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Andreï Kontchalovski

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Andreï Kontchalovski ANDREÏ KONTCHALOVSKI RÉTROSPECTIVE 14 SEPTEMBRE - 17 OCTOBRE EN PARTENARIAT AVEC LA CINÉMATHÈQUE DE TOULOUSE Maria’s Lovers 36 ANDREÏ KONTCHALOVSKI MICHEL CIMENT Metteur en scène complet, Andreï Kontchalovski est des années 1920, celle qui, grâce au dégel khroucht- attentif à tous les aspects de ses films. Avant d’entre- chévien, redonne tout son éclat au cinéma de son pays. prendre des études de cinéma, il est dans sa prime D’Andreï Tarkovski à Larissa Chepitko, d’Elem Klimov jeunesse un pianiste émérite au Conservatoire de à Kira Mouratova, d’Otar Iosseliani à Gleb Panfilov et Moscou. Plus tard, il attache toujours une profonde Alexeï Guerman, ces cinéastes, tous nés dans les années importance à la musique dans ses films, aux liens 1930, apportent un souffle nouveau. Si Kontchalovski qu’elle entretient avec l’art cinématographique. Son est l’un des rares à pouvoir témoigner encore de son arrière-grand-père maternel, Vassili Sourikov, est l’un talent, il figure surtout parmi les grands réalisateurs des peintres russes les plus célèbres du XIXe siècle, et qui ont su s’imposer dès leur premier film, et conti- son grand-père, Piotr Kontchalovski, l’un des artistes nuent encore aujourd’hui à créer des œuvres dignes majeurs du post-impressionnisme. Ces antécédents de leurs débuts. Célébré à la Mostra de Venise en 1966 artistiques font de lui un cinéaste soucieux du cadre et pour Le Premier maître, son premier long métrage (Prix de la lumière. Par ailleurs, dès ses débuts, il ne sépare d’interprétation féminine à Natalia Arinbassarova), il jamais l’écriture de la mise en scène. Il est d’abord scé- y reçoit, un demi-siècle plus tard, deux Lions d’argent nariste pour Andreï Tarkovski, co-écrit avec lui le scé- pour Les Nuits blanches du facteur (2014) et Paradis nario du court métrage Le Rouleau compresseur et le (2016). Entre-temps, il obtient le Grand prix du jury Violon, puis celui d’Andreï Roublev. à Cannes pour Sibériade (1980) et la Concha de oro Kontchalovski appartient à la génération des années à San Sebastián pour Voyageurs sans permis (1989). 1960, la plus brillante du cinéma soviétique depuis celle Les Nuits blanches du facteur 37 Le Premier maître Voyageurs sans permis CRÉATION PROTÉIFORME, EXIL ET DÉSENCHANTEMENT AVENTURES ESTHÉTIQUES Malgré sa critique de la machine d’état, le cinéaste, Contrairement à d’autres cinéastes attachés à un style fort de son triomphe cannois, semble revenir en grâce unique, son œuvre frappe par sa diversité. Dès Le auprès des autorités. Il décide pourtant d’aller travail- Premier maître, tourné en Kirghizie, et qui est aussi ler à Hollywood, où il va rester dix ans. En dépit d’une son film de fin d’études, il oscille entre fiction et docu- acclimatation difficile, il signe d’emblée le remarqué mentaire. Son héros, un instituteur chargé d’ensei- Maria’s Lovers (1984), à l’atmosphère slave, et, trois ans gner le communisme aux enfants d’un village d’Asie plus tard, Le Bayou, qui vaut à Barbara Hershey le Prix centrale, voit ses efforts contrecarrés par l’attitude d’interprétation à Cannes. Sorti en 1987, Runaway Train dubitative de son jeune auditoire. Le traitement iro- est un thriller virtuose, d’après un projet d’un autre nique du héros (positif) se double d’un regard critique A. K., Akira Kurosawa, tandis que Duo pour une soliste sur la société musulmane patriarcale. Cette approche se présente comme un nouveau mélodrame interprété non conformiste réapparaît deux ans plus tard dans Le par trois stars, Julie Andrews, Max von Sydow et Alan Bonheur d’Assia, mélodrame réaliste, où une paysanne Bates. Il faut cependant attendre le tournage de Tango balance entre un chauffeur de camion qui la brutalise et Cash (1989) pour que l’exilé connaisse vraiment les mais qu’elle aime obstinément, et un homme de la ville rudes contraintes d’Hollywood, des caprices de la star qu’elle repousse. Par sa crudité, ce portrait sans fard Sylvester Stallone à l’incompétence du producteur. Il d’un kolkhoze, tourné avec la participation de ses habi- n’en faut pas plus pour qu’il retourne dans son pays, tants, irrite les autorités, qui n’autorisent au film qu’une au moment de la chute du communisme. sortie confidentielle et en interdisent l’exportation. Plus encore qu’avant son départ, mais avec davantage Le cinéaste se réfugie alors avec brio dans des adap- de liberté, les trente années qui suivent le voient spec- tations littéraires, Nid de gentilhomme d’après tateur attentif des vicissitudes de la Russie, chroni- Tourgueniev ou Oncle Vania, version sombre de la queur d’événements et de mutations historiques : de pièce de Tchekhov. En 1974 sort Romance des amou- l’évolution d’un kolkhoze dans Riaba ma poule, vingt- reux, son plus grand succès commercial, qui séduit cinq ans après Le Bonheur d’Assia, à la guerre avec les des millions de spectateurs. Musique et chansons y Tchétchènes dans La Maison des fous ; du portrait de jouent un rôle majeur, et des réminiscences de Quand Staline et de son entourage, dans Le Cercle des intimes, passent les cigognes (Mikhaïl Kalatozov, 1957), qui avait à la vulgarité et à la corruption des nouveaux riches marqué sa jeunesse, émaillent le film. L’éclectisme de dans Gloss, ou aux métamorphoses de la campagne Kontchalovski se confirme ensuite avec Sibériade, vaste russe dans Les Nuits blanches du facteur. fresque souvent comparée au 1900 de Bertolucci, où Jusqu’au Péché (2019), évocation de la vie de Michel- s’opposent deux familles dans un village sibérien, au Ange, Kontchalovski n’aura cessé de s’interroger sur cours du XXe siècle. Malgré un budget colossal, le plus les rapports de l’artiste avec le pouvoir. Mais dans ce important que Kontchalovski ait jamais obtenu, c’est cinéma qui n’oublie pas l’imaginaire, de L’Odyssée à un film intimiste, voire élégiaque, nonobstant la vio- Casse-noisette, on découvre un créateur toujours insa- lence de certaines séquences. Le réalisateur y évoque tisfait, en perpétuelle recherche de solutions esthé- la famille et la nature, deux thèmes majeurs de sa fil- tiques originales, telles les récentes expériences des mographie : du Premier maître aux Nuits blanches Nuits blanches du facteur, de Paradis et du Péché. ⬤ du facteur, il est l’un des plus grands paysagistes du cinéma contemporain. 38 Le Bayou Duo pour une soliste Gloss LE CERCLE DES INTIMES DUO POUR UNE SOLISTE LE BAYOU (BLIJNI KROUG) (DUET FOR ONE) (SHY PEOPLE) D’ANDREÏ KONTCHALOVSKI D’ANDREÏ KONTCHALOVSKI D’ANDREÏ KONTCHALOVSKI ITALIE-URSS-ÉTATS- ÉTATS-UNIS-GRANDE- ÉTATS-UNIS/1986/122’/VOSTF/35MM UNIS/1990/137’/VOSTF/35MM BRETAGNE/1986/107’/VOSTF/35MM AVEC BARBARA HERSHEY, JILL AVEC TOM HULCE, LOLITA D’APRÈS LA PIÈCE DUET FOR DAVIDOVICH, ALEXANDRE ZBROUÏEV, ONE DE TOM KEMPINSKI. CLAYBURGH, MARTHA PLIMPTON. ANDREÏ KONTCHALOVSKI Diana, jeune journaliste, ne FÉDOR CHALIAPINE JR.. AVEC JULIE ANDREWS, ALAN supporte plus les tensions Évocation de la vie de BATES, MAX VON SYDOW. Une violoniste virtuose voit de la vie new-yorkaise qui Staline et de son entourage sa carrière et sa vie brisées affectent son travail et ses à travers le portrait de son par la sclérose en plaques. relations avec sa fille Grâce. projectionniste attitré. B sa 19 sep 19h00 A Elles partent toutes les deux en ve 25 sep 19h00 sa 03 oct 19h00 B ve 25 sep 22h00 B Louisiane chez une cousine. sa 19 sep 21h15 A GLOSS je 24 sep 21h15 A (GLIANETS) AVANT-PREMIÈRE PROGRAMMATION D’ANDREÏ KONTCHALOVSKI LE BONHEUR D’ASSIA CHERS CAMARADES RUSSIE/2007/118’/VOSTF/NUMÉRIQUE (ISTORIA ASSI KLIATCHINOÏ, AVEC IOULIA VYSSOTSKAÏA, IRINA (DOROGUIÉ KATORAÏA LIOUBILA, DA ROZANOVA, ALEXEÏ SEREBRIAKOV. TOVARICHTCHI) NIE VYCHLA ZAMOUJ) Galia, jeune ouvrière dans D’ANDREÏ KONTCHALOVSKI D’ANDREÏ KONTCHALOVSKI une usine de province, rêve RUSSIE/2020/VOSTF/DCP URSS/1966/99’/VOSTF/NUMÉRIQUE AVEC IOULIA VYSSOTSKAÏA, ANDREÏ de devenir mannequin. Elle AVEC IYA SAVVINA, ALEXANDRE GOUSSEV, IOULIA BOURAVA. quitte ses parents alcooliques SOURINE, LIOUBOV SOKOLOVA. Le récit des événements de et son petit ami violent pour Assia, ouvrière agricole dans 1962 à Novotcherkassk, quand se rendre à Moscou. un kolkhoze, a deux amants. une manifestation d’ouvriers Restauration 2K par The Andrei L’un l’aime et veut l’épouser, en grève fut réprimée dans Konchalovsky Studios. l’autre la brutalise et lui fait un B le sang par les autorités. sa 26 sep 20h45 enfant. Assia refuse de choisir sa 10 oct 14h15 B lu 14 sep 20h30 A entre ses deux prétendants. Ouverture de la rétrospective, Restauration 4K par The Andrei Konchalovsky Studios. en présence d’Andreï je 17 sep 19h00 B Kontchalovski Duo pour une soliste 39 ANDREÏ KONTCHALOVSKI LES FILMS Riaba ma poule LA MAISON DE FOUS NID DE GENTILHOMME PARADIS (DOM DOURAKOV) (DVORIANSKOÏÉ GNEZDO) (RAÏ) D’ANDREÏ KONTCHALOVSKI D’ANDREÏ KONTCHALOVSKI D’ANDREÏ KONTCHALOVSKI RUSSIE-FRANCE/2002/108’/ URSS/1969/111’/VOSTA/35MM RUSSIE-ALLEMAGNE/2015/131’/ VOSTF/NUMÉRIQUE D’APRÈS LE ROMAN NID DE VOSTF/DCP AVEC IOULIA VYSSOTSKAÏA, EVGUENI GENTILHOMME D’IVAN TOURGUENIEV. AVEC IOULIA VYSSOTSKAÏA, CHRISTIAN MIRONOV, SULTAN ISLAMOV. AVEC IRINA KOUPTCHENKO, LEONID CLAUSS, PHILIPPE DUQUESNE. En 1996, pendant la première KOULAGUINE, NIKITA MIKHALKOV. 1942. Une aristocrate russe, guerre en Tchétchénie, la Dans les années 1840, un noble membre de la résistance, vie des patients, livrés à russe, trompé par sa femme, un fonctionnaire de police eux-mêmes, dans l’hôpital rentre d’Italie et retrouve avec collaborationniste, et un officier psychiatrique d’Ingouchie, plaisir son domaine. Mais la SS, en poste dans un camp de tout près de la frontière. première visite rendue à ses concentration, doivent répondre Restauration 2K par The Andrei voisins le met en présence de leurs actes devant Dieu pour Konchalovsky Studios.
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