DOCSLIB.ORG

Enter the Void

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Enter the Void ENTER THE VOID EEN FILM VAN GASPAR NOÉ WILD BUNCH HAARLEMMERDIJK 159 - 1013 KH – AMSTERDAM WWW.WILDBUNCH.NL THE PUBLICITY COMPANY [email protected] ENTER THE VOID – GASPAR NOÉ PROJECT SUMMARY Een productie van WILD BUNCH, FIDÉLITÉ FILMS Taal ENGELS/JAPANS/FRANS Lengte 154 MINUTEN Genre PSYCHEDELIC MELODRAMA Land van herkomst FRANKRIJK Filmmaker GASPAR NOÉ Hoofdrollen NATHANIEL BROWN, PAZ DE LA HUERTA, CYRIL ROY, MASATO TANNO Release datum 23 SEPTEMBER 2010 Nominatie GOUDEN PALM – CANNES FILM FESTIVAL 2009 Website WWW.ENTERTHEVOID-LEFILM.COM Kijkwijzer SYNOPSIS Oscar en zijn zus Linda wonen sinds kort in Tokyo. Oscar leeft van de inkomsten van kleine drugsdeals en Linda werkt als stripper in een nachtclub. Tijdens een inval van de politie wordt Oscar geraakt door een kogel. Hij ligt op sterven, maar zijn geest, die eveneens trouw is aan zijn belofte om zijn zus nooit achter te laten, weigert de wereld van de levenden te verlaten. Tijdens de dwaaltocht van zijn geest door de stad worden de visioenen steeds chaotischer en veranderen ze in een ware nachtmerrie. Het verleden, het heden en de toekomst vermengen zich in een hallucinogene draaikolk. CAST OSCAR NATHANIEL BROWN LINDA PAZ DE LA HUERTA ALEX CYRIL ROY LITTLE LINDA EMILY ALYN LIND LITTLE OSCAR JESSE KUHN VICTOR OLLY ALEXANDER MARIO MASATO TANNO BRUNO CARY HAYES SUZIE SARA STOCKBRIDGE SAKI SAKIKO FU KUHARA TITO NOBU IMAI CAROL EMI TAKEUCHI MOTHER JANICE SICOTTE-BELIVEAU FATHER SIMON CHAMBERLAND ENTER THE VOID – GASPAR NOÉ CREW DIRECTOR GASPAR NOÉ SCREENPLAY GASPAR NOÉ DP BENOÎT DEBIE ART SUPERVISOR MARC CARO VISUAL FX PIERRE BUFFIN EDITORS GASPAR NOÉ, MARC BOUCROT CAMERA GASPAR NOÉ SOUND EFFECTS THOMAS BANGALTER PRODUCERS VINCENT MARAVAL, OLIVIER DELBOSC, MARC MISSONNIER CO-PRODUCERS GASPAR NOÉ, PIERRE BUFFIN, AGNÈS B, PHILIPPE BOBER, VALERIO DE AOLIS, NICOLAS LECLERCQ PRODUCTION WILD BUNCH, FIDÉLITÉ FILMS CO-PRODUCTION LES CINÉMAS DE LA ZONE, BUF CO., LOVE STREAMS, ESSENTIEL FILMPRODUKTION, BIM DISTRIBUTION, PARANOID FILMS DIRECTOR’S STATEMENT “Making a film is difficult, but making a great film is an almost impossible task.” This quote from Spielberg is perhaps not completely accurate, but that’s how I remember it. However, some examples of great films do exist, including the film which had such an influence on my existence: 2001, A Space Odyssey. Without professing to be able to create such a masterpiece, trying to make a film that is, at the same time, a large-scale entertainment, suitable for adults and complex in cinematic terms, is one of the most exciting undertakings one could wish to tackle. And if one does not set out with the aim of making a great film, one can be sure that it will not turn out to be one. Few of the arts can satisfy man’s need to be uplifted as immediately as film. And none (except interactive video games) can yet reproduce the maelstrom of our states of perception and consciousness. In the past, certain films have tried to adopt the subjective point of view of the main character. ENTER THE VOID will try to improve upon its predecessors and accompany the hero just as much in his normal state of awareness as in his altered states: the state of alertness, the stream of consciousness, memories, dreams... The visions described in the script are inspired partly by the accounts of people who have had near- death experiences, who describe a tunnel of light, seeing their lives flashing past them and ‘astral’ visions, and partly by similar hallucinatory experiences obtained by consuming DMT, the molecule which the brain sometimes secretes at the moment of death and which, in small doses, enables us to dream at night. The film should sometimes scare the audience, make it cry and, as much as possible, hypnotize it. In recent years, films with labyrinthine structures have proved the audience’s ability to follow storylines in the form of a puzzle, and its desire to move away from linear narration. But a complex form where the content does not move the spectator in any way would only amount to mathematic virtuosity. Whereas this film is above all a melodrama: the universal melodrama of a young man who, after the brutal death of his parents, promises that he will protect his little sister no matter what and who, sensing that he himself is dying, fights desperately to keep his promise. A film where the life of one person is linked to the love he has for another human being. The reason for choosing the most modern areas of Tokyo as a setting is to further emphasize the fragility of the brother and sister by propelling them like two small balls in a giant pinball machine ENTER THE VOID – GASPAR NOÉ made up of black, white and fluorescent colors. My previous two films, which were far less ambitious, were once described by a critic as being like roller coasters playing with the most reptilian desires and fears of the spectator. enter the void, whose themes and artistic choices will be far more varied and colorful, should, if I succeed, be the Magic Mountain which I, as a spectator, dream of riding on. - Gaspar Noé INTERVIEW - GASPAR NOÉ Where did the inspiration for this project come from? I grew up with an atheist education, but towards the end of adolescence, when you start smoking joints, you also start asking yourself questions about death and the existence of an eventual afterworld. Even though I’ve never participated in any religious faith, I started to get interested in books to do with reincarnation, Life after Death by Raymond Moody in particular, and I had this whole crazy idea of what could happen to me when I die. This fear of death dies down as you get older, but my initial ideas about making a film having to do with what happens after the death of the main character came from that time. Later, when I was around 23, I watched Lady in the Lake (Robert Montgomery, 1947) on mushrooms. It’s a film shot entirely from the point of view of the main character and, under the effect of the psilocybin, I was transported into the TV and into Marlowe’s head, even though the film was in black and white and subtitled. I thought that the technique of filming through the eyes of a character was the most beautiful cinematographic artifice there could be and that the day I made a film about the afterworld, I would film through the subjective vision of the character. Years later, the opening sequence of Kathryn Bigelow’s Strange Days confirmed the effectiveness of this filmic tool for me. So this is an idea I’ve had for a while, before Carne or Seul Contre Tous. I’ve written it over the past fifteen years and I couldn’t even tell you how many drafts I’ve done. The first were much more narrative and linear, while the later drafts were much more abstract and euphoric. Irréversible was kind of a trial run for this project, where I tested ideas with flying cameras and long takes. What’s the link between drugs and death? Books tell stories where people have hallucinations at the moment of their death, linked to the secretion of DMT in their brain. This molecule is a substance that is the source of dreams, and, apparently, a massive discharge of DMT can occur in the brain during an accident or when one dies. It’s the same molecule that we absorb in our systems when we take ayahuasca, the magic Amazonian drink… I’ve never experienced clinical death, nor been in a coma, and I don’t believe in any kind of life after death. But I liked the idea of making a film about a character who wanted to reassure himself by believing in some kind of afterworld. As if he needed to embark on one last spiritual voyage, projecting his obsessions, desires and fears along the post-mortem path described in The Tibetan Book of the Dead. Speaking of The Tibetan Book of the Dead, was the book a direct source of inspiration? Is this film a loose adaptation or variation? In the description of the afterworld in The Tibetan Book of the Dead, there is definitely a voyage, a process with several stages that leads up to the final stage: reincarnation. But inside, the visions and the nightmares that are supposed to reveal the psyche, or past life, of the dying individual, aren’t described. The “Book” is very abstract, very colorful and very poetic. This parallel world, where the spirit, which has now left the body, floats for a long time, is described as a reality as illusory as the world of the living. Lots of people have been inspired to write fiction by this book (in particular ENTER THE VOID – GASPAR NOÉ Philip K. Dick), but it was also used to guide people through collective LSD induced psychedelic voyages, as Timothy Leary did in the 70s. While the book is a religious text, it quickly became a beacon for the hippies I so admired as a kid. Why is the main character a young “loser” drug dealer? He’s not a total loser. He’s actually kind of a winner up until he loses control of his dick and, by fucking his friend’s mother, ends up being turned in to the cops. For most people I know, the principal drive in life isn’t drugs at all, it’s sex. Selling drugs is more of a way of attracting affection. He’s just a young crazy dog who’s doing his best to be happy in life.
Load more

Recommended publications
  • Enter the Void: Raumaufsichten Und Wegweisende Perspektiven in Subkulturen“
    DIPLOMARBEIT Titel der Diplomarbeit „Gaspar Noés Enter the Void: Raumaufsichten und wegweisende Perspektiven in Subkulturen“ Verfasser Amelio August Nicotera angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: ao. Univ.-Prof. Dr. Brigitte Marschall i „Jed e K u n st gelan gte dab ei zu dem dialek tisch en U m sch lagsp u n k t, w o die M ittel den Zweck und die Formen den Inhalt zu bestimm en begonnen haben. Jed e gelan gte au ch bis zu r letzten logisch en K on seq u en z: zur Form , die sich selber In h alt ist. Also zum Nichts.“1 1 B a lá z s , B é la , Der Geist des Films, F r a n k fu r t a m M a in : S u h r k a m p 2 0 0 1 , S .7 0 ii iii Danksagung Mein Dank gilt Barbara Hum m el Gudrun und Ruben Nicotera iv v In h altsverzeich n is 1. Einleitung.......................................................................................................................... 1 1.1. Vorw ort................................................................................................................. 1 1.2. Forschungsfragen und Aufbau der Arbeit......................................................... 3 2. Perspektiven...................................................................................................................... 5 2.1. Gaspar Noé: Einflüsse, W erke und zeitliche Einbettung.................................5 2.2. Der Rezipient......................................................................................................14
    [Show full text]
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • Voiding Cinema: Subjectivity Beside Itself, Or Unbecoming Cinema in Enter the Void - William Brown, University of Roehampton ([email protected])
    Film-Philosophy 19 (2015) Voiding Cinema: Subjectivity Beside Itself, or Unbecoming Cinema in Enter the Void - William Brown, University of Roehampton ([email protected]) David H. Fleming, University of Nottingham Ningbo China ([email protected]) The whole thing is about getting into holes. Putting the camera into any hole. (Gasper Noé, quoted in Adams 2010) In this essay, we provide a close textual analysis of Enter the Void (Gaspar Noé, France/Germany/Italy, 2009). Using concepts from the work of Gilles Deleuze, we argue that the film’s form reflects the narrative’s preoccupation with the liminal space between life and death, between subject and object, between inside and outside –which we characterise here as the void. Indeed, Enter the Void not only tells the story of a man suspended between life and death, but formally it also tries to depict this liminal state, to show us the void itself – or to bring what normally exceeds vision into view (to turn excess into ‘incess’). Through its creative synthesis of form and content, the film attempts to force viewers to think or conceptualise the notoriously complex notion of void. Looking first at how film theory can help us to understand the film, we then investigate ways in which Enter the Void can enrich film theory and our understanding of cinema more generally, in particular our understanding of what film can do in the digital era. Incorporating ideas from neuroscience, from physics, and from somewhat esoteric research into hallucinogens, we propose that Enter the Void suggests a cinema that emphasises the related nature of all things, a related nature that we can see by being ‘beside oneself’, a process that cinema itself helps us to achieve.
    [Show full text]
  • Deviant Phenomenal Models in Gaspar Noé's Enter the Void
    The Cognitive Import of Contemporary Cinema: Deviant Phenomenal Models in Gaspar Noé’s Enter the Void Jon Lindblom In his brief but illuminating essay ‘Genre is Obsolete’, Ray Brassier criticizes the commitment of much contemporary critical theory to the transformative potency of so-called ‘lived’, or ‘aesthetic’, experience. (Brassier 2007) For Brassier, the latter is merely a cultural residue of early bourgeoisie modernity whose supposedly critical injunction has been vitiated by recent advancements in modern neuroscience which harbors a decisive cognitive and socio-cultural import: the objectification of lived experience. Indeed, rather than being a mere abstract exercise played out exclusively at the level of theoretical science, the techno-scientific mapping of the neural correlates underlying global information-processing (qua lived experience) will surely have both practical and concrete consequences in the domain of subjective and intersubjective experience; most immediately, perhaps, through their inevitable commercialization (in the form of cosmetic neuropharmacology, neuromarketing, cognitive enhancers, etc.) which undoubtedly will find their place within the capitalist economy. Yet rather than recoil in horror over these developments, such as by affirming the so-called ‘unobjectifiable’ condition of human existence (whether characterized as ‘experience’ or anything else), what is necessary for any form of theory that intends to deem itself critical in the current context is a major update of its cognitive commitments, which only will be achieved through a thorough reconsideration of the intricate relationship between the social, the cultural, the personal, and the neurobiological. 1 The current essay aims to present the rudiments for such a cognitive reconsideration viewed through a cultural lens, through the medium of film – or, more specifically, through Gaspar Noé’s psychedelic melodrama Enter the Void (2010).
    [Show full text]
  • Pristup Cjelovitom Tekstu Rada
    Plakat za film Ljubav, 2015. A poster for the film Želim samo da Love, 2015 me (ne) volite (wbd) napisao written by I Just Want You Željko Luketić (Not) to Love Me portret portrait Rick Loomis, fotografije photography by Arhiva / Archive Canal+ (cp); Arhiva / Archive Les Cinémas de la Zone (cz); Los Angeles Times Arhiva / Archive Wild Bunch Distribution (wbd) autor ¶ In the 1930s, film audiences were frightened by Dracula’s and author Frankenstein’s, in the 1940s, Abbott and Costello used the pair to keep their audiences in stitches, whereas in the 1950s, there were giant tarantulas and the fear of nuclear war. Zombies were born a decade later, but the horror genre flourished anew in the freedom-loving 1970s. It is in this sequence that the Canadian documentary Why Horror? (2014), through a story about the social acceptability of a movie fan, tries to speak about what is at the same time the universal question of that part of film history: why we are afraid and why we like to be frightened even more. The aforementioned film offers a warm American story about how confronting our primordial and unconscious demons is precisely the way to counter those fears bravely and directly. What it lacks, however, is something that, in the art of filmmaking, has been maturing for a long time and in detail, something for which the origin of the horror genre is just the inspiration, and which manifests itself even more potently in Gaspar Noé 198 oris, broj 96, godina 2015. oris, number 96, year 2015 gaspar noé, Film gaspar noé, Film 199 Kadrovi iz filma Ulaz u prazninu, 2009.
    [Show full text]
  • “You'll Get Your Big Trip”: Acousmatic Music, the Voice, and the Mirror
    www.thecine-files.com FEATURED SCHOLARSHIP “You’ll Get Your Big Trip”: Acousmatic Music, The Voice, and the Mirror Stage in Enter the Void Mark Balderston “Am I hearing voices in the voice? But is it not the truth of the voice to be hallucinated? Is not the entire space of the voice an infinite space?” – Roland Barthes1 Gaspar Noé’s Enter the Void (2009) recounts the psychedelic experienc- es and afterlife of its protagonist Oscar from an unconventional first-person 2 perspective. Over the course of the film, the audience will observe a DMT (dimethyltryptamine) trip in Oscar’s mind, experience his death and the tragic aftermath for his loved ones, and finally observe his re-birth—seeing and hearing through Oscar’s perceptions, and experiencing his hallucinations, dreams, and 3 memories. Even after his death, the audience assumes the viewpoint of his dis- embodied ghost. In order to convey its disjointed and subjective narrative, Enter the Void eschews continuity editing techniques such as shot/reverse-shot and match-on-action in favor of hidden edits, jump cuts, and extended visual effects 4 transitions. Though critical response to the film was largely divided, critics con- sistently lauded the film’s visual style, remarking upon its effective use of mise- en-scène and cinematography to accomplish its unique sensory perspective. Often overlooked, however, is the role of sound in constructing the spatio-tem- poral displacements that help establish Enter the Void’s hallucinatory universe. The film’s use of sound is as unorthodox as its visual style, using an abstract electronic score that blurs the distinctions between score and sound effects, and a highly subjective treatment of the voice, rather than “realistic” Hollywood-style conventions.
    [Show full text]
  • Pleasurev.1 Final
    Pornography & The Law Namita Malhotra Contents Introduction ......................................................................................................................... 3 The Knowing yet Blindfolded ‘Gaze’ of Law upon the Profane ........................................ 6 Pornography the Trials and Tribulations of the Indian Courts ......................................... 19 Family Jewels and Public Secrets ..................................................................................... 33 Film, Video and Body ....................................................................................................... 47 Amateur Video Pornography ............................................................................................ 60 Downloading the State —Porn, Tech, Law ...................................................................... 76 The Technology Beast ...................................................................................................... 88 Vignettes for the ‘Next’ .................................................................................................. 102 Page | 2 Introduction “If you really want to be amazed at the total sightlessness of your blind spot, do a test outside at night when there is a full moon. Cover your left eye, looking at the full moon with your right eye. Gradually move your right eye to the left (and maybe slightly up or down). Before long, all you will be able to see is the large halo around the full moon; the entire moon itself will seem to have disappeared.”
    [Show full text]
  • 329 Sterbak F
    art press 333 interview Larry Clark l’œil du cyclone Interview par Raphaël Cuir Il y a presque un an, était présenté au Festival de Cannes, Destricted, programme de sept courts métrages signés par Marina Abramovic, Matthew Barney, Gaspar Noé, Richard Prince, Marco Brambilla, Sam Taylor- Wood et Larry Clark. Il s’agissait de répondre à l’incitation des producteurs, Mel Agace et Neville Wakefield : aborder la sexualité «de facon explicite», autrement dit, brouiller la frontière entre art et pornographie. Ce programme sort maintenant en salles en France (le 25 avril) et bientôt en DVD (en octobre). Bonne occasion pour réaliser notre vieux rêve de rencontrer Larry Clark, il faut dire, le plus explicite de tous (1). Les images de la série Tulsa (1963-1971) ne sont peut-être plus aussi subversives qu’il y a une quarantaine d’années. Pour autant, elles n’ont rien perdu de leur intensité. Cette violence, Larry Clark dit qu’il faut en payer le prix, c’est-à-dire le prix émotionnel. C’était autrefois le retour du refoulé, l’autre face du rêve américain dont certains, certaines, ne sont pas revenus. C’est encore, aujourd’hui, ouvrir «en entier la nature humaine à la conscience de soi !» (G. Bataille). «On ne peut pas savoir ce que peut le corps» (B. Spinoza), il faut chercher, et nous n’avons pas fini d’être étonnés (F. Nietzsche : «L’étonnant c’est le corps.»). L’adolescence est un des moments privilégiés de cette quête avec la découverte des nouvelles possibilités qu’offre la maturité corporelle.
    [Show full text]
  • Amazonian Visions: Animating Ghosts by Gustavo Cerquera Benjumea a Thesis Supporting Paper Presented to the Ontario College of A
    Amazonian Visions: Animating Ghosts by Gustavo Cerquera Benjumea A thesis supporting paper presented to the Ontario College of Art & Design University in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Interdisciplinary Master’s in Art, Media and Design Program 100 McCaul St. Toronto, Ontario, M5T 1W1, Canada, May 9th, 2013 © Gustavo Cerquera Benjumea 2013 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize the Ontario College of Art & Design to lend this thesis to other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. I further authorize the Ontario College of Art & Design to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature __________________________________________________ ii Amazonian Visions: Animating Ghosts Master of Fine Art, 2013 Gustavo Cerquera Benjumea Interdisciplinary Master’s in Art, Media and Design OCAD University Abstract Amazonian Visions is a practice-based research project that finds associations between the concepts of expanded cinema and animation, and the myriad worlds of the Amazonian psychedelic brew, ayahuasca. I argue that expanded animation is a medium not unlike cultural practices of expanded vision and psychedelic experiences inspired by ayahuasca. By juxtaposing these two concepts, tracing their genealogies, and examining unexpected links between the two, I propose that both are techniques that allow the fantastical to enter the ordinary.
    [Show full text]
  • 7 Days / 7 Directors ©Full House – Morena Films
    FULL HOUSE AND MORENA FILMS IN COLLABORATION WITH HAVANA CLUB INTERNATIONAL SA PRESENT A FILM BY BENICIO DEL TORO PABLO TRAPERO JULIO MEDEM ELIA SULEIMAN GASPAR NOÉ JUAN CARLOS TABÍO LAURENT CANTET 7 DAYS / 7 DIRECTORS ©FULL HOUSE – MORENA FILMS. CREDITS NOT CONTRACTUAL CONTRACTUAL ©FULL HOUSE – MORENA FILMS. CREDITS NOT Full House & Morena Films In collaboration with Havana Club International S.A present A fi lm by BENICIO DEL TORO PABLO TRAPERO JULIO MEDEM ELIA SULEIMAN GASPAR NOÉ JUAN CARLOS TABÍO LAURENT CANTET Running time: 2h09 – Visa 128.944 – 1.85 – Dolby Digital Download press kit and photos from www.wildbunch.biz/fi lms/7_days_in_havana INTERNATIONAL SALES INTERNATIONAL PRESS: RENDEZ VOUS 4 La Croisette – 1st fl oor (In front of the Palais) Viviana ANDRIANI: [email protected] Phone: +33 (0) 4 93 30 17 46 +33 6 80 16 81 39 Carole BARATON: [email protected] Aurélie DARD: [email protected] Gary FARKAS: [email protected] +33 6 77 04 52 20 Vincent MARAVAL: [email protected] Gaël NOUAILLE: [email protected] Silvia SIMONUTTI: [email protected] 7 DAYS IN HAVANA is a snapshot of Havana in 2011: a contemporary portrait of this eclectic city, vital and forward-looking, told through a single feature- length movie made up of 7 chapters, directed by Benicio del Toro, Pablo Trapero, Julio Medem, Elia Suleiman, Gaspar Noé, Juan Carlos Tabío and Laurent Cantet. Each director, through his own sensibility, origins, and cinematographic style, has caught the energy and the vitality that makes this city unique. Some have chosen to meet cuban reality in tune with its everyday life, through the eyes of the foreigner far from his familiar points of reference.
    [Show full text]
  • 84B03f4e2a7eef9b2fe0fbb7715b
    LUX ÆTERNA GASPAR NOE CANNES FILM FESTIVAL 2019 OFFICIAL SELECTION - MIDNIGHT SCREENING PRESENTED BY SAINT LAURENT SELF 04 Cannes Film Festival selected “Lux Æterna”, a 50 minute “film within the film” directed by Gaspar Noé, in Official Selection, as part of the midnight session projected on the 18th of May at Théâtre Lumière. A vibrant essay on respect for beliefs, the actor’s craft and the art of filmmaking that stages Béatrice Dalle, Charlotte Gainsbourg, Abbey Lee, Anatole Devoucoux du Buysson, Clara 3000, Claude-Emmanuelle Gajan-Maull, Felix Maritaud, Fred Cambier,Karl Glusman, Lola Pillu Perier, Loup “Vuk” Brankovic, Luka Isaac, Maxime Ruiz, Mica Arganaraz, Paul Hameline, Philippe Mensah, Stefania Cristian, Tom Kan, Victor Sekularac and Yannick Bono. “Last February Anthony proposed to support me if I had any idea for a short film. Two weeks later, in five days, with Béatrice and Charlotte we improvised this modest essay about beliefs and the art of filmmaking. Now the 51 minute baby is ready to scream… Thank God, cinema is light flashing 24 frames-per-second”. Gaspar “Lux Æterna” is the fourth incarnation of the international art project, SELF - curated by Saint Laurent’s creative director, Anthony Vaccarello. This project is an artistic commentary on society while emphasizing the complexity of various individuals through the eyes of artists who evoke the Saint Laurent attitude of confidence, individuality and self-expression. To this end, Vaccarello commissioned Gaspar Noé, who is instinctively aligned with the spirit of the brand, to direct SELF04 with Béatrice Dalle and Charlotte Gainsbourg. “Gaspard is one of the most talented artist nowadays.
    [Show full text]
  • THE DIGITAL IMAGE and REALITY Affect, Metaphysics and Post-Cinema Daniel Strutt
    FILM CULTURE IN TRANSITION THE DIGITAL IMAGE AND REALITY Affect, Metaphysics and Post-Cinema daniel strutt FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS The Digital Image and Reality FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS The Digital Image and Reality Affect, Metaphysics, and Post-Cinema Dan Strutt Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Cover illustration: Studio Aszyk, London. Cover design: Kok Korpershoek, Amsterdam Lay-out: Crius Group, Hulshout isbn 978 94 6298 713 5 e-isbn 978 90 4853 865 2 doi 10.5117/9789462987135 nur 670 © D. Strutt / Amsterdam University Press B.V., Amsterdam 2019 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Contents Acknowledgements 7 1. Cinema’s Foundational Frissons 9 The Arrival of the Digital Image at the Station 9 A Futurist Cinema of Attractions 13 What is Post about Post-Cinema? 21 But is it Art? 26 From Cine-thinking to Digi-thinking 30 Technology and Reality 34 2. The Affective Synthesis of Reality by Digital Images 41 A Great Evolution 42 A Question of Cause and Responsibility 44 Cinema and Affection 48 Passive Synthesis and the Spiritual Automaton 51 Do We Need a New ‘Digital’ Image Type – A ‘Cinema 3’? 58 The Digital Revealing of Reality 60 Interstellar’s Ontological Revealing 64 The Digital Pharmakon 67 Plasticity and Politics 72 3.
    [Show full text]