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Agat Films & Cie Etvelvet Film Présentent AGAT FILMS & CIE ET VELVET FILM PRÉSENTENT HANNAH STEELE ALEXANDER SCHEER HANS-UWE BAUER MICHAEL BRANDNER IVAN FRANEK PETER BENEDICT NIELS BRUNO SCHMIDT MARIE MEINZENBACH SCÉNARIO PASCAL BONITZER RAOUL PECK IMAGE KOLJA BRANDT DÉCORS BENOÎT BAROUH CHRISTOPHE COUZON COSTUMES PAULE MANGENOT SON JÖRG THEIL BENOÎT BIRAL MAQUILLAGE ET COIFFURES ANNE MORALIS MONTAGE FRÉDÉRIQUE BROOS MUSIQUE ALEXEI AIGUI CASTING SYLVIE BROCHERÉ PRODUIT PAR NICOLAS BLANC RÉMI GRELLETY ROBERT GUÉDIGUIAN RAOUL PECK COPRODUIT PAR BENNY DRECHSEL KARSTEN STÖTER PATRICK QUINET UNE PRODUCTION AGAT FILMS & CIE ET VELVET FILM EN COPRODUCTION AVEC ROHFILM ARTEMIS PRODUCTIONS FRANCE 3 CINÉMA JOUROR SÜDWESTRUNDFUNK RTBF (TÉLÉVISION BELGE) VOO ET BE TV SHELTER PROD AVEC LA PARTICIPATION DE CANAL+ FRANCE TÉLÉVISIONS DISTRIBUTION DIAPHANA (FRANCE) NEUE VISIONEN WILD BUNCH (ALLEMAGNE) AVEC LA PARTICIPATION DE CENTRE NATIONAL DU CINÉMA ET DE L’IMAGE ANIMÉE DEUTSCHER FILMFÖRDERFONDS MDM MITTELDEUTSCHE MEDIENFÖRDERUNG MBB MEDIENBOARD BERLIN-BRANDENBURG FILM- UND MEDIENSTIFTUNG NRW FILMFÖRDERUNGSANSTALT MIT UNTERSTÜTZUNG DER DEUTSCH-FRANZÖSISCHEN KOMMISSION TAX SHELTER DU GOUVERNEMENT FÉDÉRAL DE BELGIQUE CENTRE DU CINÉMA ET DE L’AUDIOVISUEL DE LA FÉDÉRATION WALLONIE-BRUXELLES EN ASSOCIATION AVEC MERCURE INTERNATIONAL TAXSHELTER.BE ING INDÉFILMS 4 A PLUS IMAGE 6 SOFITVCINE 3 PHOTOS © KRIS DEWITTE AGAT Films & Cie et Velvet Film présentent AVEC Durée : 1h58 FRA/ALL/BEL - 2016 - SCOPE - DOLBY 5.1 SORTIE LE 27 SEPTEMBRE PRESSE DIAPHANA DISTRIBUTION MARIE QUEYSANNE 155, rue du Faubourg St Antoine assistée de SARA BLÉGER 75011 Paris 113, rue Vieille du Temple - 75003 Paris Tél. : 01 53 46 66 66 Tél. : 01 42 77 03 63 [email protected] [email protected] / [email protected] Matériel presse disponible sur www.diaphana.fr SYNOPSIS 1844. De toute part, dans une Europe en ébullition, les ouvriers, premières victimes de la “Révolution industrielle”, cherchent à s’organiser devant un “capital” effréné qui dévore tout sur son passage. Karl Marx, journaliste et jeune philosophe de 26 ans, victime de la censure d’une Allemagne répressive, s’exile à Paris avec sa femme Jenny où ils vont faire une rencontre décisive : Friedrich Engels, fils révolté d’un riche industriel Allemand. Intelligents, audacieux et téméraires, ces trois jeunes gens décident que « les philosophes n’ont fait qu’interpréter le monde, alors que le but est de le changer ». Entre parties d’échecs endiablées, nuits d’ivresse et débats passionnés, ils rédigent fiévreusement ce qui deviendra la “bible” des révoltes ouvrières en Europe : “Le manifeste du Parti Communiste”, publié en 1848, une œuvre révolutionnaire sans précédent. ENTRETIEN AVEC RAOUL PECK “Je suis venu au cinéma par le politique” entretien réalisé par Jean-Louis Derenne Qu’est ce qui a poussé le réalisateur que vous jeune aussi. êtes à s’attaquer à un “monument” tel que Ma relation avec le sujet ne procède pas d’une Marx ? décision intellectuelle. J’ai grandi avec Marx, j’ai Il faut relier ce projet à un autre film, qui lui aussi avec lui un lien organique, fruit des quatre ans a pris dix ans à se faire, I AM NOT YOUR NEGRO, de séminaire sur le Capital que j’ai suivi à Berlin basé sur l’œuvre de James Baldwin*. Ces deux dans un cadre universitaire. Ces années ont été films coïncident chez moi avec un moment de décisives dans ma manière de voir le monde, réflexion et d’inquiètude. Une inquiétude par d’expliquer ma place dans ce monde, à une rapport à ce que je ressentais du “Zeitgeist”** époque où l’on questionnait déjà sévèrement les ambiant, en cette période de “fin de l’Histoire” dérives du capital dans l’Europe et dans le monde et de “fin des idéologies”. Une époque qui se de manière très concrète, une époque de grands manifeste également par une suspicion de toute chamboulements avec la mise en doute de tous science ou de philosophie et un rejet de tout les dogmes qui avaient infesté l’époque et amené ce qui est politique. Ce qui a existé jusque-là est beaucoup de confusion. sensé être dépassé et on semble vouloir créer du nouveau à partir de rien. Ce qui, me semble-t’il, Quel a été l’élément déclencheur de ce projet ? est utopique. Nous n’avons ni peuple de rechange, Pierrette Ominetti d’Arte m’a contacté en me plus « pur » plus « sain » plus « avancé » avec lequel demandant si je pourrais imaginer un film autour tout serait plus simple. Il nous faut malheureu- de Karl Marx selon une approche mixte mi-docu- sement partir du réel. mentaire / mi-fictionnelle. Je n’ai pas hésité une Ma réponse en tant qu’artiste et citoyen engagé, seconde. J’ai commencé à travailler mais ce n’était c’est de revenir aux fondamentaux. Pour moi, ce pas satisfaisant. Il m’est vite apparu que faire un sont d’abord Baldwin, que j’ai lu très tôt dans ma film sur ce thème serait plus lourd, plus complexe, jeunesse, et Marx, que j’ai longuement étudié très plus déterminant que je ne l’avais pensé au départ. Et que c’était aussi pour moi, à ma manière, une des décennies de propagandes, d’inexactitudes, occasion de « changer le monde » avec un film qui d’inventions pures, de contradictions, etc. sans aille plus loin, tant dans la forme que dans le compter les crimes et méfaits de la guerre froide contenu ainsi que sur l’impact politique potentiel. et des autres confrontations idéologiques. Il y a Le projet prenant de l’envergure, j’ai décidé de le des combats que l’on ne peut pas gagner dans reprendre totalement à mon compte et de le un médium qui est maîtrisé de bout en bout par développer moi-même au sein de ma société le capital, par une industrie plutôt conservatrice Velvet Film. et tournée vers le «divertissement ». Alors j’ai Pour pouvoir financer ce film, il nous fallait pour choisi de parler du jeune Marx, dans cette période sûr un scénario solide. Ce qui a fait notre force, de sa vie où il est en train de se transformer après diverses tentatives, notamment en de manière fondamentale. J’essaie de montrer récupérant un début de traitement rédigé par quelles sont les étapes de cette transformation Rossellini, mais que nous avons vite mis de côté, et ce qu’il en résulte. c’est d’avoir pu travailler avec mon complice sur Mon film est d’abord l’histoire de trois jeunes déjà plus de cinq films, mon ami Pascal Bonitzer, européens avant la lettre, qui décident de changer sûrement l’un des meilleurs scénaristes d’Europe le monde. De lutter ensemble contre une société aujourd’hui, d’une extrême érudition, avec une d’oppression et de répression, à l’heure de la capacité d’assimilation extraordinaire et la faculté révolution industrielle et d’un monde des idées de traduire avec finesse, légèreté et humour des en plein bouleversement lui-aussi, avec Hegel situations parfois très “chargées” et de les rendre notamment. C’est une période de basculement compréhensibles. majeur des sociétés européennes vers un monde sans roi où les peuples font l’Histoire. Le para- “Je savais qu’il ne fallait digme est totalement différent mais les structures pas essayer d’expliquer le n’y sont pas encore adaptées, tout est à faire. Je ne soumets pas une vision quelconque, un grand Marx barbu, l’icône en héros à adorer. Je montre juste comment cela statue de granit qui a servi de se passe pour Marx et ses amis, de jeunes bour- prétexte à des monstres pour geois qui prennent le risque de tout mettre en commettre leurs crimes.” doute, qui critiquent tout et, ne se contentant pas de critiquer, travaillent, s’engagent dans l’action Pourquoi le choix d’un Marx jeune, si loin au prix de l’exil et de la précarité, et se mettent de la figure du sage vieillard de l’imagerie en danger. commune ? Il y a une scène, lorsque Jenny et Karl sont Je savais qu’il ne fallait pas essayer d’expliquer expulsés de France, où ils se demandent ce le grand Marx barbu, l’icône en statue de granit qu’ils vont devenir. Mais la question chez eux qui a servi de prétexte à des monstres pour n’est jamais “est-ce qu’on arrête”, mais plutôt commettre leurs crimes. C’est une bataille que “comment va-t-on faire pour continuer”. je n’aurais jamais pu gagner avec un film, sauf si Dans notre petit monde protégé, dans l’Europe on me donnerait une vingtaine d’heures pour le pacifiée d’aujourd’hui, il est difficile de mesurer faire. Car avant d’expliquer, je dois déconstruire les risques qu’ils prenaient. Marx au cinéma, mais pour dire quoi ? Mon cinéma doit me permettre de penser et Je suis venu au cinéma par le politique. C’est repenser le monde dans lequel je suis. Cela a l’engagement qui m’y a mené. C’était à Berlin des conséquences dans le choix du sujet, comme au cours de mes études d’économie, une ville dans la forme pour l’aborder. extrêmement cosmopolite et engagée, une ville Si je fais un biopic classique, je reproduis ce de réfugiés politiques où tous les combats du qu’Hollywood sait très bien faire et qui consiste globe se retrouvaient. J’ai pu y côtoyer tous les à maintenir le spectateur dans sa bulle d’un mouvements et organisations qui existaient alors, monde maitrisé, heureux, parfois confronté à un issus du Nicaragua, du Chili, du Brésil, d’Iran, méchant mais que l’on parvient toujours à vaincre d’Afrique du Sud… Berlin était en perpétuelle à la fin. J’oppose à cela une approche « marxiste » effervescence, avec des manifestations régulières (et non dogmatique ! ) : quand on fait quelque contre l’apartheid, contre l’installation des missiles chose qui est critique, on est obligé de critiquer américains en Allemagne, pour la paix.
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