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Persmapfrancofonia CF Hi 65.Pdf FRANCOFONIA The Louvre Under Occupation Frankrijk/Duitsland/Nederland; 2015; kleur; 87 minuten Frans/Russisch/Duits gesproken, Nederlands ondertiteld Geproduceerd in samenwerking met Le Musée du Louvre Paris Regie & scenario: Alexander Sokurov Camera: Bruno Delbonnel Montage: Alexei Jankowski, Hansjorg Weissbrich Geluid: Emil Klotzsch Muziek: Murat Kabardokov Productie: Ideale Audience/Zero One Film/N279 Entertainment Met: Louis-Do de Lencquesaing, Benjamin Utzerath, Vincent Nemeth, Johanna Korthals Altes, Andrey Chelpanov, Jean-Claude Caer, Alexander Sokurov Van de regisseur van o.a. FAUST (Gouden Leeuw Venetië), RUSSIAN ARK, MOLOCH en MOTHER AND SON Wereldpremière: Filmfestival Venetië 2015 (official competition), awards: Fedeora Award for Best Euro-Mediterranean Film & Mimmo Rotella Award Distributie: Contact Film Vanaf 4 februari 2016 in de Filmtheaters FRANCOFONIA is het verhaal over twee opmerkelijke mannen, aanvankelijk elkaars vijanden: directeur van het Louvre Jacques Jaujard en nazi-officier Franz Graf Wolff- Metternich. Hun samenwerking was niet zonder risico's en zou de drijvende kracht worden achter het veiligstellen en behoud van Franse museum- en andere kunstschatten. Juni 1940. Duitse troepen marcheren Parijs binnen. Een officier, Franz Graf Wolff- Metternich, gaat al snel naar museum het Louvre. Hij is hoofd van Kunstschutz, de Duitse commissie ter bescherming van kunstwerken in bezet gebied. In het Louvre wordt hij ontvangen door Jacques Jaujard, directeur en bedenker van het evacuatieplan voor nationale musea. Het Louvre is - net als andere musea in Parijs - gesloten en nagenoeg leeg. De kunstschatten zijn in augustus 1939 al ondergebracht in landhuizen, net voordat de oorlog werd verklaard. In eerste instantie om ze te beschermen tegen mogelijke bombardementen. Aan kunstroof werd nog niet gedacht. De aristocraat Wolff-Metternich is een hoogopgeleide, Frans sprekende cultuurliefhebber die een verbond sluit met Jaujard. Gedurende de bezettingsjaren blijft hij zijn superieuren in Berlijn om de tuin leiden en weet te voorkomen dat Franse kunstschatten naar de hoofdstad van het Derde Rijk worden gedeporteerd. Alexander Sokurov onderzoekt de relatie tussen kunst en macht, vraagt zich af wat kunst over ons zelf vertelt, aan de hand van een van de meest vernietigende oorlogsconflicten uit de Europese geschiedenis. In meerdere films uit zijn omvangrijke oeuvre - documentaire, fictie en een mix daarvan - heeft Sokurov laten zien dat een museum veel meer is dan een plek waar kunst bewaard wordt. Musea vormen het ware DNA van een beschaving, een levend orgaan in de stad, waar het hart van een natie klopt. Tegen de achtergrond van de historie en de kunst van het Louvre, met prachtige archiefbeelden van Parijs, schetst Sokurov een fascinerend en uniek portret van de twee mannen en hun queeste. Op 29 september 1940 werd het Louvre weer gedeeltelijk opengesteld. De bijbehorende ceremonie werd bijgewoond door Jaujard en Metternich (die een toespraak gaf), Veldmaarschalk von Rundstedt, ambassadeur Otto Abetz. Vanaf oktober 1940 waren enkele van de beelden-galerijen open voor het publiek. Ook konden er ansichtkaarten gekocht worden. Hermann Bunjes, kunsthistoricus en werkzaam voor Kunstschutz, schreef een museum-gids in het Duits. Er werden rondleidingen georganiseerd voor Duitse officieren en soldaten. De 'kunstbeschermers' werden met een dilemma geconfronteerd: ze moesten samenwerken met de Einsatzstab Reichsleiter (Alfred) Rosenberg (ERR) die in opdracht van de Fűhrer waardevolle kunst moest confisceren van Joodse burgers. Wolff-Metternich gaf zijn eigen interpretatie aan de bevelen en wist ze te weerleggen, tot steeds grotere ergernis van de Duitse ambassadeur, Alfred Rosenberg en uiteindelijk ook van Rijksmaarschalk Göring zelf. De spanningen tussen Wolff-Metternich en zijn superieuren in Berlijn liepen hoog op met als gevolg dat hij in 1942 werd De eerste schermutselingen weggestuurd uit Parijs. Hij bleef echter begonnen op 19 augustus 1944. Het vanuit Bonn in nauw contact met zijn grootste gevaar voor het Louvre stafmedewerkers in Parijs. vormde de nabijheid van Hotel Le Jaujard bleef gedurende de oorlogsjaren Meurice, hoofdkwartier van de in Parijs en reed in zijn oude Renault Duitsers. Ondanks dat er rond het regelmatig van château naar château om museum hard werd gevochten voor de kunstcollectie's te inspecteren. Toen de de vrijheid, was er nauwelijks schade gevechtslinie Parijs naderde, aan het gebouw. Op 25 augustus organiseerde hij een beveiligings- en 1944 reed Generaal Leclerc's verdedigingssysteem in het Louvre pantser colonne de stad binnen en waarbij alle museummedewerkers werd om 16.00 uur de strijd in de betrokken waren. Tuilerieën beëindigd nadat de Duitsers zich hadden overgegeven. DIRECTOR'S STATEMENT: THE ARKS What would Paris be without the Louvre, or Russia without the Hermitage, those indelible national landmarks? Let’s imagine an ark on the ocean, with people and great works of art aboard - books, pictures, music, sculpture, more books, recordings, and more. The ark’s timbers cannot resist and a crack has appeared. What will we save? The living? Or the mute, irreplaceable testimonies to the past? FRANCOFONIA is a requiem for what has perished, a hymn to human courage and spirit, and to what unites mankind. A WORLD WITHIN A WORLD The museum community is probably the most stable part of the cultural world. What would we be without museums? Museums show us that a grand and magnificent culture existed before -- considerably grander, smarter, than anything we are able to create today. The levels of the Louvre, the Hermitage, the Prado, the British Museum have always seemed to me located at staggering heights. I went to the Hermitage for the first time at age 27. This is very late, but I did not have other options. I am from a very simple family, very simple background. THE HERMITAGE When I heard we would be able to shoot RUSSIAN ARK in the Hermitage, I was intoxicated by the possibilities. I was literally intoxicated by the good treatment toward me and the crew by the Hermitage and [Mikhail] Piotrovsky. I was happy working there, and it seemed to me that under these conditions we could create a hymn to this world. The museum is a world within a world. By creating films in museums and about museums, we invite different people, people from different cultures, to actually meet these original works. THE LOUVRE I was immediately enthusiastic when the opportunity arose to film in the Louvre. I saw it as a return to my dream of making a cycle of art films with the Hermitage, the Louvre, the Prado, the British museum. It was wonderful that the Louvre administration responded so enthusiastically to our proposal. And then it was sheer joy to have the chance to work with my remarkable and illustrious colleague, cinematographer Bruno Delbonnel, a prominent master, a great artist. This combination of circumstances is a wonder in itself. NAZI SOLDIERS IN THE LOUVRE People seem to be fascinated by the sight of Nazi soldiers in the galleries of the Louvre. Those soldiers in a temple to art? A paradox? But why should that be a paradox? Soldiers are also human beings, except that they wear boots and helmets. In actual fact, though, the Louvre's galleries were bare during the Occupation. The works they contained had been removed and hidden several years before. People had been seized by a premonition of a second world war, involving the whole of Europe. In Leningrad, in Paris and in London, people began anxiously seeking shelter - holes in the ground, refuges, strong walls and spaces deep underground - to hide works of art. People began to understand: if we perish, our art will also inevitably perish - our hopes, our prayers, our God. THE BOMBING OF PARIS Paris, the city of museums, of a deep-seated humanistic culture, the cultural capital of the Old World. If Paris had been bombed in World War II, what would that have meant to us? Only as the end of all things, an irreparable event, a turning of the back on life. Strangely enough, it did not happen. Everything else was being bombed and burned while soldiers pillaged and army trucks bore off the spoils of war. Everywhere except in Paris. Paris was a haven of salvation. In old photos of the German Occupation in Paris, we see soldiers sitting in cafés and going to theatre. Young French women and men are seen in the streets, out cycling or strolling. It was as if peace, glorious peace, had broken out. JACQUES JAUJARD & FRANZ GRAF WOLFF-METTERNICH In studying contemporary documents, two unique figures immediately stand out from the rest: Louvre director Jacques Jaujard, and a representative of the Occupation forces, Franz Graf Wolff-Metternich. It would seem that they are enemies, but it gradually becomes clear that they are not enemies and that they have a lot in common. The period of their meeting, their confrontation, and their cooperation during the Second World War is the bulk of FRANCOFONIA. These two remarkable figures, who were almost the same age, each had the same vocation to protect and preserve works of art. Who were these men and who did they represent as humanist senior civil servants? Through which practical initiatives were they able to defend the artworks? Is it possible, in the circumstances of a merciless war, to defend the values of humanity? Even in the most difficult times of that war, these two not very influential men were able to halt aggression and preserve the Louvre's great art collection. How deeply we regret today that nothing similar happened in the Soviet Union, Poland, or the rest of Eastern Europe. A PATH WE HAVE ALL TRAVELLED FRANCOFONIA is not an historical film in the classic sense. I did not want to take a scientific approach, even if I attach great importance to factual details. What I was after was not a political aim, but an aim that one could characterize as artistic or more exactly as "fully conscious of” - to reflect through the lives of our characters a feeling for a period, its intonation, languages.
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