. Dans quelle direction aller abuses made on the oceans and their creatures, the incred- pour trouver du “nouveau” ? Une seule ible spectacle of the sea unleashed in a titanic storm, the réponse : dans toutes les directions pos- silence of a museum of extinct species… Océans does not at- sibles. Le mouvement bien sûr, comme tempt to explain behavior, to give information about the spe- pour Le Peuple migrateur en accom- cies, nor to teach… but aims at arousing our feelings. Where pagnant les espèces marines dans la to go to find something “new”?T here was only one answer: dynamique de leurs déplacements. in all possible directions. Movement, of course, as in Winged Mais aussi la recherche d’une nouvelle Migration, by accompanying marine life in the dynamics of its façon d’éclairer dans l’obscurité ou travels. But also to search for new ways of lighting up obscurity dans la nuit des océans. Et avant tout, or the ocean night? Above all, the indispensable contact with l’indispensable contact avec l’animal the animal being filmed until we obtained shots transforming filmé jusqu’à obtenir les plans qui trans- the subject into a character. formeront le sujet en personnage.

17 Demain dès l’aube

feature French actor Aurélien Recoing presents Demain dès l’aube

English synopsis General audience A story about the relationship between two brothers, the young- director Denis Dercourt est is obsessed with historic battles, to the point of being cut off screenplay Denis Dercourt, from reality and only existing through role-playing games reen- Jacques Sotty acting the Napoleonic period. Mathieu, the oldest, following his starring Vincent Perez, Jérémie Rénier, mother’s request, tries to entice Paul away from this mysterious Aurélien Recoing, Anne Marivin and secret world, where the border between play and real- running time 1h 40min ity doesn’t always exist. To manage to do so, he has no other choice than to also enter into the game...

Synopsis en français La relation de deux frères dont le plus jeune est passionné de batailles historiques, au point d’être coupé de la réalité et de ne plus vivre qu’à travers des jeux de rôles reconstituant la période napoléonienne. À la demande de leur mère, Mathieu, l’aîné, va tenter de sortir Paul de cet univers mystérieux et secret où la frontière entre jeu et réalité n’existe pas toujours. Pour y parvenir, il n’aura pas d’autre choix que d’y basculer à son tour...

18 Interview with director Denis Dercourt Entretien avec le réalisateur Denis Dercourt How did you find out about the world of historical Comment avez-vous eu connaissance de cet reenactment described in Tomorrow at Dawn? univers de reconstitution historique que dépeint Eight years ago, I discovered in a newspaper Demain dès l’aube ? article the existence of people who, every week- Il y a huit ans, j’ai découvert par un article dans un end, dress themselves in costume and recreate as journal l’existence de ces gens qui chaque week- faithfully as possible certain historical periods. The end endossent un costume et recréent aussi fidèle- Napoleonic era is the one that is most often recre- ment que possible certaines périodes historiques, la ated. It is a rather secret phenomenon, yet it exists plus représentée étant l’époque napoléonienne. pretty much everywhere in the world. This milieu C’est un phénomène assez secret, mais qui existe is not that foreign to me as I am a baroque musi- un peu partout dans le monde. Ce milieu n’était cian by training, which is also a universe where pas si éloigné de moi puisque de par ma forma- many elements from the period must be reconsti- tion, je viens de la musique baroque, un univers où tuted. Thus, much in the way baroque musicians l’on reconstitue également beaucoup les données use antique instruments, participants in role play- de l’époque dont on joue la musique... Ainsi, de ing games develop a very specific knowledge la même façon que les musiciens ont recours aux of Napoleonic times, unearthing the language, instruments anciens, les participants à ces jeux de costumes, weapons, and battles among other rôles développent une connaissance très précise de things… All of this fascinated me and I understood l’époque de Napoléon, et en exhument le langage, that the strangeness of this phenomenon was just les costumes, les armes, les batailles …Tout cela m’a right for the mechanics of a thriller and the tension fasciné et j’ai compris que l’étrangeté de ce phé- of a genre film. nomène serait propice à ce qu’on lui imprime une mécanique de thriller, une tension de film de genre.

19 Hitler à Hollywood

English synopsis feature In this movie, Pulp Fiction actress, Maria de Medeiros presents Director herself as the director of a documentary paying homage to Frédéric Sojcher presents another actress, Micheline Presle, whose career started in the Hitler à Hollywood early thirties. Evoking the renowned filmmakers with whom she worked, Micheline Presle mentions Luis Aramcheck, who di- rected her in 1939. The fragments of one of Aramcheck’s films, who has disappeared since the Second World War, launches de Madeiros on the trail of a forbidden work that could have changed the history of international filmmaking forever, Hitler in Hollywood. The film is a thriller that blends, in a treasure-hunt, archives and recomposed images, true or false interviews and action scenes.

Synopsis en français Dans le film, l’actrice de Pulp fiction Maria de Medeiros réalise un documentaire en hommage à une autre actrice, Micheline Presle, dont la carrière a commencé à la fin des années 30. En évoquant les cinéastes illustres avec lesquels General audience elle a tourné, Micheline Presle mentionne un certain Luis director Frédéric Sojcher Aramcheck, réalisateur avec lequel elle a travaillé en 1939. screenplay Renaud Andris, Les bribes d’un film d’Aramcheck, disparu depuis la Seconde Lionel Samain Guerre Mondiale, lance Maria de Madeiros sur les traces starring Maria de Medeiros, Micheline d’une oeuvre interdite, qui aurait pu changer pour toujours Presle, Wim Willaert, Hans Meyer l’histoire du cinéma mondial, Hitler à Hollywood. Ce film est un running time 1h 26min thriller, qui mélange, dans un jeu de pistes, archives et images recomposées, vrais ou faux interviews et scènes d’action.

20 Interview with director Frédéric Sojcher The film is a very special visual universe, what’s the main meaning of it? It is like a game between present and past, main actors and secondary actors. Also, it was for me, a way to caution the audience: be attentive, it is not a documentary; it’s a fiction.

Who influenced you? Entretien avec le réalisateur The comedy of Ernst Lubitsch and Billy Wilder influenced me. Frédéric Sojcher I like David Lynch’s movies, the strangeness, between reality Le film a un univers visuel très intéressant, and fantastic. So I like a lot of different things, for instance quelle en est la signification ? Kubrick, for me he is one of the best movie directors in the history of cinema. C’est comme un jeu entre le présent et le passé, les acteurs principaux et les acteurs Javier Bardem was in the film but you cut him. de second plan. Pour moi, c’est une façon Why did you cut him? de dire au public : faites attention, ce n’est I love Javier Bardem, to me he is one of the best actors pas un documentaire, c’est une fiction. nowadays, but when you are making a film, you have to Qui vous a influencé ? choose what is best for the film.T he scene with Javier Bardem was perfect as a scene, but not for the film. La comédie d’Ernst Lubitsch et Billy Wilder m’a influencé. J’aime les films de Da- Does your film, in the end, give an answer? vid Lynch, étranges entre la réalité et le It gives some answers, but not all the answers. My hope fantastique. Donc, j’aime beaucoup de and that is why I like the movie, is that after seeing it, the choses différentes, comme Kubrick, pour audience continues to think about it. moi il est l’un des meilleurs réalisateurs dans l’histoire du cinéma.

Cinefest, Miskolc, 2010. September 12th, 2010. Javier Bardem était dans le film mais vous l’avez coupé au montage. Pourquoi ? J’aime Javier Bardem, pour moi, il est l’un des meilleurs acteurs aujourd’hui, mais quand on fait un film, on doit choisir ce qui est meilleur pour le film. La scène était parfaite en tant que scène, mais pas pour le film.

Est-ce que votre film donne une réponse à la fin ? Il donne quelques réponses mais pas toutes les réponses. Mon espoir, et c’est pourquoi j’aime le film, c’est qu’après avoir vu le film, les spectateurs continuent d’y penser.

Cinefest, Miskolc (Hongrie), 12 Septembre 2010.

21 Pieds nus sur les limaces

feature French director Fabienne Berthaud presents Pieds nus sur les limaces

English synopsis Lily is like no other girl. She lives in a whimsical world in harmony parental guidance with nature in the middle of the countryside at her mother’s director Fabienne Berthaud house. Her elder sister, Clara, is married to a young lawyer who screenplay Fabienne Berthaud, has a bright future; she lives and works in a big city far from home. Pascal Arnold When their mother dies, Clara must turn her life upside down in starring Diane Kruger, Ludivine Sagnier, order to take care of Lily. Influenced by her sister, Clara starts Denis Menochet, Brigitte Catillion, questioning her own life values and enjoying a new freedom... Jacques Spiesser, Anne Benoît running time 1h 48min Synopsis en français Fabienne Bertaud's books are available Lily ne ressemble à personne. Elle vit dans un univers fantaisiste for purchase and signing in the Byrd en harmonie avec la nature, en pleine campagne chez sa Theatre lobby. mère. Sa sœur aînée, Clara, mariée à un jeune avocat plein d’avenir, vit et travaille dans une grande ville loin de la maison familiale. À la mort de leur mère, Clara doit bouleverser sa vie pour s’occuper de Lily. Sous l’influence de celle-ci, Clara va se remettre en question et goûter à une certaine liberté...

22 Interview with Fabienne Berthaud (director/screenwriter) When did you get the idea for Pieds nus sur les limaces? I wrote the book while I was shooting my first feature film, Frankie… It came as a logical conclu- sion to my work. The whimsical nature of the spirit, reaching one’s outer limits, looking at peoples’ vulnerability and their differences, are all recurrent themes in my work.

What touched you about Lily’s character? Her freedom, her capacity to live for the moment. Why did you choose Ludivine Sagnier to play the I like people who do not fit into a mold.T hey have role of Lily? Lily’s character is extremely complex. It was essen- a strong sensibility and it keeps them from ac- tial to find an actress whose child-like quality was cepting the rules of society that seem arbitrary. still palpable, someone who projects pureness, truth, Lily’s character pushes the envelope of normality while being generous all at once. There is no half and makes us question how we live, while offering measure with a role like that. Ludivine was an obvi- other possibilities for those who do not fit into the ous choice. She is an actress who gives all of herself “format”. without any restrictions. She works without a safety What made you think of casting Diane Kruger, net. She does not act, she is. She never cheats and your heroine in Frankie, for the role of Clara, is very generous. She has the ability to forget herself Lily’s older sister? and take on another persona to the point of physi- cally changing. We wanted to work with each other again. She is part of my universe, my life, my family. I love framing Do you prefer literature or cinema? her in my camera. She inspires me. She is vulnerable I like them both! I need one to make the other. They and strong at once. I love that duality. She is capable echo each other. I find my film subjects in my novels. of expressing things in silence with a lot of subtlety. And ideas for novels in my films.

Entretien avec Fabienne Berthaud (réalisatrice/scénariste) Quand est née l’idée de Pieds nus Quand avez-vous pensé à Diane Il n’y a pas de compromis à faire sur les limaces ? Kruger, votre héroïne de Frankie, quand on accepte d’interpréter J’ai écrit le roman pendant que pour jouer Clara, la sœur aînée un rôle comme celui-ci. Ludi- je tournais mon premier long- de Lily ? vine s’est imposée comme une métrage, Frankie… Il s’agit d’une Nous avions envie de retravailler évidence. suite logique à mon travail. La ensemble. Elle fait partie de mon Ludivine est une actrice qui fantaisie de l’esprit, les états limites, univers, de ma vie, de ma famille, donne tout sans restriction. Elle la fragilité et la différence sont des j’adore l’avoir dans l’œil de ma travaille sans filet. Elle ne joue pas. thèmes récurrents chez moi. caméra. Elle m’inspire. C’est une Elle est. Elle ne triche jamais et actrice fragile et forte en même Qu’est-ce qui vous a touché dans propose énormément. Elle a la temps. J’aime cette dualité. Elle faculté de s’oublier pour devenir le personnage de Lily ? est capable d’exprimer les cho- Sa liberté, cette capacité à vivre une autre au point de se chang- ses dans les silences avec beau- er physiquement. l’instant. Je m’intéresse aux gens coup de subtilité. qui n’entrent pas dans « les cases » Vous préférez la littérature ou le et dont la trop grande sensibilité Pourquoi avez-vous choisi Ludi- cinéma ? les empêche de s’intégrer dans vine Sagnier pour jouer Lily? Les deux ! J’ai besoin de l’un la société telle qu’elle nous est Le personnage de Lily est d’une pour faire l’autre. Ça se répond. proposée. Le personnage de Lily extrême complexité. Il fallait trou- Je trouve mes sujets de films dans repousse les limites de la normalité ver une actrice dont l’enfance mes romans. Et des idées de ro- et nous fait nous interroger sur résonne encore, qui dégage mans en réalisant des films. les solutions de vie possibles, de une pureté, une vérité et qui soit quelqu’un qui n’entre pas dans le d’une grande générosité. Ce « schéma ». n’est pas un rôle en demi-mesure.

23 L’Empire du Milieu du Sud

English synopsis feature Using images of unreleased archives about Vietnam coming French director from all parts of the world, accompanied by literary texts by Jacques Perrin and Vietnamese (Nguyen Trai, Nguyen Du, Bao Ninh…), French Production Manager (André Malraux, Albert de Pouvourville, Marguerite Duras, Olli Barbé present Pierre Schoendoerffer…) and Americans, Jacques Perrin and Eric Deroo retrace the fascinating and heart-wrenching story L’Empire du Milieu du Sud of Vietnam, from the French colonization to the fall of Saigon. Coming from the south of China thousands of years ago, the Vietnamese have not ceased fighting against invaders from neighboring regions. As subjects of the Empire du Milieu du Sud, the Vietnamese people have continuously claimed their legitimacy over the northern Delta and then the entire long peninsula, while expelling their successive western invaders.

Synopsis en français Sur des images d’archives inédites du monde entier qu’accompagnent des textes de la littérature vietnamienne (Nguyen Trai, Nguyen Du, Bao Ninh…), française (André Mal- raux, Albert de Pouvourville, Marguerite Duras, Pierre Schoen- doerffer…) et américaine, Jacques Perrin et Eric Deroo retra- cent l’histoire fascinante et douloureuse du Viêt-nam, de la colonisation française à la chute de Saïgon. Venus du Sud de la Chine il y a des millénaires, les Vietnamiens ont sans cesse été en lutte contre leurs envahissants voisins. Sujet d’un Empire du Milieu du Sud, le peuple viet s’est acharné General audience à affirmer sa légitimité sur le Delta du Nord puis sur toute la directors Jacques Perrin, Eric Deroo longue péninsule tout en chassant les envahisseurs occiden- executive producers Jacques Perrin, taux successifs. Nicolas Dumont production manager Olli Barbé running time 1h 26min

24 Jacques Perrin’s and Eric Deroo’s statements of intent The history of Vietnam is also ours, as French, as Americans… This is what motivated us to make this film.T he project L’Empire du Milieu du Sud posed a double challenge. Technically, this project is the outcome of research, an ex- tensive collection of all records filmed about Vietnam in the entire world, … archived films, documentaries and fiction, professional and amateur. Artistically, i.e. regarding the cinematographic writing, after months of screening, it ap- peared to us that most of the gathered images contain or capture the elements that constitute the profound nature of the soul of Vietnam. A soul that shows through its literature, Notes d’intention de Jacques Perrin et d’Eric Deroo poetry, music, Vietnamese arts, and more recently, cinema… L’histoire du Vietnam est aussi la nôtre, à nous Français, à nous As heirs to the Chinese Confu- Américains… C’est cela qui a motivé notre désir d’en faire un film. cian tradition, the Vietnamese Le projet L’Empire du Milieu du Sud répond à un double défi. Sur occupy a symbolic universe le plan technique, ce projet est l’aboutissement d’une recherche, between sky and earth, moun- d’une véritable quête de tous documents filmés sur le Vietnam tains and water. The Nam Tien dans le monde entier, … films d’archives, documentaires et de movement , also called ’’The fiction, professionnels et amateurs. Sur le plan artistique, celui de March Towards the South’’, l’écriture cinématographique, après des mois de visionnage, il nous finally concluded in 1975 with est apparu… que la plupart des images recelaient, captaient, les the occupation of Saigon by éléments qui constituent la nature profonde de l’âme du Vietnam. the Northern troops… An ir- Une âme qui transparaît dans toute la littérature, la poésie, la mu- reversible motion like the long sique, les arts vietnamiens, plus tard le cinéma… battle between water and mountains, sky and earth, iron, Héritiers de la tradition confucéenne chinoise, les Vietnamiens forest and fire, a brawl be- occupent un univers symbolique entre le ciel et la terre, entre les tween giants in which humans monts et les eaux. Un mouvement qualifié de Nam Tien, « la Marche only occupy a tiny, predeter- vers le Sud », trouvera finalement son aboutissement en 1975 avec mined space. A nature that la prise de Saïgon par les troupes du Nord… Un mouvement irré- transcends history even if the versible comme la longue lutte des eaux et des monts, du ciel et latter was particularly violent de la terre, du fer, du bois et du feu, une empoignade entre géants in Indochina, and makes the dans laquelle les hommes n’occupent qu’une place infime, au ambitions, the vain human at- destin déjà scellé. Une nature qui transcende l’histoire, même si elle tempts all the more poignant, fut particulièrement violente en Indochine, et rend les ambitions, les pathetic, desperate, cruel, and velléités humaines d’autant plus poignantes, pathétiques, déses- sometimes admirable… pérées, cruelles, parfois admirables…

25 L’Âge de raison

feature French actress Juliette Chappey presents L’Âge de raison

General audience director Yann Samuell screenplay Yann Samuell English synopsis starring Sophie Marceau, Marton Csokas, Michel Duchaussoy, Jona- “Dear Me, than Zaccaï, Thierry Hancisse, Débo- Today I’m seven years old and I am writing you this letter to help rah Marique, Emmanuelle Grönvold, you remember the promises that I’ve made during the Age of Juliette Chappey, Roméo Lebeaut, Reason and to also remind you what I want to become...” Alexis Michalik, Emmanuel Lemire So begins the letter that Margaret, an accomplished business running time 1h 37min woman, receives on her 40th birthday.

Synopsis en français «Chère moi-même, Aujourd’hui j’ai 7 ans et je t’écris cette lettre pour t’aider à te souvenir des promesses que je fais à l’âge de raison et aussi te rappeler ce que je veux devenir...» Ainsi commence la lettre que Margaret, femme d’affaires ac- complie, reçoit le jour de ses 40 ans. 26 Interview with director Yann Samuell How was this third film born? Above all, it is an idea I had for my own life. The day of my 18th birthday, I asked myself what I would want to receive as a gift, and I decided that it would be tremendous to hear about my life when I was a child and to remember the things that had been important to me.

The secondary characters are delectable and hold many surprises. How did you imagine them? I love the French cinema of the ’50s and ’60s that had strong roles for Interview with Sophie Marceau (actress) secondary characters. Consequently, when I make a film, I try to work in that style. Moreover, from the Given all the great women with whom Marguerite moment when I work with actors whom I like, I owe identifies which one of them do you feel the it to them to trust them with complex roles worthy closest to? of their talent. They are all women who had a particular talent, and whom I admire, like Mother Teresa, Marie Curie The young girl is tremendous, so fresh and natural. or Ava Gardner. I believe that I would have liked to How did you find her and direct her? be Maria Callas because singing procures an imme- The young Juliette had astonishing professionalism. diate emotion. But, deep down, all women are formi- Unlike many children who look to match the im- dable beings. It is necessary to have a lot of cour- age that they have of an actor, she has a natural age in order to take on all that awaits us, between elegance. our lives as mothers, professionals and spouses.

Entretien avec le réalisateur Du coup, quand je fais un film, rite s’identifie, quelle est celle Yann Samuell j’essaie de m’inscrire dans cette dont vous vous sentez la plus tradition. D’ailleurs, à partir du proche ? Comment est né ce troisième moment où je travaille avec Ce sont toutes des femmes qui long métrage ? des comédiens que j’aime, je avaient un talent particulier C’est avant tout une idée que me dois de leur confier des rôles et que j’admire, comme Mère j’ai eue pour ma propre vie ! Le complexes et à leur hauteur. Térésa, Marie Curie, ou encore jour de mes 18 ans, je me suis Ava Gardner. Je crois que j’aurais demandé ce que j’aimerais La petite fille est formidable de aimé être Maria Callas parce recevoir comme cadeau, et je fraîcheur et de naturel. Comment que chanter procure une émo- me suis dit que ce serait formi- l’avez-vous trouvée et dirigée ? tion immédiate. Mais, au fond, dable de recevoir des nouvelles La petite Juliette a été d’un pro- toutes les femmes sont des êtres de moi quand j’étais enfant et fessionnalisme stupéfiant. Contrai- formidables : il faut beaucoup de me souvenir des choses qui rement à beaucoup d’enfants de courage pour affronter tout avaient compté pour moi. qui cherchent à correspondre à ce qui nous attend, entre nos l’image qu’ils ont d’un acteur, elle vies de mamans, nos vies profes- Les personnages secondaires a une élégance naturelle. sionnelles et nos vies d’épouses. sont savoureux et réservent pas mal de surprises. Comment les avez-vous imaginés ? Entretien avec Sophie J’adore le cinéma français des Marceau (actrice) années 50-60 qui accordait une Parmi toutes les grandes figures vraie place aux seconds rôles. de femmes auxquelles Margue- 27 Coucou-les-Nuages

English synopsis short Frida is in love with Hans, French director but he only dreams Vincent Cardona presents about one thing: travel- Coucou-les-Nuages ling in space. He believes that he found a way to director Vincent Cardona do it. producer La fémis running time 35min Synopsis en français Frida est amoureuse de Hans mais Hans n’a qu’un rêve : partir dans l’espace. Il pense avoir trouvé le moyen de le faire.

Les Larmes de la luciole

English synopsis short Lei has lost her inspiration. One evening, she visited an old French director friend, a tattoo artist, to re-color a drawing of a bud she of photography wears on her forearm. Back in her studio, while she is looking Benoît Mars presents for a new texture of ink, a few drops of blood fall from the tattoo and mingle with the black on the canvas. Inspiration Les Larmes de la luciole comes back! As her paintings get more and more illumi- nated, larger and larger, Lei becomes slimmer and slimmer, paler and paler…

Synopsis en français Lei ne trouve plus l’inspiration. Un soir, elle rend visite à un vieil ami, un tatoueur, afin que celui-ci recolore un dessin de bour- geon qu’elle porte sur l’avant-bras. De retour à son atelier, alors qu’elle cherche une nouvelle texture d’encre, quelques gouttes de sang tombent du tatouage et se mêlent au director Antoine Mocquet noir sur la toile. Elle reprend alors les pinceaux. Ses tableaux producer ENS Louis Lumière s’illuminent, deviennent de plus en plus grands, alors que Lei pâlit et s’amaigrit de toile en toile… director of photography Benoît Mars running time 16min

28 Son esquisse

English synopsis short The portrait of a young French director woman of the nineteenth Charlotte Michel presents century falls in love with an art student and, while es- Son esquisse caping with him, takes out of his routine a very Cartesian director Charlotte Michel police inspector. producer ENS Louis Lumière running time 11min Synopsis en français Le portrait d’une jeune femme du XIXème siècle tombe amoureux d’un étudiant en arts et, en s’échappant avec lui, sort de sa routine un inspecteur de police très cartésien.

Le Concile lunatique

English synopsis short A young man opens the window of his attic room and discovers a French director of lunar landscape which submerges him and threatens to imprison photography Sara Sponga him in an eternal sheet of ice. He closes the window to escape this vision and hears from deep inside his soul the sound of a poem presents the animation being sung. ‘Methinks it is time to be reborn mocking’, he calls out Le Concile lunatique to a singing streetlamp that has come up to his window… This short is part of a collection of movies dedicated to French romantic poets from the 19th century. Like La Vita nuova for Gé- rard de Nerval, Un spectacle interrompu for Stéphane Mallarmé, Le Concile lunatique is a cinematographic palimpsest directly inspired by the work and life of Jules Laforgue.

Synopsis en français Un jeune homme ouvre la fenêtre de sa chambre mansardée et découvre un paysage lunaire qui le submerge et menace de l’enfermer dans une glace éternelle. Il ferme la fenêtre pour directors Christophe Gautry, échapper à sa vision et entend du fond de son âme monter un Arnaud Demuynckl poème chanté. « M’est avis qu’il est l’heure de renaître moqueur » producer Arnaud Demuynckl lance t-il à un réverbère chanteur venu jusqu’à sa fenêtre… director of photography Sara Sponga Ce court-métrage fait partie d’une collection de films consacrée running time 13min aux poètes français romantiques du XIXe siècle. Comme La Vita nuova pour Gérard de Nerval, Un spectacle interrompu pour Stéphane Mallarmé, Le Concile lunatique est un palimpseste cinématographique directement inspiré de l’œuvre et de la vie de Jules Laforgue.

29 Le Meilleur Ami de l’homme

English synopsis short Henri, a 40 year old burn-out, works in a canine security guard French director unit posted in a suburban train station. One day his boss tells Vincent Mariette presents him to get rid of his only friend Oedipus, his narcoleptic old Le Meilleur Ami de l’homme Rottweiler. Unable to go through with it, Henri seeks comfort in a beer at the Bistrot de la Gare, the train station bar, and may find the solution to keep his four-legged friend…

Synopsis en français Henri, la quarantaine fatiguée, travaille comme maître chien dans une gare de banlieue. Un jour, son patron lui explique qu’il va falloir se débarrasser d’Œdipe, son vieux Rottweiler narcoleptique, son seul ami. Incapable de s’y résoudre, Henri trouve le réconfort auprès d’une bière au bistrot de la gare, et cherche un moyen de garder son ami à quatre pattes… director Vincent Mariette producers Christophe Barral, Toufik Ayadi running time 13min

Le Sans-Nom

English synopsis short A young boy, the French director ‘name-less’, lives Violaine Lécuyer apart from the world, presents the animation in a place he helped to create, both pro- Le Sans-Nom tected and shut in. director/screenwriter One day, aroused by Violaine Lécuyer sounds and images producer Yves Smadja from the outside, he decides to leave and explore the world. He then has to face the wrath of his abandoned creation and his fear of the running time 13min unknown. He then encounters a young girl.

Synopsis en français Un petit garçon, «le sans-nom», vit hors du monde dans le lieu qu’il a contribué à façonner. Il y vit protégé et enfermé tout à la fois. Un jour, des sons et des images venus de l’extérieur éveillent son désir de voir le monde. Il s’enfuit, poursuivi par sa création abandonnée et terrifié par l’inconnu. Il rencontre alors une petite fille.

30 L’Incroyable Voyage de Margaux

English synopsis short Margaux, a 7 year-old girl, dearly loves Ticky, her golden retriever. But French director the dog falls ill and dies prematurely. Christian, Margaux’s father, does Marc-Etienne Schwartz not know how to break the news to his daughter, and comes up with presents a plan to allow Ticky to remain alive in his daughter’s heart… L’Incroyable Voyage de Margaux Synopsis en français Margaux, une petite fille de 7 ans, director Marc-Etienne Schwartz a pour fidèle animal de compagnie Ticky, un golden retriever. Mais screenwriter Marc-Etienne Schwartz celui-ci tombe malade et meurt producer Marc-Etienne Schwartz prématurément. Christian, le père running time 20min de Margaux, ne sachant pas com- ment annoncer cette triste nouvelle à sa fille, va mettre en place un stratagème touchant et amusant pour que Ticky puisse continuer à vivre dans le cœur de sa fille…

Prunelle & Mélodie

English synopsis short Prunelle is blind, Mélodie deaf and mute. The two young women French director Mathieu Simonet, become friends in a special school meant to facilitate their actresses Julie Voisin and Maud adaption to daily life. Having created a system which permits Forget, actor Olli Barbé, producer them to communicate with one another, one day they decide Marc-Etienne Schwartz, and to pursue a common dream: to enter a world where their handi- still photographer Matthieu cap is no longer one. Determined to live out their great escape, Normand present Prunelle & Mélodie they must tap into their ingenuity to realize their dream…

Synopsis en français Prunelle est aveugle, Mélodie sourde et muette. Les deux jeunes femmes se sont liées d’amitié dans un centre d’éducation, destiné à faciliter leur adaptation à la vie quotidienne. Ayant mis au point un système qui leur permet de « communiquer » ensemble, elles partagent un jour un rêve en commun : rejoin- dre un monde où leur handicap n’en serait plus un. Décidées director Mathieu Simonet à vivre cette échappée belle, elles devront faire appel à leur screenwriter Mathieu Simonet ingéniosité pour aller jusqu’au bout de leur rêve... producer Marc-Etienne Schwartz running time 35min 31 Nuit blanche

English synopsis short As night is falling, a group of mountain climbers are trapped at the Belgian director top of the mountain by a storm. Leading them is Ariane, a young Samuel Tilman presents woman. A rescue patrol goes out after them. While waiting for the Nuit blanche patrol to arrive, their only lifeline is a state policeman, Serge, who tries over the phone to reassure them and help them fight the cold. But the storm does not subside and Serge gradually realizes that he might not be able to help them to survive through the night…

Synopsis en français A la tombée de la nuit, une cordée d’alpinistes est piégée par la tempête en haute montagne. A leur tête, une jeune fille,A riane. Un peloton de secours en montagne est envoyé à leur recherche. En director Samuel Tilman attendant, la seule personne en contact avec le groupe est un gen- producer Eric Franssen darme, Serge, qui tente par téléphone de les rassurer et des les aider running time 20min à se protéger du froid. La tempête ne faiblit pas et Serge réalise pro- gressivement qu’il n’arrivera peut-être pas à leur faire passer la nuit…

Ego Sum Petrus

English synopsis short Petrus, an old poet, lives in the “poetry shop” he closed a long time French director ago due to a lack of customers. Reclusive, he is stuck to his typewriter Julien Dexant presents in a dark and filthy room. But bitterness and hatred have paralyzed the animation his inspiration. The poor man looks in vain for an idea that could boost his creativity, but the failed poems pile up around and threaten to Ego Sum Petrus overwhelm him.

director Julien Dexant Synopsis en français producer Serge Elissalde, Petrus, un vieux poète, vit dans Olivier Catherin sa “boutique de poésie”, qu’il running time 5min a dû fermer il y a bien long- temps par manque de clients. Il y vit désormais en ermite, fixé à sa machine à écrire dans un bureau sombre et crasseux. Mais l’aigreur et la haine ont paralysé son inspiration. Le pauvre homme recherche en vain l’idée qui pourrait stimuler sa créa- tivité, mais les poèmes ratés s’amoncellent autour de lui et menacent de le submerger. 32 L’Accordeur

English synopsis short Adrien is a young piano prodigy. However, after failing an interna- French director tional competition, he suffers a psychological collapse, and now Olivier Treiner presents works as a piano tuner. As a cure for his hollow life, he schemes up L’Accordeur the idea to be blind to attract more customers. This trick revives Adrien’s passion for music. But seeing things he should not see makes Adrien fall into his own trap when his lie leads him to witness a murder...

Synopsis en français Adrien est un jeune pianiste prodige. Il s’est effondré psy- chologiquement après avoir échoué à un concours de renom et travaille désormais comme accordeur de piano. Comme remède à director Olivier Treiner cette vie, il s’invente un masque d’aveugle pour gagner plus de cli- screenwriter Olivier Treiner ents. Cet artifice permet àA drien de reprendre goût à la musique. Mais à force de voir des choses qu’il ne devrait pas voir, Adrien se producers Thibeaut Gats, Mathias Weber trouve pris à son propre piège quand ce mensonge le conduit à être le témoin d’un meurtre… running time 13min

Un jour sans

English synopsis short Fine Arts Academy in Vienna, 1908. French director Members of a jury having gotten a Yzabel Dzisky presents little tipsy over their lunch are mak- Un jour sans ing fun of the first candidate, who looks innocent and anxious. director Yzabel Dzisky All is at stake for him now... producer Yzabel Dzisky All is at stake for the Future at this screenwriter Yzabel Dzisky moment... running time 9min Synopsis en français Beaux Arts de Vienne 1908. Les membres d’un jury ayant trop arrosé leur déjeuner s’en donnent à cœur joie dès l’arrivée du premier candidat à l’allure candide et angoissée. Tout se joue pour lui à présent… Tout se joue pour l’avenir à cet instant…

33 34 fashion entertaining sexuality

A Style Weekly publication

March 2011

WoMen You Should KnoW: Shelley Briggs, Elli Sparks, Sarah Grady and More

Shape belle ShifterS Hiring a personal trainer

Brilliant spring fashion rates a second look

Double Take belle March issue on stands now 35 De L’Abolition sur Eurochannel, au Petit Baigneur sur TV5 Monde, vous pourrez profiter de la meilleure selection de films français. De plus, restez informé avec France 24 qui vous apporte les nouvelles du monde en direct et profitez des plus grands succès de la musique française sur Trace TV. Tout cela et plus sur DISH Network!

Surcharge de $10 par mois, obligation d’abonnement au bouquet International ou au bouquet America's Top. Tous les prix, bouquets et programmes sont sujets à changements sans avertissement. Les taxes locales ou les taxes de l'état pourront être appliquées. La programmation est disponible pour les particuliers habitant sur les territoires continentaux des Etats-Unis. Les termes et conditions de l'accord promotionnel et du contrat de l'abonné s'appliquent à toute la programmation du réseau DISH Network, et à tout autre service fourni. Ces termes et conditions sont disponibles sur demande. Equipement et programmation sont vendus séparément. Une deux- ième antenne parabolique peut être demandée pour pouvoir visualiser la programmation internationale et la programmation américaine. Toutes les marques déposées appartiennent à leurs propriétaires respectifs. ©2011, DISH Network L.L.C. Tous droits réservés. 36 Registration

Screenings of all feature films and a series of independent French short films will be held at the historic Byrd Theatre. The official reception will be held at the UR Jepson Alumni Center (UR Campus – 101 College Road) • Student, Faculty and Regular VIP passes include guaranteed seating at all screenings and Q&A sessions with the actors and directors. • There is a $25 add-on cost per pass for admission to the official reception on Saturday evening with the actors and directors (7-9 p.m., UR Jepson Alumni Center) • Tickets will be available at the box office 30 minutes before each screening. Tickets for each film are available for $15 at the box office. To guarantee your seating and to avoid lines at the door, buy a pass today.

Name: Address: Phone:

Registration: (Please include name to be printed on each pass.) These major credit cards also accepted: ❏ Regular VIP PASS, $115 per pass x $115 $ ❏ Visa ❏ Discover ❏ MasterCard ❏ Amex ❏ Faculty VIP PASS, $105 per pass x $105 $ Card # ❏ Student VIP PASS, $65 per pass (currently enrolled students) x $65 $ Exp. date Verification code ❏ $25 – Add-on per pass for Saturday’s official reception x $25 $ Cardholder’s signature Other donations to help support the festival (tax deductible) $ Phone ( ) Make your contributions payable to: The VCU French Film Festival Total $ Online credit card purchasing is also available at www.frenchfilm.vcu.edu.

Please mail this form and payment to: For information about hotel accommodations, please contact the Doubletree Virginia Commonwealth University Phone: (804) 827-FILM (office and.vcu.edu/arts/cinema/dept passes) Hotel Richmond Downtown at (804) 644-9871 and ask for the French Film French Film Festival Office E-mail: [email protected] Festival discount rate or visit http://doubletree1.hilton.com/en_US/dt/hotel 920 West Franklin Street, 3rd Floor /RICFSDT/index.do. Please note: Passes can be purchased via phone, P.O. Box 843073 For festival information and updates, visit by mail or in person at the French Film Festival Office. Passes are not

Richmond, Virginia 23284-3073 our Web site: www.frenchfilm.vcu.edu.http://www refundable after being printed and processed.

Supporting the French Film Festival: Virginia Commonwealth University and the University of Richmond present Isaac Moses Regelson Painting, poetry and clay creations Professional location scouting and location management services Beau-He-Me-N-Rib Richmon d , V irginiaThe work of Mary-Susan Kirkpatrick De L’Abolition sur Eurochannel, au Petit Baigneur Readers will appreciate sur TV5 Monde, vous pourrez profiter de la Immersion weekend for teachers of French and foreignthis languages soulful artist’s natural meilleure selection de films français. De plus, expression and great sense The Virginia Commonwealth University and University of Richmond Price information: Your cost for the totalof shape workshop and color. including Mary- French Film Festival offers a special opportunity for middle and the Faculty VIP Pass, graduate registrationSusan’s fee workand twoflows graduate gracefully restez informé avec France 24 qui vous apporte secondary-school teachers of French and foreign languages to use their credits is $400, or with one additional graduate credit is $475. across each canvas, accom- les nouvelles du monde en direct et profitez des French and/or increase their understanding of French culture through Contact Manon Caillosse at the festival office for more information. an immersion weekend during the festival, March 25-28, 2010. Registration deadline is March 10, 2010. panied by her insightful plus grands succès de la musique française sur poetry. The artist’s lifelong, The VCU and UR French Film Festival is a unique French cultural event French Film Festival Office distinctive style continues Trace TV. Tout cela et plus sur DISH Network! founded and directed by Drs. Peter and Françoise Kirkpatrick. The 920 West Franklin Street, 3rd Floor into three dimensions with a festival showcases newly released films from France. All screenings P.O. Box 843073 selection of her favorite clay are at the historic Byrd Theatre in Richmond and have English subtitles. Richmond, Virginia 23284-3073 sculptures in matte shades of The French actors and directors come to town to present their new films Phone: (804) 827-3456 antiquity. to the American public in the Byrd Theatre with question-and-answer E-mail: [email protected] 132 pages, 8.5 x 11 sessions after each screening. A master class opens the festival on www.frenchfilm.vcu.edu inches, paperback $37.00 Friday afternoon. On Saturday evening, the French delegation of stars Begin the journey of Beau-He-Me-N-Rib. interacts further with viewers during the official reception held at the The immersionOrder French online atcultural MarinerMedia.com weekend is a collaboration among Jepson Alumni Center on the campus of the University of Richmond. In VCU College of Humanities and Sciences, VCU School of World VirginiaBornandBred.com • By special addition to the regular activities and events of the festival, the weekend Studies, VCU Office of Continuing Studies, VCU Division of request at any bookstore or online retailers is a true immersion experience in French culturec. and(804) language 301-0111 for Community Engagement, the Cultural Services of the French www.imrlocations.commiddle and high school teachers of [email protected] and foreign languages. Embassy andISBN the 978-0-9820172-0-3 American Association of Teachers of French Teachers will be able to earn up to two or three graduate credits. of Virginia. design services by: TORXMEDIA.COM

37 VCU is an equal opportunity/affirmative action university. 100128-05 french film festival 51 SOCIETYSOCIETYSOCIETY OF OF OF DRAMATIC DRAMATIC DRAMATIC AUTHORS AUTHORS AUTHORS AND AND AND COMPOSERSCOMPOSERS COMPOSERS SOCIETY OF DRAMATIC AUTHORS AND COMPOSERS SACD,SACD,SACD, in in in France France France moreSACD, than in France two centuries moremoremore than than than two two two centuriescenturies centuries ofofof experience experienceexperience inof managingexperience authors’ rights ininin managing managingmanaging authors’authors’ authors’ rights rights SACD collects and distributes royalties on behalf of playwrights, SACDSACD collects collects and and distributes distributes royalties royalties on onbehalf behalf of playwrights,of playwrights, writers,SACD collects directors and of distributes feature films royalties and televisionon behalf ofmotion playwrights, pictures writers,writers,writers, directors directors directors of of featureof feature feature films films films andand and televisiontelevision television motionmotion motion picturespictures pictures SACD, a society managed by authors and for authors SACDSACDSACD, a, ,societya a society society managed managed managed by by authorsby authors authors andand and for forauthors authors SACD, a society open to the world SACDSACDSACD, a, ,societya a society society open open open to to theto the the world world world SACD, an economic, legal, cultural and social mission SACDSACDSACD, an, ,an aneconomic, economic, economic, legal, legal, legal, cultural cultural cultural andand and socialsocial social mission mission

SACD builds the future for 44,000 authors SACDSACDSACD builds builds builds the the the future future future for for for 44,00044,000 44,000 authors authors

www.sacd.fr France : www.sacd.fr | Belgique : www.sacd.be | Canada : www.sacd.ca

www.sacd.fr France : www.sacd.fr Belgique : www.sacd.be Canada : www.sacd.ca www.sacd.fr France : www.sacd.fr | |Belgique : www.sacd.be | | Canada : www.sacd.ca www.sacd.fr France : www.sacd.fr | Belgique : www.sacd.be | Canada : www.sacd.ca Theatre | Music | Staging | Circus arts | Street arts | Cinema | Television | Animation | Radio Theatre | Music | Staging | Circus arts | Street arts | Cinema | Television | Animation | Radio TheatreTheatre | Music | Music | Staging | Staging | Circus | Circus arts arts | Street | Street arts arts | Cinema | Cinema | Television | Television | Animation | Animation | Radio | Radio

38 Continuing our partnership to bring you the festival.

Notre boulanger et pâtissier français à Richmond The place to go before, between and after the films for sandwiches, soups and pastries.

3 blocks west of the Byrd Theatre, in Cary Court Park and Shop • Open Monday-Saturday, 7 a.m.-6 p.m.

Continue your conversation with the French actors and directors at Jean-Jacques.

Phone: (804) 355-0666 • 3138 W. Cary St. • www.carytownbakery.com

39 40 “Nous aimons le cinéma français et le popcorn. Qui ne les aimerait pas?”

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44 Welcome to the French Film Festival

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46 Save the day Saturday

Activities April 23 Eco-Friendly Vendors & Exhibits 12:00–7:00 PM Sustainable Activities for Kids New Manchester District Outdoor Gear Swap 320 Hull Street, RVA 23224 Art Exhibitions & Workshops James River Park Fish Festival Flood Wall Climb Live Local Music Local Food E-Recycling Farmer’s Market

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47 Nous parlons l’aviation.

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48

CRAC_2665_FrenchFilm.indd 1 2/17/11 11:21 AM PICASSO Masterpieces from the Musée National Picasso, Paris

Through May 15

A once-in-a-lifetime opportunity to see more than 170 works Picasso kept for his own collection—at its only East Coast venue!

Tickets: 804.340.1405 or www.VMFA.museum

Presenting Sponsor

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Picasso: Masterpieces from the Musée National Picasso, Paris was co-organized by the Musée National Picasso, Paris and the Virginia Museum of Fine Arts. The exhibition is FOLLOW RICHMOND INTERNATIONAL AIRPORT ON TWITTER AT WWW.TWITTER.COM/FLACK4RIC supported by an indemnity from the Federal Council on the Arts and the Humanities. Major Sponsors Dominion Resources, Mrs. Frances M. Dulaney, James W. and Frances G. McGlothlin Foundation, Pam and Bill Royall, and Clarice and Robert H. Smith. Official Airline Partner Delta Air Lines. Promotional Partners Amtrak Virginia, NBC 12, Richmond Magazine, and Richmond Times-Dispatch CAPITAL REGION AIRPORT COMMISSION | WWW.FLYRICHMOND.COM | 804.226.3000 IMAGE Portrait of Dora Maar, 1937, Pablo Picasso (Spanish, 1881–1973), oil on canvas, 36 1⁄4 x 25 9⁄16 in. (92 x 65 cm). Musée National Picasso, Paris. © 2011 Estate of Pablo Picasso / Artist Rights Society (ARS), New York. Photo: Réunion des Musées Nationaux / Art Resource, NY 49

CRAC_2665_FrenchFilm.indd 1 2/17/11 11:21 AM Nos remerciements à

Honorary President UR Students SACD Christiane Martin Claude Miller Alixandra Ablaza Pascal Rogard Jennifer Gore Marit Allen Bertrand Tavernier Anne Lestienne Directors/Founders Lorena Bolanos Jacques Fansten Aurélia Prévieu Dr. Peter Kirkpatrick Martha Crockett Gérard Krawczyk Violaine Miclet Dr. Françoise Ravaux-Kirkpatrick Adam Davis Valérie-Anne Expert Joachim Alimi-lchola Associate Director Savannah Gillespie Nathalie Germaine Antoine Blanc Richard W. Haselwood Kaitlin Hill Christine Coutaya Marielle Jubert Emma Hines Anne Houeïx de la Brousse Cécile Lenoir Festival Assistants Patrick Holland Marjorie Reymond Myriam Afgour Agence du Court Métrage Vivian Hou Benjamin Garçon Heloise Beaufils Karim Allag Justin Mallaney Marie Herault-Delanoë Barbara Bobillier Rachaphum Panichsombat La Fémis Isabel Moya-Serrano Diane Catala Alexandra Papa Raoul Peck, President Sébastien Aubert Floriane Ferenbach Emily Prior Marc Nicholas, General Director Maïlys Bernadet Mélanie Grandserre Alaina Reukauf Pierre-William Glenn, Image Julien Foullon Hind Kacem Jean-Jacques Bouhon, Image David Guiraud Soujoud Khamassi Mary-Helen Sheehan Pascale Borenstein Mathieu Havoudjian Keltoum Lahbabi Sloane True Alexandra Vlasic Géraldine Amgar Jean-Baptiste Prevost Chanaella Lezoma Cécile Zandvliet Sophie Perrot Special Thanks CST Sabrina Bengeloune Géraldine Seyve Michael Rao, VCU President Pierre-William Glenn, President John Forsythe Moira Tulloch Editing and Graphic Design Edward Ayers, UR President Marie-Caroline Fourmont Rip Hampton O’Neil VCU Creative Services Stephen Allred, UR Provost Cécile Mouly Alain Besse Joel Smith, Style Weekly Magazine Eugene P. Trani, Ph.D., Angélique Tresse VCU President Emeritus Panavision Graduate Course Liaison Participation includes Sue Ann Messmer Alain Coiffier Edward Howard Carytown Merchants Association France Amérique Other Special Thanks Digimage Festival Photographers France Today Governor Robert F. McDonnell Denis Auboyer Pierre Courtois Les Cahiers du Cinéma Senator Mark Warner Angelo Cosimano Leslie Courtois Governor Douglas Wilder Positif Eurochannel Camerawork Mayor Dwight C. Jones Style Weekly Magazine Jacqueline Francis VCUarts Cinema students: Governor Timothy Kaine Tonie Garcia-Stevens Jean-Jacques Bakery John Payne Joel Smith Centre National de la France Magazine Yossera Bouchtia McCandlish Holton, PC Cinématographie River City Cellars/SECCO Jasce Burrows Tom Foster Eric Garandeau Virginia Production Alliance Michael Duni Dominic Madigan Gérard Krawczyk Virginia Film Office James W. Hardesty Kelly Lyda Southern Wishes Ana Figueroa Embassy of France to IMR Locations Amy Fox the United States The Byrd Theatre Ouroboros Alexandra Sproles His Excellency, François Delattre, Todd Schall-Vess Peggy Guy & Associates, LLC Gerhard Stiene French Ambassador The Virginia Film Office Chadwick Orchids UR Film Studies student: His Excellency, Jean-David Levitte, Rita D. McClenny Belle Vie Justin Mallaney former French Ambassador Mary Nelson Bistro Bobette Michel Schaffauser, French VCU Students Bonvenu Consul General Dish Network Dagmawie Andarge Pearl's Cupcake Shoppe Roland Celette, Cultural Attaché Sara Andrassy Former Assistants Millie’s Alana Black UniFrance Laure Breillot Weezie’s Kitchen Sophie Black Antoine de Clermont-Tonnerre Manon Caillosse The Black Sheep Yossera Bouchtia Margaret Menegoz Myriam Guedjali Classic Party Rentals Kaila Caldwell Régine Hochondo Adrien Guillon Verne Amour Wine Bistro Annie Delamatta Daniel Toscan du Plantier† Amale Moktafi Can Can Kim Green John Kochman Aurore Philippon Anne N. Chapman Margaret M. Gupton Florence Charmasson Mathieu Robiquet Peggy Guy James W. Hardesty Yann Raymond Frédérique Ranger Pascal Renault Stephanie Horton Christine Gendre Ophélie Adeline Ishac Nasri Alex Import Séraphina Panaud-Coxe Natacha Bécard Mike Hood Cameron Noël Ainhoa Jauregui Nancy Miramont Wade Carmichael Michael Sarraino Erell Tanguy Pierrick Beaugendre Nancy Christiansen Sarah Lisk Laetitia Beuscher Joe Cusumano† McKenna Saady L’ARP Anaëlle Bourguignon Isaac Moses Regelson Kelly Murray Florence Gastaud Elodie Bouscarat Sylvia Regelson Haley Pettit Jean-Paul Salomé Karine Pardé Mary Susan Kirkpatrick Sarah San Juan Pierre Jolivet Alexandre Planet Ruth at Images Salon Carter Tuttle Jeanne Labrune Eoin Landers Andy Howell

50 Todd Gelsolmino Maurice Dugowson† Claude Rich Johann Gloaguen Kevin Roberts Albert Dupontel Jacques Richard Mathieu Guetta Amy Hess J.K. Eareckson Maïdi Roth Dominique Guillo Art Chadwick Serge Frydman Jean Roy Jeanne Guillot Nina Whittleon Thierry de Ganay Michel Royer David Guiraud Anne Stewart José Giovanni† Régis Royer Samuel Hercule Paul Heitz Jacques-Rémy Girerd Jérôme Salle Sébastien Hestin Meg Lawler Pierre-William Glenn Lucine Sanchez Guillaume Husson Chris Ripp Vivianne Glenn Pierre-Olivier Scotto Gabriel Jacquel Julia Battaglini Romain Goupil Christophe Servell Eric Jameux Jason Savedoff Sanda Goupil Clément Sibony Fanny Jean-Noël Lisa Edwards Sébastien Grall Mathieu Simonet Daniel Jenny Paul Keevilee Cyril Guelblat Abderrahmane Sissako Charlotte Joulia Jozef and Liliana Bindas Eric Guirado Jules Sitruk Macha Kassian J. Daniel Hartman Yves Hanchar Pamela Soo David Kremer Jessica R. Abernathy Jean Loup Hubert Agnès Soral Damien Lagogué Osama Alami Guy Jacques Thomas Sorriaux Toinette Laquiére Elizabeth Hiett Camille Japy Bertrand Tavernier Jean-Philippe Laroche McKenna Brown Alexandre Jardin Seydou Togola Franck Lebon Wythken Printing Cédric Kahn Eric Toledano Julien Lecat Chuck Aiken Pierre Kalfon Philippe Torreton Yann Le Gal Ric Withers Sam Karmann Rob Tregenza Simon Lelouch Stephanie Danis Antoine Khalife Martin Valente Emeric Lemaître Yves Danis Gérard Krawczyk Alexandra Vandernoot Sylvie Léonard Karine Videl Carine Lacroix Daniel Vigne Jean-Pierre Léonardini Xavier Meers Jean-François Laguionie Lambert Wilson Georges Le Piouffle Francis Devillier Philippe Lasry Ariel Zeitoun Fabrice Luang-Vija Wendy Kalice Anne-Sophie Latour Christian Zerbib Stéphanie Machuret Yves Lavandier Karl Zéro Adetoro Makinde Participants in past Sandrine Le Berre Chiara Malta VCU French Film Festivals Short Film Participants Gilles Legrand Gabriel Mamruth Mona Achache Mona Achache Léo Legrand Xavier Marquis George Aguilar Marie-Paule Anfosso Claude Lelouch Guillaume Martinez Jean-Pierre Améris Karine Arlot Gilles Lellouche Patrick Maurin Jean-Hugues Anglade Sébastien Aubert Serge Le Péron Vincent Mayrand Luis Armando Arteaga Serge Avédikian Dominique Le Rigoleur Alexandre Mehring Tristan Aurouet Olivier Ayache-Vidal Jalil Lespert Christian Merret-Palmair Abdelkrim Bahloul Lionel Bailliu Jean-Louis Leutrat Florence Miailhe Josiane Balasko Antoine Baladassi Thierry Lhermitte Yoann de Montgrand Marc Barrat Jean-Luc Baraton Suzanne Liandrat-Guigues Pierre-Yves Mora Jean Becker Olivier Bardy Jean-Paul Lilienfeld Camille Moulin-Dupré Véra Belmont Stephane Belaïsch Philippe Lioret Valérie Müller Laurent Bénégui Violaine Bellet Julie Lopes-Curval Xavier Mussel Touria Benzari Senda Bonnet Jean Marboeuf Joel Olivier Olivia Bonamy Yves Brodsky Pierre Marcel Virginie Peignien Gérard Bitton Vincent Burgevin Gianni Marchesi Jean-Luc Perréard Jacques Bouanich Marie Calderon Françoise Marie Pierre Pinaud Claire Bouanich Jon J. Carnoy Didier Martiny Arthur de Pins Rachid Bouchareb Stéphanie Carreras Stephen McCauley Renaud Philipps Patrick Bouchitey Daniel Cattan Philippe Meunier Béatrice Pollet Jean-Jacques Bouhon Alexandre Charlet Nathan Miller Olivier Pont Nicolas Boukhrief Raphaël Chevènement Annie Miller Aurélia Prévieu Guila Braoudé Olivier Ciappa Claude Miller Louise Revoyre Patrick Braoudé Jonathan Colinet Florence Moncorgé-Gabin Cécile Rousset Frédéric Brillion Bruno Collet Michel Munz Matthieu Rozé Stéphane Brizé Guillaume Cotillard Philippe Muyl Benjamin Rufi Paul Carpita† Matthieu-David Cournot Olivier Nakache Nicolas Salis Jean-Max Causse Gilles Cuvelier Claude Nuridsany Jean-Stéphane Sauvaire Hannelore Cayre Arnaud Delalande Catherine Olson Jean-Marc Seban Laetitia Chardonnet Romain Delange Mehdi Ortelsberg Mathieu Simonet Laurent Chevallier Pauline Delpech Luc Pagès Grégoire Sivan Bruno Chiche Sandrine Paquot Arnaud Demuynck Lewis-Martin Soucy Benoît Chieux Raoul Peck Franck Dion Slony Sow Stijn Coninx Marie Pérennou Dominique Duport Matthieu Van Eeckhout Héléna Cotinier Claude Pinoteau Félicie Dutertre Arnaud Viard Dominique Coujard Roger Planchon Ron Dyens Marie Vieillevie Sylvie Coulomb Michelle Porte Nicolas Engel Pascal Vincent Amélie Demoulin Magali Potier Thomas Favel Guillaume Viry Gérard Depardieu François Rabes Mikaël Fenneteaux Vincent Vivioz Gregori Derangère Jean-Paul Rappeneau Jean-Luc Gaget Julie Voisin Jacques Deray† Serge Renko Philippe Gamer François Desagnat Jean-Philippe Reza Corinne Garfin Dora Doll Jean Michel Ribes Noémie Gillot † deceased

51 THE EUROPE YOU LOVE!

Watch your favorite European movies commercial free, 24/7 and wholly subtitled in English!

Available on DISH Network - Channel 752 Call 1-888-793-8489 or visit www.eurochannel.com to subscribe

52 Registration

Screenings of all feature films and a series of Name______Address______Phone______independent French short films will be held at the Registration: (Please include name to be printed on each pass.) historic Byrd Theatre. The official reception will ❏ Regular VIP PASS, $115 per pass ...... ____x $115 $______be held on Saturday evening at 7 p.m. at the VCU ❏ Faculty VIP PASS, $105 per pass ...... ____x $105 $______❏ Scott House (909 W. Franklin St.). Student, Faculty Student VIP PASS, $65 per pass (currently enrolled students) ...... ____x $65 $______❏ $25 – Add-on per pass for Saturday’s official reception ...... ____x $25 $______and Regular VIP passes include guaranteed seat- Other donations to help support the festival (tax deductible) ...... $______ing at all screenings and Q&A sessions with the Total $______actors and directors. There is a $25 add-on cost Make your contributions payable to: French Film Festival-Richmond, VA per pass for admission to the official reception on Please return this form and payment to: Saturday evening with the actors and directors These major credit cards also accepted: Virginia Commonwealth University (7-9:30 p.m., VCU Scott House). ❏ Visa ❏ Discover ❏ MasterCard ❏ Amex French Film Festival Office 920 West Franklin Street, Room 304 Card No.______Tickets will be available at the box office 30 min- P.O. Box 843073 Exp. date ______Verification code______utes before each screening. Tickets for each film Richmond, Virginia 23284-3073 Cardholder’s signature______are available for $15 at the box office. To guarantee Phone: (804) 827-FILM (office and passes) Fax: (804) 287-6446 Phone ( ) ______your seating and to avoid lines at the door, buy a Email: [email protected] Online credit card purchasing is now available. No refunds. pass today. www.frenchfilmfestival.us

Virginia Commonwealth University and the University of Richmond present

Richmond,Virginia Immersion weekend for teachers of French and foreign languages

The Virginia Commonwealth University and University of Richmond Price information: Your cost for the total workshop French Film Festival offers a special opportunity for middle and including the Faculty VIP Pass, graduate registration fee secondary-school teachers of French and foreign languages to use their and two graduate credits is $400, or with one additional French and/or increase their understanding of French culture through an graduate credit is $475. Contact Héloise Beaufils at the festival office for more information. Registration deadline immersion weekend during the festival, March 24-27, 2011. is March 23, 2011. The French Film Festival is a unique French cultural event founded and directed by Drs. Peter and Françoise Kirkpatrick. The festival showcas- French Film Festival Office 920 West Franklin Street, 3rd Floor es newly released films from France.A ll screenings are at the historic P.O. Box 843073 Byrd Theatre in Richmond and have English subtitles. The French actors Richmond, Virginia 23284-3073 and directors come to town to present their new films to theA merican Phone: (804) 827-3456 public in the Byrd Theatre with question-and-answer sessions after each E-mail: [email protected] screening. A master class opens the festival on Friday afternoon. On Satur- www.frenchfilmfestival.us day evening, the French delegation of stars interacts further with viewers The immersion French cultural weekend is a collabora- during the official reception held at the VCU Scott House on the Monroe tion among VCU College of Humanities and Sciences, Park campus of VCU. In addition to the regular activities and events of the VCU School of World Studies, VCU Office of Continuing festival, the weekend is a true immersion experience in French culture and Studies, VCU Division of Community Engagement, the language for middle and high school teachers of French and foreign lan- Cultural Services of the French Embassy and the Ameri- guages. Teachers will be able to earn up to two or three graduate credits. can Association of Teachers of French of Virginia.

53 Table of Contents

3 schedule and event 18 Demain dès l’aube Son esquisse information Le Concile lunatique 20 Hitler à Hollywood 6 Severn, la voix de Le Meilleur Ami de l’homme nos enfants 22 Pieds nus sur les limaces Le Sans-Nom

8 Nos enfants nous 24 L’Empire du Milieu accuseront L’Incroyable Voyage du Sud de Margaux 10 Le Nom des gens 26 L’Âge de raison Prunelle et Mélodie 12 Deux de la vague Nuit blanche 28 Shorts Ego Sum Petrus 14 Mon pote Coucou-les-Nuages L’Accordeur Les Larmes 16 Océans de la luciole Un jour sans

Visit the Byrd Theatre lobby during the weekend of the festival to purchase some of these great books and have them signed by the directors of the films.

54 Virginia Commonwealth University and the University of Richmond present Virginia Commonwealth UniversityVirginia and the Commonwealth University of Richmond University present and the University of Richmond present

RichmoRichmon d , V irginian d , V irginia Richmond,Virginia

Lock in your passLockLock for in in theyour your 19th pass pass French forfor the Film 20th19th Festival FrenchFrench Film Film Festival Festival with the 18th withfestivalwith thethe price 18th19th festivalfestival price price

$115 – Regular VIP$115 PASS – Regular VIP PASS Regular VIP Pass: $115 $105 – Instructor$105 VIP PASS– Instructor VIP PASS Instructor VIP Pass: $105 $65 – Student VIP$65 PASS – Student VIP PASS Student VIP Pass: $65 $25 – add-on for$25 official – add-on reception for official reception Official ReceptionA dd-On: $25 Make check payable to:Make French check Film Festivalpayable to: French Film Festival Make check payable to: French Film Festival Mark your calendars!Mark your calendars! Mark your calendars! 19th French Film19th 20thFestival French French FilmFilm Festival Festival March 25-27, March2011March 29- 25-27,April 1, 20112012

Offer available onlyOffer Oduringffer availableavailable weekend only duringduring weekend weekend of festival – see “willof ofcall festival festival table” –– see “will“will callcall table” table”

Virginia Commonwealth University and the University of Richmond present VirginiaVirginia Commonwealth Commonwealth University University and and the the University University of of Richmond Richmond present present Virginia Commonwealth University and the University of Richmond present

Richmon d , V irginia R i c h m o n d , V i r g i n i a RR ii cc hh mm oo nn d d , , VV ii rr gg ii nn ii aa R i c h m o n d , V i r g i n i a March 27-29, 2009 March 25-28, 2010 March 27-29, 2009 March 25-28, 2010 March 24-27, 2011 16th annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilm.vcu.edu 16th annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilm.vcu.edu March 28-30, 2008 March 28-30, 2008

All films have English subtitles and are presented by their actors and directors. All films have English subtitles and are presented by their actors and directors. All films have English subtitles and are presented by their actors and directors. All films have English subtitles and are presented by their actors and directors. March 30 – April 1, 2007 March 30 – April 1, 2007 All films have English subtitles and are presented by their actors and directors.

070924-05 17th annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilm.vcu.edu 070924-05 18th17th annual annual • • Byrd Byrd Theatre Theatre • • Richmond, Richmond, Va. Va. • • (804) (804) 827-FILM 827-FILM • • www.frenchfilm.vcu.edu www.frenchfilm.vcu.edu 19th18th annual annual • • Byrd Byrd Theatre Theatre • •Richmond, Richmond, Va. Va. • (804)• (804) 827-FILM 827-FILM • www.frenchfilmfestival.us • www.frenchfilm.vcu.edu All films have English subtitles and are presented by their actors and directors. All films have English subtitles and are presented by their actors and directors. 15th annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilm.vcu.edu 15th annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilm.vcu.edu Exclusive Broadcast Sponsor Exclusive MediaExclusive Sponsor Broadcast Sponsor ExclusiveExclusive Media Media Sponsor Sponsor 55 Sponsored by the VCU Office of International Education, School of World Studies, VCU Filmmaking, College of Humanities and Sciences, and Division of External Relations. Sponsored by the VCU Office of International Education, School of World Studies, VCU Filmmaking, College of Humanities and Sciences, and Division of External Relations. Cinema Cinema Virginia Commonwealth University VirginiaVirginia Commonwealth Commonwealth University University VirginiaVirginia Commonwealth Commonwealth University University

Sponsored by the VCU Office of International Education, School of World Studies, VCUarts Cinema, College of Humanities and Sciences and Division of University Relations. Sponsored by the VCU Office of International Education, School of World Studies, VCUarts Cinema, College of Humanities and Sciences and Division of University Relations.

© © Photo of Cécile de France by Nathalie Mazéas an equal opportunity/affirmative action university Photo of Cécile de France by Nathalie Mazéas an equal opportunity/affirmative action university Image designer: Alexander Black Photographer: Matthieu Normand Actress: Toinette Laquière, from short film Le Carnet Rouge directed by Mathieu Simonet VCU is an equal opportunity/affirmative action university. 090126-06 PhotoImage © designer: Christophe Alexander Pottier Black from VersPhotographer: où s’envolent Matthieu les papillons, Normand director/actressActress: Toinette JulieLaquière, Voisin from short filmLe Carnet Rouge directed by Mathieu Simonet VCUVCU is isan an equal equal opportunity/affirmative opportunity/affirmative action action university. university. 100128-02 090126-06 Photo © Christophe Pottier from Vers où s’envolent les papillons, director/actress Julie Voisin VCU is an equal opportunity/affirmative action university. 100128-02 photo by Julien Etienne All films have English subtitles and are presented by their actors and directors. an equal opportunity/affirmative action university 060911-02 photo by Julien Etienne All films have English subtitles and are presented by their actors and directors. an equal opportunity/affirmative action university 060911-02 Photo © Matthieu Normand from Mathieu Simonet’s filmPrunelle et Mélodie, actresses Julie Voisin and Maud Forget 101019-03 Richmon d , V irginia

Virginia Commonwealth University

Continuing our partnership to bring you the festival.

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