March 31-April 3, 2016
Transcription
March 31-April 3, 2016
Co-academic Sponsors Virginia Commonwealth University and the University of Richmond present R i c h m o n d , V i r g i n i a March 31-April 3, 2016 Exclusive Media Sponsor All films have English subtitles and are presented by their actors and directors. 24th annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilmfestival.us Virginia Commonwealth University and the University of Richmond present R i c h m o n d , V i r g i n i a contents Film Schedule. . . . . . . . . . . . . . . . . . . . . . . . . . . p. 3 Lock in your pass for the 25th French Film Festival with the 24th festival price Pre-Festival Event. . . . . . . . . . . . . . . . . . . . . . . . . . p. 4 HOMAGE to French New Wave Director JACQUES RIVETTE (1928-2016) Master Class. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 5 Regular VIP Pass: $115 Acting: A Delicate Balance between The Self and The Other Instructor VIP Pass: $105 Master Class. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 6 Student VIP Pass: $65 Official Reception Add-On: $25 “Thanks for Saving the History of Cinema - The Cinémathèque Française and its Conservatory of Cinematographic Technologies!” Make check payable to: French Film Festival Master Class. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 7 Film Editing: A Key Component in Cinematic Creation Mark your calendars! Master Class. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 8 25th French Film Festival & Anniversary Symposium March 27-April 2, 2017 Acting Experiences from Both Sides of the Atlantic: A Native American Perspective Special Cinémathèque Française Screening. . . . p. 9 Hand-painted, image-by-image films directed by Gaston Breteau and Georges Méliès Offer available only during weekend of festival – see “will call table” 2016 Feature Films. . . . . . . . . . . . . . . . . . . . pp. 10-47 Co-academic Sponsors Virginia Commonwealth University and the University of Richmond present Co-academic Sponsors Virginia Commonwealth University and the University of Richmond present R R i c h m o n d , V i r g i n i a March 27-30, 2014 i c h m o n d , V i r g i n i a March 26-29, 2015 Cinéastes: les hommes. . . . . . . . . . . . . . . . . . . . . . . Hope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . La Loi du marché . . . . . . . . . . . . . . . . . . . . . . . . . . . . Le Dernier Coup de marteau. . . . . . . . . . . . . . . . . . . L’Étudiante et Monsieur Henri . . . . . . . . . . . . . . . . . Un temps de Président . . . . . . . . . . . . . . . . . . . . . . . Arrête ton cinéma ! . . . . . . . . . . . . . . . . . . . . . . . . . . Loin des hommes. . . . . . . . . . . . . . . . . . . . . . . . . . . . Premiers crus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Belle et Sébastien, l’aventure continue. . . . . . . . . . Le Goût des merveilles . . . . . . . . . . . . . . . . . . . . . . . Le Grand Partage . . . . . . . . . . . . . . . . . . . . . . . . . . . Human . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . L’Enquête . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . En équilibre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Floride . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Discount . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Un peu, beaucoup, aveuglément . . . . . . . . . . . . . . . 10 12 14 16 18 20 22 24 26 28 30 32 34 38 40 42 44 46 2016 Short Films. . . . . . . . . . . . . . . . . . . . . . pp. 48-54 Exclusive Media Sponsor All films have English subtitles and are presented by their actors and directors. 22nd annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilmfestival.us 2 Exclusive Media Sponsor All films have English subtitles and are presented by their actors and directors. 23rd annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilmfestival.us Saturday, April 2 L’Hiver est proche • La Nuit américaine d’Angélique ZZ • Une bonne affaire • La Boucle • white-spirit Sunday, April 3 Discipline • H recherche F • Wellington Jr. Le C.O.D. et le coquelicot • Une brume, un matin Sous tes doigts • Papa, Alexandre, Maxime et Eduardo Schedule Joint Screening 2:50 p.m. La Cinémathèque Française, rare and restored films Exécution de Jeanne d’Arc by director Gaston Breteau; Jeanne d’Arc and Le Merveilleux Eventail vivant by director Georges Méliès presented by Laurent Mannoni, Director of Cultural Heritage and Conservation of Cinematographic Technologies at the Cinémathèque Française. Todd Schall-Vess as bonimenteur and organist Bob Gulledge 3:45 p.m. Le Grand Partage by Alexandra Leclère Presentation by and discussion with director and screenwriter Alexandra Leclère and actress Josiane Balasko 7:00 p.m. Official Reception at the VCU Scott House 8:00 p.m. Human by Yann Arthus-Bertrand FREE and open to the public Presentation by and discussion with director Yann Arthus-Bertrand Monday, March 28-Wednesday, March 30 ON THE VCU CAMPUS: VCU Cinematheque VCU Grace Street Theater (934 West Grace Street) Free and open to the public PRE-FESTIVAL EVENT– Screening of OUT 1 by Jacques Rivette HOMAGE to JACQUES RIVETTE (1928-2016) 7:00 p.m. Screenings Monday through Wednesday Presentation by and discussion with Pierre-William Glenn, French director and director of photography, President of the CST, Professor of Cinematography at La FEMIS (Paris) Thursday, March 31 ON THE UR CAMPUS Sunday, April 3 IN THE BYRD THEATRE 8:00 a.m. Second Short Film Series Discipline by Christophe Saber H recherche F by Marina Moshkova Wellington Jr. by Cécile Paysant Le C.O.D. et le coquelicot by Cécile Rousset and Jeanne Paturle Une brume, un matin by Nicolas Buysse and Joachim Weissmann Sous tes doigts by Marie-Christine Courtès Papa, Alexandre, Maxime et Eduardo by Simon Masnay Presentation by and discussion with directors and animator Cécile Paysant, Nicolas Lemée, Joachim Weissmann, Marie-Christine Courtès and Simon Masnay 10:20 a.m. L’Enquête by Vincent Garenq Presentation by and discussion with journalist and author Denis Robert 12:45 p.m. En Equilibre by Denis Dercourt Presentation by and discussion with director and screenwriter Denis Dercourt 2:55 p.m. Floride by Philippe Le Guay presentation by and discussion with director and screenwriter Philippe Le Guay 5:45 p.m. Discount by Louis-Julien Petit Presentation by and discussion with director and screenwriter Louis-Julien Petit and producer Liza Benguigui Un peu, beaucoup, aveuglément by Clovis Cornillac Ukrop Auditorium – Queally Hall – Robins School of Business – University of Richmond Free and open to the public 9:00 a.m. Master Class: Acting: A Delicate Balance between the Self and the Other, with actress, producer and author Anny Romand 10:30 a.m. Master Class: “Thanks for Saving the History of Cinema The Cinémathèque Française and its Conservatory of Cinematographic Technologies!” with Laure Parchomenko, Curator of the Conservatory of Cinematic Technologies at the Cinémathèque Française, Paris, France 1:00 p.m. Master Class: Film Editing: A Key Component in Cinematic Creation with film editor Lizi Gelber 2:30 p.m. Master Class: Acting Experience from Both Sides of the Atlantic: A Native American Perspective, with Native American actor George Aguilar IN THE BYRD THEATRE 4:30 p.m. Cinéastes : les hommes by Julie Gayet and Mathieu Busson Presentation by and discussion with director Mathieu Busson and producer Christie Molia. FREE and open to the public 6:30 p.m. Hope by Boris Lojkine Presentation by and discussion with producer Bruno Nahon 8:00 p.m. 8:40 p.m. La Loi du marché by Stéphane Brizé Presentation by and discussion with screenwriter Olivier Gorce Monday, April 4 10:55 p.m. Le Dernier Coup de marteau by Alix Delaporte VCU Meeting Center (located on the corner of Floyd and North Harrison Streets) Friday, April 1 IN THE BYRD THEATRE 2:00 p.m. L’Etudiante et Monsieur Henri by Ivan Calbérac Presentation by and discussion with director, screenwriter and playwright Ivan Calbérac 4:15 p.m. Un temps de Président by Yves Jeuland Presentation by and discussion with director Yves Jeuland and editor Lizi Gelber 6:40 p.m. Arrête ton cinéma ! by Diane Kurys Presentation by and discussion with actress Josiane Balasko 8:50 p.m. Loin des hommes by David Oelhoffen Presentation by and discussion with director and screenwriter David Oelhoffen 11:00 p.m. Premiers crus by Jérôme Le Maire Saturday, April 2 IN THE BYRD THEATRE 8:00 a.m. 10:10 a.m. First Short Film Series L’Hiver est proche by Hugo Chesnard La Nuit américaine d’Angélique by Joris Clerté and Pierre-Emmanuel Lyet ZZ by François Villard Une bonne affaire by Denis Larzillière La Boucle by Alexandre Mehring white-spirit by Julie Voisin Presentation by and discussion with directors, actors and editors Hugo Chesnard, Joris Clerté, Pierre-Emmanuel Lyet, François Villard, Denis Larzillière, Mathieu Busson, Alexandre Mehring, Julie Voisin, Alexandre Tacchino, Mathieu Simonet,Thierry Brunello, Joan Lagache Belle et Sébastien, l’aventure continue by Christian Duguay Presentation by and discussion with actor Félix Bossuet 12:30 p.m. Le Goût des merveilles by Eric Besnard Presentation by and discussion with director and screenwriter Eric Besnard ON THE VCU CAMPUS Free and open to the public POST-FESTIVAL EVENT 5:00 p.m. Author and actress Anny Romand reads passages in English from her new book Ma Grand’mère d’Arménie. Followed by a discussion with the author Wednesday, April 6 VENUE GIVEN AT REGISTRATION Free and open to the public POST-FESTIVAL EVENT 5:30 p.m. Cheese Mites & Acrobatic Flies: Early Popular Science Films Short screening of early 20th century science films Discussion with Dr. Oliver Gaycken Registration is required at sciencepubrva.org Master Class Venue Pre-Festival Screenings will be held at VCU Cinematheque Grace Street Theater (934 West Grace Street). All Thursday’s Master Classes will be held in the Ukrop Auditorium – Queally Hall – Robins School of Business – on the campus of the University of Richmond. Free parking is available adjacent to Queally Hall in lots R8 and R9. All Master Classes and Pre- and Post-Festival events are Free and open to the public Festival Venue The Byrd Theatre is located at 2908 W. Cary St. in Richmond. A parking deck is located directly behind the theatre. Official Reception The Official Reception is for all festival student, faculty and regular VIP pass receptionholders who have purchased the $25 add-on for the reception. If you have purchased a pass already and did not choose the reception add-on, you still may do so by contacting the festival office. The reception’s event planner is Peggy Guy with the following food sponsors: Millie’s Diner, The Black Sheep, Feast Catering + Events, Weezie’s Kitchen, For the Love of Chocolate, Amour Wine Bistro, Barrel Thief, Monique’s Crêpes, Chez Foushee, Paris Crêperie, Tommy’s Garden and Brux’L Café. Orchids by Chadwick & Son Orchids. This special event will be held on the evening of Saturday, April 2, 7 p.m.-9 p.m. at the VCU Scott House, a non-smoking venue, located at 909 W. Franklin St., Richmond, Va. Reserved parking is available for reception attendees on both sides along Franklin Street from Harrison to Laurel Streets. Actor Félix Bossuet in Belle et Sébastien, l’aventure continue, a film by Christian Duguay. Photo Eric Travers © 2015 Radar Films, Epithète Film, Gaumont, M6 Films & RhôneAlpes Cinéma with the participation of Canal+, OCS, M6 and W9. 3 Pre-Festival Event March 28, 29 & 30, 7:00 p.m. each evening VCU Cinematheque Grace Street Theater (934 W. Grace St.) Free and open to the public Pierre-William Glenn OUT 1 by Jacques Rivette. An invisible film for over 40 years! Entire running time 12-hours-55 minutes with English subtitles, divided into three evenings of screenings. Discussion and Q&A with Pierre-William Glenn immediately following each projection. French director and director of photography, President of the CST (Commission Supérieure Technique de l’Image et du Son), Professor of Cinematography at La FEMIS-Paris Jacques Rivette’s 1971 magnum opus OUT 1 in a newly restored, full length version, screened over three evenings with the film’s Director of Photography, Pierre-William Glenn, who also supervised the 2015 digital restoration. Jacques Rivette, co-founder of the French New Wave along with Jean-Luc Godard, François Truffaut, Éric Rohmer and Claude Chabrol, was the group’s most free-spirited and aesthetically radical member. OUT 1 is based on a unique concept that includes the absence of a script and creative inferences to Honoré de Balzac and Lewis Carroll. The film features actors Jean-Pierre Léaud, Juliet Berto, Michael Lonsdale, Bernadette Lafont, Bulle Ogier, Françoise Fabian, Jean-François Stévenin and other New Wave icons, with special appearances by directors Éric Rohmer and Barbet Schroeder. First shown as a work in progress, the nearly 13-hour film was re-edited to a four-hour “short” version. Even that version has been screened in very limited release during the past forty-five years. Few people have seen the full-length version. In 2015, Pierre-William Glenn, the film’s Director of Photography, supervised and approved the full digital restoration of OUT 1 for Carlotta Films. The film begins in Paris, April 13, 1970 where two theater groups rehearse avant-garde adaptations of plays by Aeschylus. A young deaf-mute begs for change in cafés while playing the harmonica. A young woman seduces men in order to rob them. As a possible conspiracy by “the Thirteen” develops, the protagonists’ stories start to intertwine . . . Co-sponsored by VCUarts Cinema & VCUarts CINEMATHEQUE with the participation of VCU World Cinema & UR Film Studies Programs 4 Pierre Courtois HOMAGE to French New Wave Director JACQUES RIVETTE (1928-2016) Pierre-William Glenn, after receiving several degrees in mathematics, embarked on a career in the film industry that has proven to be key and essential to the quality and advances in filmmaking in France and abroad. In 1968, he became chief camera operator on Peter Goldman’s film Wheels of Ashes. In the years 1974-1975, he made a feature-length documentary dedicated to his passion for motorcycles: Le cheval de fer (The Iron Horse). Glenn has directed numerous other films such as ARC’s Nantes Sud Aviation, Les Enragés, Terminus, 23:58, Les Trajets réels de Cléo dans Paris, and Portrait de groupe avec enfants et motocyclettes. As a cinematographer, he has worked on more than 70 films with directors like François Truffaut, Michel Deville, Maurice Pialat, Claude Lelouch, Bertrand Tavernier, Jacques Bral, Guillaume Nicloux, Robert Enrico, Roger Vadim, Yannick Bellon, Samuel Fuller, Jean-Claude Missiaen, Euzhan Palcy, Philippe Labro, Yves Boisset, Pierre Granier-Deferre, Gérard Pirès, George Roy Hill, Alain Corneau, Corey Allen, Chris Marker, Aleksandar Petrovic, José Giovanni, Nadine Trintignant, Costa-Gavras, Dominique Benicheti, Jacques Doillon, Marin Karmitz, John Berry, André Téchiné and more. Pierre-William Glenn is a founding member and served from 1997 to 2000 as president of the AFC (French Association of Directors of Photography). Since 2002, he has been the President of the CST (Commission Supérieure et Technique de l’Image et du Son) and co-director of the Image Department at La FEMIS since 2005. Master Class Films Galaxie by actress Anny Romand Anny Romand in Jean-Jacques Beineix’s DIVA Acting: A Delicate Balance between The Self and The Other Thursday, March 31, 9:00-10:30 a.m. UR CAMPUS, Ukrop Auditorium – Queally Hall – Robins School of Business Free and open to the public Anny Romand, noted cinema and television actress, will conduct a Master Class on acting with specific references to four of her acting contributions in Le Soulier de satin (The Satin Slipper) by film director Manoel de Oliveira, Mon cher sujet (My Dear Subject) by Anne-Marie Mieville, Diva by Jean-Jacques Beineix, and Hélas pour moi (O, Woe is Me) by Jean-Luc Godard. She will explore the following issues: Why become an actor? How to BE a character, and what is the real meaning of holding a part? Does acting mean feeling, taking action, getting, or not, into the character’s skin? In what ways does the body act out too? How to relate to one’s co-actors? Based on her experience with directors Manoel de Oliveira, Anne-Marie Mieville, Jean-Jacques Beineix, and Jean-Luc Godard, she will talk about the rapport between director and actor and the delicate question of choosing to enter, or not, the universe of the Other. Her presentation will be illustrated with clips from the four films. Anny Romand also directs the association Une Saison de Nobel (A Season of Nobel Prizes) which regularly pays homage to the authors having won the Nobel Prize for Literature and to their works in organizing meetings between a Nobel Prize winner author, his work and the audience, as well as additional readings. An author, and a translator as well, Anny Romand will read passages of her recent book Ma Grand’mère d’Arménie (My Grandmother from Armenia) during the Post-Festival event Monday, April 4th at the VCU Meeting Place, Floyd & Harrison Streets, 5:00 p.m. to 6:30 p.m. 5 Master Class by curator Laure Parchomenko Laure Parchomenko Permanent Exhibit Showcase at the Cinémathèque “Thanks for Saving the History of Cinema The Cinémathèque Française and its Conservatory of Cinematographic Technologies!” Thursday, March 31, 10:30 a.m. - noon UR CAMPUS, Ukrop Auditorium – Queally Hall – Robins School of Business Free and open to the public For several years now, the Cinémathèque Française (CF) has enjoyed partnering with the French Film Festival – Richmond, Virginia. Laure Parchomenko, curator of the Conservatory of Cinematographic Technologies at the Cinémathèque Française, presents a captivating historical overview of the Cinémathèque Française, an institution like no other in the world. Collection Depot at the Conservatoire des techniques de la Cinémathèque Française Created in 1936 by Henri Langlois, the Cinémathèque Française is one of the first archives to collect films and cinematographic materials. Constantly being enriched since then, the Cinémathèque Française houses exceptional collections and is globally renowned. In 2008, the CF creates a Conservatory of Cinematographic Technologies with the mission to underscore the crucial importance of preserving cinematographic heritage at a time when the digital revolution is taking place on film sets, in post-production labs and in cinema theaters. photos by Stéphane Dabrowski 6 Georges Méliès’ camera in the Cinémathèque Française Collection In 2004, following her university studies in cinema, Laure Parchomenko began working at the Cinémathèque Française in charge of the extensive historic archive collection. Her work there helped Laurent Mannoni write his comprehensive History of the Cinémathèque Française (Gallimard, 2006). In 2007, Laure was entrusted with the collection of cinematographic equipment of the Cinémathèque Française and of the Centre National du Cinéma et de l’Image Animée (National Center for Cinema and Animated Images). Since then, she has collaborated on the organization of many exhibitions, publications and conferences showing the importance and value of these unique collections of over 6,000 vintage and modern machines, amongst the richest and most prestigious in the world. Master Class Sébastien Calvet, Adrien Lévy-Cariès, Alain Birocheau, Yves Jeuland / La Générale de production by film editor Lizi Gelber Film Editing: A Key Component in Cinematic Creation Thursday, March 31, 1:00 p.m. - 2:30 p.m. UR CAMPUS, Ukrop Auditorium – Queally Hall – Robins School of Business Free and open to the public French director Yves Jeuland was authorized to film the daily workings of President François Hollande for six months during a particularly tense period ranging from the dismissal of Manuel Valls’ first government and its reappointment to the political management of the terrorist attacks in January 2015 (Charlie Hebdo). Jeuland called on film editor Lizi Gelber and her artistic talent to compose a captivating cinematic narrative from the hundreds of hours of images. Result: a documentary, like no other, on the not-quite-so everyday life of a French President. Using clips from Yves Jeuland’s Un temps de Président, film editor Lizi Gelber demonstrates the editing process while showing how it is a key component in cinematic creation. Lizi Gelber: During the editing of Un temps de Président, we juggled between the objective constraints of telling a story about a very public figure and the freedom in creating a narrative which often took events out of the timeframe in which they occurred. An editor, especially in documentaries, is constantly “cheating” by changing the order of scenes and “stealing” shots or events to place them in a different context. I think of filming as collecting words and editing as writing sentences. I can only use the words that have been filmed by the director, but with the same footage I can edit sentences that are repetitive and choppy, or ones that are fluid and captivating. In order to create structure and rhythm we choose the characters who are most interesting and decide which events to keep in the story, and yet the core of each character and the objective message of the story must be rigorously respected. Director Yves Jeuland will also be present during Lizi Gelber’s Master Class on Film Editing. Both will present their full 104-minute documentary Un temps de Président in the Byrd Theatre on Friday, April 1st at 4:15 p.m. Paul Newman, Michael Cimino (The Sicilian). lizi gelber Lizi Gelber started her editing career working on feature films with directors Robert Altman (Ready to wear), JeanMarie Poiré (Les Visiteurs), Roland Joffé (Fat Man and Little Boy) with She soon turns her editing talents to documentaries, often dealing with social and political issues, as in 2013 with Va’pensiero – Storie ambulanti (directed by Dagmawi Yimer) focusing on issues related to African migration to Italy; or in 2012 with Land Rush (by directors Hugo Berkeley and Osvalde Lewat) tackling questions of food sovereignty and land ownership in Africa, asking the question who actually owns Africa. She also exercises her editing skills on complex and composite genre films as the on-going film Brooklyn Roses (directed by Christine Noschese) shot over a twenty-year period, with the same actors playing the same characters as they age and where narrative and documentary footage interweave; or as the documentary The Agronomist (directed by Jonathan Demme) profiling Haitian radio journalist and human rights activist, Jean Dominique, and intertwining historical footage of Haiti’s tumultuous past, actual interviews with Dominique, and dailies shot before his assassination on April 3, 2000. Her filmography also includes documentaries capturing prominent political figures, as director Yves Jeuland’s most recent film Un temps de Président (which she will use in this Master Class to illustrate the complexities and relevance of the editing process). 7 Master Class by actor George Aguilar Acting Experiences from Both Sides of the Atlantic: A Native American Perspective Thursday, March 31, 2:30 p.m. - 4:00 p.m. UR CAMPUS, Ukrop Auditorium – Queally Hall – Robins School of Business Free and open to the public George Aguilar (Apache/Yaqui) shares his experiences as a Native American actor and stuntman on both sides of the Atlantic. Working with some of the most distinguished people in cinema in both the US and France yet also having had to refuse roles in films for ethical reasons, George has a unique perspective on acting and on the film industry that cinema students, academics, and professionals need to know. Throughout his career, George’s concern and actions supporting the well-being of all actors, notably fellow Native American actors, are more than exemplary. His story illustrates how various forms and manifestations of discrimination, racism, inequity, and injustice still remain prevalent in the film industry today. The Oscars ceremony boycott by actors incensed at the lack of diversity in this year’s nominations and a dozen Native American actors walking off set last year from Adam Sandler’s culturally insensitive “comedy” are more than headlines. These statements and walk-outs are appeals, wake-up calls, to the industry and to the general public about ills in the system. In addition to his own experiences, George Aguilar will discuss recent Native American filmmaking and some of its leading directors and actors. George Aguilar In the US and in Hollywood, George Aguilar’s many films include, among others, Robert Aldrich’s Ulzana’s Raid starring Burt Lancaster; Tom Laughlin’s The Trail of Billy Jack; Percy Adlon’s Bagdad Café (Cahuenga) with Jack Palance and CHH Pounder; Roland Joffé’s The Scarlet Letter with Demi Moore; and the last film by director George Sluizer and actor River Phoenix, Dark Blood. George has been part of popular television series Star Trek: The Next Generation (Wakasa); Steven Spielberg’s production Into the West (Big Foot) with actress Irene Bedard (Cree/Inupiat/Inuit/Yupik/Métis); and the feature Dreamkeeper made for television film with its all-star cast of Native American/ First Nations actors. In 1999, George began his European film career with Gérard Lauzier’s Le Fils du Français starring Fanny Ardant and Josiane Balasko. Since then, George has acted in Jean-Luc Godard’s Notre musique; Patrice Leconte’s Les Bronzés 3; Gérard Krawczyk’s La Vie est à nous!; Josiane Balasko’s L’Exfemme de ma vie, Client(e) and DemiSoeur, Bruno Poldalydès’ Versailles Rive Droite and Le Mystère de la chambre jaune, and Marc Barrat’s Orpailleur, just to name a few. George generously acts in short films as well as charity and non-profit advertisements. In France, his acting does not stop with cinema. Over the past five years, George has captured the attention of audiences with his on-stage performances in Josiane Balasko’s plays La Nuit sera chaude and Un grand moment de solitude. Master Class sponsored by UR Film Studies Program 8 Special Cinémathèque Française Screening Exécution de Jeanne d’Arc / Execution of Joan of Arc (Director Gaston Breteau, Lumière Production Catalog No. 964, Paris, filmed in September 1898, 20 meters, approx. 2min) 4K digital restoration completed in 2015 by the Cinémathèque Française and the Institut Lumière, from a nitrate 35mm print tinted and hand-painted, image-by-image, with Lumière perforations, part of the collection of Olivier Auboin-Vermorel archived at the Cinémathèque Française. The hand-painted films of the Lumière Production are extremely rare; approximatively fifteen have been recently restored by the Cinémathèque Française. Jeanne d’Arc/Joan of Arc Hand-painted, image-by-image films directed by Gaston Breteau and Georges Méliès Presented by Laurent Mannoni, director of Cultural Heritage and Conservation of Cinematographic Technologies at the Cinémathèque Française All audiences boniment by Todd Schall-Vess musical arrangement and performance by organist Bob Gulledge (Cinematographic Epic in 12 tableaux) (Director Georges Méliès, Méliès Production Catalog 264-275, Montreuil, 1900, 250 meters, 12min) 4K digital restoration completed in 2016 from a nitrate handpainted, image-by-image, copy part of the collection of Madeleine Malthête-Méliès,with the generous contribution of the Filmoteca Cataluyna. In the Spring of 1900, Georges Méliès staged Joan of Arc. It is his second film à tableaux after Cinderella (1899), and his first to exceed 200 meters; it encountered a great success. The two backstage areas just added to Méliès’ Montreuil glass studio allowed for the troupe of the “Triumphal March through Orléans” (tableau 6) to pass several times in front of the camera exiting from the left wing and reentering through the right after getting around the studio from the north. It thus gives the impression that “Joan of Arc uses […] close to five hundred characters” as it has been pointed out by Méliès himself in a contemporary text. on the Mighty Wurlitzer running time approx. 19min 23sec The Wonderful Living Fan / Le Merveilleux Eventail vivant (Director Geroges Méliès, Méliès Production Catalog 581-584, Montreuil, 1904, 90 meters, 5min 23sec) 4K digital restoration completed in 2013 from a nitrate copy, hand-painted, image-by-image, part of the collection of Madeleine Malthête-Méliès. On the stage of his Montreuil studio, Méliès uses the cinematograph to renew the art of prestidigitation. In partnership with La Cinémathèque Française. These films have received support from the CNC for the digitization of heritage cinematographic works. 9 Cinéastes: les hommes documentary French director Mathieu Busson and producer Christie Molia present Cinéastes: les hommes Free and open to the public directors Julie Gayet and Mathieu Busson producers Christie Molia and TSVP starring Mathieu Amalric, Jacques Audiard, Luc Besson, Bertrand Blier, Jérôme Bonnell, Thomas Cailley, Arnaud Desplechin, Bruno Dumont, Guillaume Gallienne, Arthur Harari, Michel Hazanavicius, Cédric Klapisch, Claude Lelouch, Emmanuel Mouret, Olivier Nakache, Eric Toledano and Bertrand Tavernier running time 1h 20min The Cultural Service of the French Embassy: Supporting Contribution for Documentary Screenings 10 Director of The Artist, Michel Hazanavicius English synopsis Two years after the first opus Cinéast(e)s, seventeen male French filmmakers agree to play the interview game, answering the same question their female counterparts had been quizzed on: does cinema have a gender? Synopsis en français Deux ans après le premier opus, Cinéast(e)s, dix-sept réalisateurs français se prêtent au jeu de l’entretien, répondant à la même question que leurs homologues féminins : le cinéma a-t-il un sexe ? interview with director Mathieu Busson How was the idea of the second Cinéastes born? During our film dedicated to women directors, several of them had told us “You should be asking this question to men directors”. So the desire to let men get a taste of their own medicine came about very quickly. To what extent did the women directors interviewed in the first documentary have more elaborate thoughts on the question of gender in their trade? They are used to answering the question, while the men seem flabbergasted by this inquiry. Hardly anybody ever points out to them that they are MEN filmmakers. As Mia Hansen-Løve said, “a film directed by a woman is a woman film, whereas a film directed by a man is simply . . . a film.” What were your choices of lighting and framing? The idea was to be as unobtrusive as possible. Hence the absence of makeup or artificial lighting. We intentionally used light and portable equipment so that the exchanges would appear more as a conversation. In a similar idea, we wished to be physically close to the interviewees, even if it meant using extreme close-ups. Despite all this, we wanted an image that would be an homage to cinema: contrasted and with a small depth of field. The 5D camera permitted that, all while allowing for each interview and place to have its own particular color. Do your two documentaries disclose your own opinions and those of Julie Gayet? With 40 interviewees there are necessary diverging opinions, so the temptation to take sides by highlighting one director or the other, could be real. We tried to avoid this so that the final piece would be more of a shared reflection made of multiple voices. The problem Directors Julie Gayet and Mathieu Busson remains, but what is certain, is that I still stand on the side of those with the least amount of rights, the least opportunities. And today that group is still noticeably women. It is not by chance that “Busson”, which is my stage name, is in fact my grandmother’s name who divorced my grandfather at 75, to reclaim her freedom! Entretien avec le réalisateur Mathieu Busson Comment est née l’idée de ce second Cinéastes ? Plusieurs réalisatrices nous avaient dit lors du film consacré aux femmes : « Mais, c’est aux hommes que vous devriez poser la question ». Du coup, l’envie est très vite venue de jouer le jeu de l’arroseur arrosé. Dans quelle mesure les cinéastes femmes interrogées dans le premier volet avaient-elles une pensée plus élaborée sur la question du genre dans leur métier ? Elles ont plus l’habitude d’y répondre, alors que les hommes… tombent des nues. On ne leur parle quasiment jamais à eux du fait qu’ils soient des hommes en train de réaliser. Comme le dit Mia HansenLøve, « un film de femme est un film de femme, alors qu’un film d’homme est juste… un film». Quels ont été vos choix de lumière et de cadre ? L’idée était d’être le moins envahissants possible. Du coup, pas de maquillage, pas de lumières artificielles. Nous étions volontairement légers pour que les échanges s’apparentent plus à une conversation. Dans le même sens, nous souhaitions être assez proches d’eux, quitte à avoir de très gros plans. Malgré ça, nous souhaitions une image qui fasse hommage au cinéma : contrastée et avec une faible profondeur de champ. La caméra 5D le permettait, tout en offrant de marquer chaque interview, chaque lieu d’une couleur un peu particulière. Vos deux documentaires donnentils à voir vos opinions, à vous et à Julie Gayet ? Lorsqu’on a 40 intervenants, forcément, il y a des divergences d’opinions donc la tentation de prendre parti, en mettant en valeur untel ou untel, peut être grande. Nous avons essayé d’éviter cela et que l’ensemble soit plutôt une réflexion commune à plusieurs voix. Le problème reste très compliqué, mais ce qui est certain c’est que je reste du côté de celui qui a le moins de droits, le moins de possibilités. Et aujourd’hui, c’est encore clairement les femmes. Ce n’est peut-être pas un hasard, mais “Busson”, qui est mon nom de scène, est en réalité le nom de ma grand-mère : elle a divorcé de mon grand-père pour prendre sa liberté de femme à 75 ans ! 11 Hope feature Producer Bruno Nahon presents Hope English synopsis While crossing the Sahara desert, as they try to get to Europe, Léonard, a young man from Cameroon, rescues Hope, a Nigerian woman. In a fiercely hostile world where safety requires staying with one’s own people, these two try to find their way together, and to love each other. Synopsis en français Alors qu’il traverse le Sahara pour remonter vers l’Europe, Léonard, un jeune Camerounais, vient en aide à Hope, une Nigériane. Dans un monde hostile où chacun doit rester avec les siens, ils vont tenter de s’en sortir ensemble, et de s’aimer. PARENTAL DISCRETION director Boris Lojkine director of photography Elin Kirschfink screenwriter Boris Lojkine producer Bruno Nahon starring Justin Wang, Endurance Newton, Dieudonné Bertrand Balo’o, Bobby Igiebor running time 1h 31min Cannes Film Festival Award SACD-Semaine de la Critique 2015 12 interview with director Boris Lojkine “bosses”. Shooting with nonprofessionals shattered everything that was too classical, too “written” in the script. The actors’ language – I ought to say “languages” since there is a dozen of them in the film – is astonishing, a mix of road slang and verbal invention. I would never have been able to make that up. But in some way, the finished film has more of me in it than the script did. Why make a film on the world of migration? I came to film via documentarymaking, after ten years of studying philosophy. To me, making films was about leaving books behind to plunge into reality, to go far away and discover lives other than my own – more intense, more heroic lives. As far as I know, the world of migration has never been described from the inside. It is a terrible world, but a fascinating one, an underground world with rules of its own. In the cities that are steppingstones along the way, each community has a ghetto, each ghetto its government, run by a chairman, with a police chief, a secretary general, police officers, a jail. The chairman is the leader of the community, he dispenses justice and maintains order, but quite often he turns into a mobster, demanding ransom from those who come his way. The situation of women is particularly terrible. Entretien avec le réalisateur Boris Lojkine How did you cast the actors? None of the actors in the film are professionals. All roles are played by real migrants who had never acted before. In order to find Leonard, I combed the Cameroonian ghettos in Rabat. For Hope, it was even more difficult, since the great majority of Nigerian women in Morocco are not free, they have Pourquoi faire un film sur le monde de la migration ? Je suis arrivé au cinéma par le documentaire, après dix ans de philosophie. Pour moi, faire du cinéma, c’était quitter les livres pour me plonger dans le réel, partir loin et découvrir d’autres vies que la mienne, plus intenses, plus héroïques. A ma connaissance, le What happened during the filming? Filming brought together people who would never speak to each other. It was not always easy, but to see the Cameroonians and Nigerians getting to know each other, to see the Moroccans open up to the Black African world – that was very moving. It made the process more unpredictable, less controllable. But if a film is not an adventure, what is the point of making it? monde de la migration n’a jamais été raconté de l’intérieur. C’est un monde terrible, mais passionnant, un monde souterrain qui a ses lois propres. Dans les villes étapes de la route, chaque communauté a son ghetto, chaque ghetto a son gouvernement, dirigé par un chairman, avec un commissaire, un secrétaire général, des policiers, une prison. Le chairman est le chef de la communauté, il rend la justice et maintient l’ordre, mais souvent il se mue en bandit mafieux qui rançonne ceux qui passent entre ses mains. La situation des femmes est particulièrement terrible. Qu’est-ce qui a dicté votre choix des acteurs ? Il n’y a pas un seul comédien professionnel dans le film. Tous les interprètes sont des vrais migrants qui n’avaient jamais joué. Pour trouver Léonard, j’ai écumé les ghettos camerounais de Rabat. Pour Hope, ça a été encore plus compliqué, car la plupart des Nigérianes au Maroc ne sont pas libres, elles ont des « patrons ». Le tournage avec des non professionnels a fait éclater ce qui était trop classique, trop écrit dans le scénario. La langue des interprètes, les langues je devrais dire, car il y en a une bonne douzaine dans le film, sont étonnantes, avec leur mélange d’argot de la route et d’invention verbale. Je n’aurais jamais pu inventer cela. Mais d’une certaine manière, le film achevé me ressemble plus que le scénario. Comment s’est passé le tournage ? Ce tournage a mis ensemble des gens qui ne se parlent jamais. Ça n’a pas toujours été simple, mais voir Camerounais et Nigérians apprendre à se connaître, voir les Marocains s’ouvrir au monde des Noirs, c’était très émouvant. Cela a rendu l’entreprise plus imprévisible, moins maîtrisable. Mais si un film n’est pas une aventure, quel intérêt de le faire ? 13 La Loi du marché feature French co-screenwriter Olivier Gorce presents La Loi du marché English synopsis At the age of 51 and after 20 months of unemployment, Thierry starts a new job that soon brings him face to face with a moral dilemma. How much is he willing to accept to keep his job? Synopsis en français À 51 ans, après 20 mois de chômage, Thierry commence un nouveau travail qui le met bientôt face à un dilemme moral. Pour garder son emploi, peut-il tout accepter ? ALL AUDIENCES director Stéphane Brizé director of photography Éric Dumont screenwriters Stéphane Brizé and Olivier Gorce producers Christophe Rossignon and Philip Boëffard starring Vincent Lindon, Yves Ory, Karine de Mirbeck, Matthieu Schaller running time 1h 33min Cannes Film Festival Award 2015 for Best Actor: Vincent Lindon César Nomination 2016 for Best Film: Stéphane Brizé César Nomination 2016 for Best Director: Stéphane Brizé César Nomination 2016 for Best Actor: Vincent Lindon 14 en situation de précarité à la violence de notre société. Interview with DIRECTOR AND SCREENWRITER Stéphane Brizé Tell us about how this project began. My films have always dealt with the intimate, without highlighting human beings in their social environment. The next step was to observe the brutality of the mechanisms and exchanges ruling our world by juxtaposing one man’s humanity – a vulnerable man with no job security – with the violence of our society. How do technical aspects – and the image, more precisely – fit into your setup? First, I chose to take on a cinematographer who had only made documentaries. I wanted someone who was used to being completely autonomous with framing, focusing and aperture. I worked with Éric Dumont, a young director of photography, who was barely 30 years old and had never shot a fiction film. I would very precisely tell him about the point of view of the scene and he would be responsible for translating it into frames. At that point, he would become the acting agency of the sequence, since, based on what he was framing, he gave it one meaning, or another. What interested me was the point of view of Thierry, the character/Vincent, the actor. He is at the center of the story. It is what he perceives that interests me. Would you call this a political film? Yes. “Political” in the sense of “organization of the polis”, or city. This man is not kicked out because he did not do his job well. He is kicked out because some people want to make more money. Thierry is the mechanical consequence of a few invisible shareholders whose bank accounts needed a boost. He is the face of the unemployment statistics we hear about every day in the news. Thierry is a normal man – even though the idea of a normal man has taken a beating these past years – in a brutal situation: he has been unemployed for 20 months since his factory shut down, and is now forced to accept just about any job he can get. And when this job places the individual in a morally unacceptable situation, what can he do? Stay and be an accomplice of an unfair system, or leave and return to a precarious and unstable life? That is the heart of the film. A man’s place in a system. Entretien avec le RÉALISATEUR ET SCÉNARISTE Stéphane Brizé Parlez-nous de la naissance du projet. Mes films ont toujours traité de l’intime mais sans mettre en écho l’homme et son environnement social. L’étape suivante était d’observer la brutalité des mécanismes et des échanges qui régissent notre monde en confrontant l’humanité d’un individu Comment la technique et notamment l’image trouve-t-elle sa place dans un tel dispositif ? D’abord j’ai fait le choix de prendre un chef opérateur qui ne fait que du documentaire. Je voulais qu’il ait l’habitude d’être totalement autonome avec le cadre, la mise au point et l’ouverture du diaphragme. J’ai travaillé avec Eric Dumont, un jeune chef opérateur d’à peine plus de 30 ans qui n’avait jamais fait de fiction. Je lui parlais précisément du point de vue de la scène et charge à lui de le traduire en cadres. Il devenait alors complètement acteur de la séquence. Car en fonction de ce qu’il cadrait, il lui imposait un sens ou un autre. Ce qui m’intéressait c’était le point de vue de Thierry, le personnage principal/ Vincent, l’acteur. C’est lui qui est au centre du récit. C’est ce qu’il reçoit qui m’intéresse. Diriez-vous qu’il s’agit d’un film politique ? « Politique » dans le sens « organisation de la cité », oui. Cet homme n’est pas mis dehors parce qu’il fait mal son travail, il est mis dehors parce que des gens veulent gagner plus d’argent. Thierry est la conséquence mécanique de l’enrichissement de quelques actionnaires invisibles. Il est un visage sur les chiffres du chômage que l’on entend tous les jours aux informations. Thierry est un homme normal (même si depuis quelques années, la notion de l’homme normal a été un peu esquintée) dans une situation brutale : le chômage durant plus de 20 mois après la fermeture de son usine et l’obligation d’accepter à peu près n’importe quel travail. Et quand ce travail place l’individu face à une situation moralement ingérable, que peut-il faire ? Rester et devenir le complice d’un système inique ou partir et retrouver la précarité ? C’est la question du film. La place d’un homme dans un système. 15 Le Dernier Coup de marteau feature Le Dernier Coup de marteau all audiences director Alix Delaporte director of photography Claire Mathon screenwriters Alix Delaporte and Alain Le Henry producer Hélène Cases starring Romain Paul, Clotilde Hesme, Grégory Gadebois running time 1h 23min English synopsis Victor, 13, lives alone with his mother in a makeshift house on the beach. He has never met his father, a famous orchestra director. When his father is invited to direct the Sixth Symphony by Gustav Mahler in Montpellier, Victor observes his rehearsals from afar and discovers the world of classical music. The day his mother Nadia announces they will leave the city, Victor decides to reveal his existence to his father . . . Synopsis en français Victor, 13 ans, vit seul avec sa mère dans une maison de fortune sur la plage. Quand il pousse la porte de l’Opéra de Montpellier, il ne connaît rien à la musique. Il ne connaît pas non plus son père venu diriger la Sixième Symphonie de Mahler. Il l’observe de loin, découvre l’univers des répétions… Le jour où Nadia, sa mère, lui annonce qu’ils doivent quitter la région, Victor décide de se montrer pour la première fois à son père… 16 Je savais dès le début que mon personnage de père serait chef d’orchestre. J’ai découvert l’histoire de la Sixième Symphonie de Gustav Mahler. J’étais intriguée par l’aspect « fictionnel » de ces trois coups de marteau à la fin de la symphonie. Après la mort de sa fille, son éviction de l’opéra de Vienne et le diagnostic d’une maladie au cœur, Mahler aurait relié ces trois coups du destin aux coups de marteau de sa symphonie. Et aurait du coup enlevé le dernier par superstition… Interview with DIRECTOR AND SCREENWRITER Alix Delaporte Why this title “Le Dernier Coup de marteau”? I knew from the beginning that the father’s character would be an orchestra conductor. I discovered the story behind Gustav Mahler’s Sixth Symphony. I was intrigued by the “fictional” aspect of the three hammer strokes at the end of the symphony. It is believed that after the death of his daughter, his expulsion from the Vienna Opera and a diagnosis of a heart condition, Mahler would have linked these three strokes of fate with the strokes of the hammer in his symphony. And would have thus removed the last stroke out of superstition . . . Why the Sixth Symphony in particular? While listening to Mahler’s Sixth Symphony, I was struck by the third movement, some measures that for me conveyed Victor’s profound feelings, some measures of an absolute romanticism which contrasted with the harshness of the rest of the symphony, or in any case with all its complexity. Actually, it is perhaps over this romanticism that the orchestra conductor stumbles: he focuses on this passage, looks for something that he cannot find, to the extent of giving contradictory orders to his orchestra. He orders: “Play drier”, but indicates the contrary with his hands. When directing, I also have a tendency to ask for more dryness, while seeking the opposite effect . . . Your characters do not speak much in Le Dernier Coup de marteau, gestures often replace dialogue. This was not specifically intended, it was just an evidence. Whether it is for Grégory who uses his hands to conduct the orchestra, for Clotilde whose body expresses her illness, or for Victor who is constantly in motion. In these moments, the viewer is drawn in. Because, wherever there are gaps, we are inevitably compelled to fill them with parts of ourselves, with our imagination, our subjectivity . . . This is why music is important; it unfolds the internal feelings of the characters. It also replaces the words. Entretien avec LA RÉALISATRICE ET SCÉNARISTE Alix Delaporte Pourquoi ce titre « Le Dernier Coup de marteau » ? Pourquoi la Sixième Symphonie en particulier ? En écoutant la Sixième Symphonie de Mahler, j’ai été saisie par le troisième mouvement, quelques mesures qui me racontaient le sentiment profond de Victor, quelques mesures d’un romantisme absolu qui contrastent avec la dureté du reste de la symphonie, ou en tout cas avec sa complexité. C’est peutêtre sur ce romantisme, justement, que bute le chef d’orchestre : il se focalise sur ce passage, il cherche quelque chose qu’il ne trouve pas, jusqu’à donner des ordres contradictoires à son orchestre. Il demande : « Plus sec », mais indique l’inverse avec ses mains. Moi aussi, quand je dirige, j’ai tendance à demander plus de sécheresse, tout en cherchant l’effet inverse… Vos personnages parlent peu… Dans Le Dernier Coup de marteau, souvent, le geste remplace la parole. Ce n’est pas une recherche particulière, c’est un constat. Que ce soit pour Grégory qui se sert de ses mains pour diriger l’orchestre, pour Clotilde dont le corps exprime la maladie, ou Victor qui se déplace sans cesse. Dans ces moments, le spectateur est engagé. Parce que dans les espaces, on met forcément de soi, de son imaginaire, de sa subjectivité… C’est pour ça que la musique est importante, elle raconte les sentiments internes des personnages. Elle aussi remplace les mots. 17 L’Étudiante et Monsieur Henri feature French director, screenwriter and playwright Ivan Calbérac presents L’Étudiante et Monsieur Henri English synopsis Because of his declining health, Mr. Henri can no longer live by himself in his Parisian apartment. Consistently grumpy, he eventually agrees to his son Paul’s idea to rent a room to a student. Rather than falling for the young woman, Mr. Henri will use her to create a real family drama . . . Synopsis français À cause de sa santé vacillante, Monsieur Henri ne peut plus vivre seul dans son appartement parisien. Particulièrement bougon, il finit néanmoins par accepter la proposition de son fils Paul de louer une chambre à une jeune étudiante. Loin de tomber sous le charme, Henri va se servir d’elle pour créer un véritable chaos familial… PARENTAL discretion director Ivan Calbérac director of photography Vincent Mathias screenwriter Ivan Calbérac based on the play by Ivan Calbérac producers Isabelle Grellat Doublet, Éric Altmayer and Nicolas Altmayer starring Claude Brasseur, Guillaume de Tonquédec, Noémie Schmidt, Frédérique Bel running time 1h 38min 18 Interview with DIRECTOR, SCREENWRITER and PLAYWRIGHT Ivan Calbérac Monsieur Henri est pour moi à la fois une comédie de caractères, centrée sur les dialogues, les joutes oratoires, et une comédie dramatique. Why did you choose to make this film a comedy? First, it is in my nature. Second, because comedy is the ideal form to express tragedy, as it allows us to distance ourselves. As soon as you manage to laugh about a problem, you put it into perspective and it becomes clearer. Coluche used to say: “laughter is like a windshield wiper, it doesn’t stop the rain, but it allows you to see”. In addition, for me, L’Étudiante et Monsieur Henri is partly a comedy about characters, based on the dialogues and verbal sparring, and partly a dramatic comedy. You first wrote a theatre play. How did you work on adapting it to the big screen? Intuitively, I wanted to give space to the story, to get out of the apartment. To fulfill that wish, the biggest constraint is not the unity of space, but the unity of time. The story unfolds for several months, which made it possible to introduce new settings without seeming artificial; and also to introduce new characters in order to expose the stakes in dramatized scenes rather than through dialogues. But the essential element in this work of adaptation was to refine the characters’ psychology. In the play, theatrical conventions allowed my protagonists to change their minds quickly without sounding too fickle. In the script, we needed to find their inner path that led them to make new choices. But the story is 95% the same. Does the film echo the world today? Yes, it is about the difficulties to find housing, which is, in a way, the social context of the film. It also brings up universal themes of filiation and fulfillment. How to be the happiest you can be? How to provide something to the world while finding your own place, while expressing your unique qualities? That is a difficult path, scattered with clumsiness, but I do not think it is a selfish one. Entretien avec le RÉALISATEUR, SCÉNARISTE ET DRAMATURGE Ivan Calbérac Pourquoi avoir choisi la comédie pour ce film ? D’abord parce que ça correspond à ma nature. Ensuite parce que la comédie est la forme idéale pour traiter du tragique, car elle nous invite à faire un pas de côté. Dès qu’on réussit à rire d’un problème, il se relativise un peu, et apparaît plus clairement. Coluche disait « le rire c’est comme des essuies-glaces ça n’arrête pas la pluie, mais ça permet d’y voir ». En outre, L’Étudiante et Vous avez d’abord écrit la pièce de théâtre. Comment avez-vous travaillé l’adaptation pour le cinéma ? Intuitivement, je souhaitais donner de l’air à l’histoire, sortir de l’appartement. Face à cette envie, la contrainte la plus forte n’est pas celle de l’unité de lieu, mais de temps. L’histoire se déroule sur plusieurs mois. Ce qui permettait d’introduire de nouveaux lieux sans que cela semble artificiel ; et de faire aussi apparaître de nouveaux personnages afin d’exposer les enjeux dans des scènes dramatisées plutôt que par des dialogues. Mais l’élément essentiel dans ce travail d’adaptation a été d’affiner la psychologie des personnages. Dans la pièce, les conventions théâtrales permettaient que mes héros changent d’avis rapidement sans pour autant paraître trop versatiles. Dans le scénario, on avait beaucoup plus besoin de ressentir le chemin intérieur qui les amène à faire de nouveaux choix. Mais l’histoire reste la même à 95%. Le film a-t-il une résonance avec le monde actuel ? Oui, il est question de la difficulté à se loger, qui est d’une certaine manière, le contexte social du film. Il traite aussi de thèmes universels, de filiation, de réalisation personnelle. Comment être le plus heureux possible ? Comment apporter quelque chose au monde tout en prenant sa place, en exprimant son talent particulier ? C’est un chemin difficile, souvent parsemé de maladresses, mais je ne crois pas qu’il s’agisse d’un chemin égoïste. 19 Un temps de Président documentary French director Yves Jeuland and editor Lizi Gelber present Un temps de Président English synopsis Summer 2014. The President of the Republic François Hollande is preparing for the new political year. But, a war in Iraq, a storm on the île de Sein, cabinet members resigning from office and a vengeful and destructive book on his personal life are getting in the way of the presidential rhythm. And yet, inside the Élysée, life goes on. But the press is hungry and losing patience during these political and mediatized times. On December 31st, the President wishes France a Happy New Year. On January 7th, the alarm sounds and Paris becomes the world’s capital. WE ARE CHARLIE! Over six months, from the summer of 2014 to January 2015, Yves Jeuland’s camera captured the reversal of power, the turbulences of a presidency, the constant pas de deux with the press. We see the President in his daily life. We are with him inside his car, his plane, his office, always accompanied by his precious counselor Gaspard Gantzer and his astonishing Secretary-General Jean-Pierre Jouyet, through hardship and rainy days. Un temps de Président. Synopsis en français ALL AUDIENCES director Yves Jeuland director of photography Yves Jeuland editing Lizi Gelber producer La Générale de Production running time 1h 44min The Cultural Service of the French Embassy: Supporting Contribution for Documentary Screenings 20 Eté 2014. Le Président de la République prépare sa rentrée politique. Mais une guerre en Irak, une tempête sur l’île de Sein, un gouvernement qui démissionne, un livre vengeur et destructeur viennent contrarier le rythme présidentiel. A l’Élysée, la vie continue, malgré tout. Mais la presse a faim, elle s’impatiente. Temps politique et médiatique. 31 décembre ; le Président souhaite une bonne année à la France. Le 7 janvier, c’est l’alarme. Paris devient la capitale du monde. NOUS SOMMES CHARLIE ! Six mois durant, de l’été 2014 à janvier 2015, la caméra d’Yves Jeuland a filmé les contrechamps du pouvoir, les turbulences d’une présidence, les pas de deux avec la presse. Un Président au quotidien, dans sa voiture, son avion, son bureau, entouré de son précieux conseiller Gaspard Gantzer et de l’étonnant secrétaire général Jean-Pierre Jouyet. Dans les épreuves et sous la pluie: un temps de Président. Sébastien Calvet, Adrien Lévy-Cariès, Alain Birocheau, Yves Jeuland / La Générale de production Three seasons inside the Presidential Palace, l’Élysée: Yves Jeuland films the corridors of power AND EXPLAINS HOW THIS PROJECT CAME ABOUT. It was on June 13th, 2014. I found myself in the office of the President of the Republic for an impromptu, unplanned meeting, a one-on-one discussion lasting nearly an hour. Gifted with an extraordinary memory, François Hollande recalls a 2001 encounter, [when he was still Secretary of the Socialist Party]. He reminds me of some forgotten details of our conversation and of the aborted film I was to make on Lionel Jospin. He tells me “And yet it was a good idea. By the way, Jospin never really showed what was under the shell.” “If I may, neither did you . . .” François Hollande takes a moment to think, then shows a discreet smile. “Would it mean that if I were to accept being filmed by you I would have a brighter electoral fate than Jospin? One should think twice before turning you down!” He laughs, then gathers himself. “It is true that I also have a tendency to pull into my own shell, stay behind the armor; few people really know me.” Two months later, it was the beginning of the filming. I had often had the opportunity to shoot the political sphere and politicians, in their race to power – Paris à tout prix, Un village en campagne – or in the last months of a reign – Le Président, Delanoë libéré; but never had I shot the exercising of power. Trois saisons à l’intérieur du Palais Présidentiel de l’Élysée: Yves Jeuland filme les coulisses du pouvoir ET EXPLIQUE COMMENT CE PROJET A VU LE JOUR. C’était le vendredi 13 juin 2014. Je me retrouve dans le bureau du Président de la République. Rencontre impromptue, imprévue, qui durera presque une heure, en tête-à-tête. Doté d’une mémoire hors du commun, François Hollande évoque ce rendez-vous de 2001 [alors qu’il était encore secrétaire du Parti socialiste], me rappelle certains détails oubliés de notre conversation et ce projet avorté de film avec Lionel Jospin. « C’était pourtant une bonne idée. D’ailleurs, Jospin n’a jamais vraiment fendu l’armure », me glisse le Président. « Vous non plus, si je peux me permettre… ». François Hollande marque un temps et esquisse un sourire. « Cela voudrait dire que si j’acceptais un tournage avec vous, j’aurais un destin électoral plus clément que celui de Jospin ? Il faut y réfléchir à deux fois avant de vous dire non ! » Il rit. Puis se reprend. « C’est vrai que je suis aussi un peu dans une coquille, une carapace, et que peu de gens savent vraiment qui je suis. » Deux mois plus tard, le tournage commençait. Il m’a souvent été donné de filmer la politique et les politiques. Dans la conquête du pouvoir – Paris à tout prix, Un village en campagne – ou dans les derniers mois d’un pouvoir – Le Président, Delanoë libéré. Mais je n’avais encore jamais filmé l’exercice du pouvoir. 21 Arrête ton cinéma ! feature French actress Josiane Balasko presents Arrête ton cinema! PARENTAL DISCRETION director Diane Kurys director of photography Gilles Henry screenwriters Diane Kurys and Sylvie Testud based on the novel C’est le métier qui rentre by Sylvie Testud English synopsis It is with enthusiasm that Sybille starts writing the script of her first film. A well-known actress, this will be her first time behind the camera. All appears to be going her way. Her producers Brigitte and Ingrid are two zany but endearing characters, and Sybille embarks with them in the adventure, putting her family life on hold. producers Diane Kurys and Alexandre Arcady starring Sylvie Testud, Josiane Balasko, Zabou Breitman, Fred Testot, François-Xavier Demaison running time 1h 30min 22 Synopsis en français C’est dans l’enthousiasme que Sybille démarre l’écriture de son premier film. Actrice reconnue, elle va passer pour la première fois de l’autre côté de la caméra. Tout semble lui sourire. Ses productrices Brigitte et Ingrid sont deux personnages loufoques mais attachants et Sybille se jette avec elles dans l’aventure, mettant de côté sa vie familiale. interview with DIRECTOR AND SCREENWRITER Diane Kurys It is the first time that you adapt a book into a movie. What did you like about Sylvie Testud’s universe? [Not only did she write the book that I adapted, but its subject touches on her own experience.] She had been offered to write a script, but three weeks before the shooting was supposed to start, she learned that the film would not be made in the end, although she had already started the process, having chosen a cast and hired a team. She was so distraught that I advised her to write a book in order not to remain focused on this disappointment, but rather exorcize it by trying to do something of it . . . [In your film, Sylvie Testud is playing the part of the main character, Sybille, the struggling film director.] Even if we laugh a lot in this film, the dilemma that Sybille faces is heartbreaking . . . She is trapped, caught between her desire to complete her film project and a sort of fascination for her two producers. They got her in their grip and she cannot detach herself from their influence anymore. The characters of the two producers portrayed by Josiane Balasko and Zabou Breitman sometimes drag us in a burlesque farce completely off-the-wall. It is the first time that I make such a wild and exuberant film, and I loved it! This is, all the same, the story of a failure and it was quite a challenge to make people laugh about such a topic. This is why I chose to overstate the point and opted for excessiveness. The two producers are purposefully caricatured. When you know what a talented actress Josiane Balasko is, you understand how she constructs her character and I find it exulting to see her shifting to hysteria while remaining truly sincere! Entretien avec la réalisatrice et SCÉNARISTE Diane Kurys C’est la première fois que vous transposez un livre. Qu’est-ce qui vous a plu dans l’univers de Sylvie Testud ? [Non seulement elle a écrit le livre que j’ai adapté, mais le livre est basé sur sa propre expérience.] On lui avait proposé d’écrire un scénario et puis, trois semaines avant le début du tournage, alors qu’elle était déjà en préparation, avec un casting et une équipe engagés, elle a appris que son film ne se ferait pas. Elle était effondrée et devant sa détresse je lui ai conseillé d’écrire un livre pour ne pas rester sur cet échec mais au contraire pour l’exorciser et essayer d’en faire quelque chose... [Dans votre film Sylvie Testud interprète le rôle principal, celui de Sybille, la réalisatrice persévérante.] Même si l’on rit beaucoup, le dilemme dans lequel se retrouve Sybille est déchirant… Elle est prise au piège car elle est tenue par son désir de voir son projet aboutir et par une sorte de fascination pour ses deux productrices. Elles lui ont mis le grappin dessus et elle ne peut plus s’en défaire. Les personnages des deux productrices interprétés par Josiane Balasko et Zabou Breitman nous plongent par moments dans la farce burlesque la plus déjantée. C’est la première fois que je fais un film aussi fou, aussi délirant et j’ai adoré ! On raconte quand même l’histoire d’un échec et c’était un drôle de pari que de faire rire avec un tel sujet. C’est pour ça que j’ai voulu grossir le trait et aller dans la démesure. Si les deux productrices paraissent parfois caricaturales, c’est une volonté de ma part. Quand on connaît le talent d’actrice de Josiane Balasko, on comprend la façon dont elle a construit son personnage et je trouve ça jubilatoire de la voir verser dans l’hystérie tout en restant profondément sincère ! 23 Loin des hommes feature Director and screenwriter David Oelhoffen presents Loin des hommes English synopsis 1954. While civil unrest flares in the valley, two men are forced to flee across the Algerian Atlas Mountains. In the middle of a glacial winter, Daru, a reclusive teacher must escort Mohamed, a farmer accused of killing his own cousin, to the city to be put on trial. Pursued by villagers seeking blood revenge and vindictive French settlers, the two men, together, will struggle to reclaim their freedom. Synopsis en français 1954. Alors que la rébellion gronde dans la vallée, deux hommes, que tout oppose, sont contraints de fuir à travers les crêtes de l’Atlas algérien. Au cœur d’un hiver glacial, Daru, instituteur reclus, doit escorter Mohamed, un paysan accusé du meurtre de son cousin. Poursuivis par des villageois réclamant la loi du sang et par des colons revanchards, les deux hommes se révoltent. Ensemble, ils vont lutter pour retrouver leur liberté. PARENTAL DISCRETION director David Oelhoffen director of photography Guillaume Deffontaines screenwriter David Oelhoffen based on the short story L’Hôte from the collection L’Exil et le Royaume by Albert Camus producers Marc du Pontavice and Matthew Gledhill starring Reda Kateb, Viggo Mortensen running time 1h 41min 24 Ce texte m’a semblé très contemporain et applicable au monde d’aujourd’hui qui, dans de nombreuses régions, est au bord de la rupture. J’y voyais par ailleurs les prémisses d’un western : la présence de la nature, le prisonnier escorté, les systèmes de lois qui s’affrontent, qu’elles soient tribales ou occidentales. Le mythe derrière Loin des hommes n’est évidemment pas celui de la conquête de l’Ouest, mais celui de la conquête du monde par les idées héritées des Lumières, le mythe de l’universalisme français, amenant la culture, la liberté… et qui retourne les valeurs humanistes contre les populations locales, qui importe un système injuste. Interview with DIRECTOR AND SCREENWRITER David Oelhoffen Why did you choose to adapt Albert Camus’ short story, L’Hôte? This text appeared to me as very contemporary and befitting the problems of today’s world – one that is on the verge of breaking down in many places. I could also see the premises of a western with the presence of nature, the escorted prisoner, and the confronting systems of laws, either tribal or Western. Of course the myth behind Loin des hommes is not that of the conquest of the American wild West, but that of the conquest of the world by the ideas inherited from the philosophers of the Enlightenment, the myth of French universalism, that brings in culture and freedom . . . but eventually turns those humanist values against local populations, importing an unfair system. How did you avoid depicting a philosophical reflection – an inherent risk when adapting Camus? I find his work admirable but would not have taken the risk of adapting one of his novels. My first concern was to develop the story, heighten it and mostly personify it. The first questions I had concerned the moral conflict brought up in this short story and its very representation: how to turn this internal moral conflict into an external conflict, or into violence in our case, using cinematic tools, and how to address this violence? Allowing yourself a certain freedom from the text, trying to find your path in this new territory, is also a way to be faithful to Camus. Cinematic questionings often consisted in departing from the letter and getting closer to the spirit of Camus’ writing. Nature holds a predominant place in the movie . . . It is the third main character. Nature is omnipresent and imposing. It humbles us, crushes us, impresses us, and influences the characters, the same way that it influenced us during the shooting. Entretien avec le RÉALISATEUR ET SCÉNARISTE David Oelhoffen Pourquoi avoir voulu adapter cette nouvelle d’Albert Camus, L’Hôte ? Comment avez-vous contourné le risque, inhérent lorsqu’on adapte Camus, d’illustrer une réflexion philosophique ? Je trouve son œuvre admirable mais je ne me serais pas risqué à adapter l’un de ses romans. Mon souci était d’abord de développer le récit, l’amplifier et surtout de l’incarner. Les premières questions que je me suis posées tournaient autour du conflit moral évoqué dans cette nouvelle, de sa représentation : comment transformer avec les armes du cinéma ce conflit moral interne en un conflit externe, en violence en l’occurrence, et comment aborder cette violence ? Mais s’octroyer une certaine liberté par rapport au texte, essayer de trouver son chemin sur ce terrain nouveau, c’est aussi une façon d’être fidèle à l’esprit de Camus. Les questionnements de cinéma ont souvent consisté à s’éloigner de la lettre et à se rapprocher de l’esprit de ce que Camus a écrit par ailleurs. La nature occupe une place prépondérante dans le film… C’est le troisième personnage principal. C’est une nature omniprésente, imposante, qui rend humble, écrase, impressionne, et influe sur les personnages, comme elle a influé sur nous durant le tournage. 25 Premiers crus feature Premiers crus English synopsis Charlie Maréchal, son of a renowned winemaker, has left Burgundy and become an esteemed Parisian wine expert. When he learns the family business is going bankrupt, Charlie, although reluctant, is compelled to return to Burgundy. He must prove to his father that he is worthy of the terroir passed down for generations in their family. Synopsis en français Fils de viticulteur, Charlie Maréchal a quitté la Bourgogne pour devenir un œnologue parisien réputé. Mais en Côte-d’Or, son père a perdu le goût du vin et précipite l’exploitation viticole familiale vers la faillite. D’abord réticent, Charlie revient en Bourgogne. Il va devoir remonter ses manches et prouver à son père qu’il est digne de ce terroir transmis de génération en génération dans leur famille. all audiences director Jérôme Le Maire director of photography David Ungaro screenwriters Rémi Bezançon, Vanessa Portal and Jérôme Le Maire producer Alain Terzian starring Gérard Lanvin, Jalil Lespert, Alice Taglioni, Laura Smet running time 1h 37min 26 Interview with DIRECTOR AND SCREENWRITER Jérôme Le Maire There are several themes that come into play throughout your film, such as the importance of land, family and legacy. Do these themes resonate particularly with you? While working on the scenario in Burgundy, I quickly realized that the passing down of a legacy was an essential theme for the film. It is a region that has been inhabited and cultivated for centuries, dating back to the Romans and then the monks. The winemakers are more often at the head of small family estates than large corporate establishments. Knowing who is going to take over the vineyard is a real concern for the winemakers of Burgundy, so the idea of “passing down to” appeared as obvious . . . The way you film the land of Burgundy is a perfect homage to what it represents. I needed to magnify the vineyard. I wanted to show the land and the way they cultivate it: feet in the mud, hands in the grapes, and faces weathered by the elements . . . So I had this idea of making a more naturalistic film, without overdoing the esthetics. The tone of the film is very modern, true and tangible . . . I wrote with the intention of finding a simple and fluid tone by avoiding being too wordy, especially considering that the people of Burgundy are rather taciturn. I cut down some of the text while filming, then I cut more during the editing process to really stay in line with what I needed the audience to understand. Another important element of Premiers crus is the music. You play on two registers, with two inspirations . . . The music was written by JeanClaude Petit. He perfectly understood the emotions of the story and his music paired perfectly with the staging. We added in a few places some more modern influences by Pascal Lafa, a young composer who brings a more contemporary feel. Entretien avec le RÉALISATEUR ET SCÉNARISTE Jérôme Le Maire Il y a de multiples sujets qui traversent votre film, notamment ceux importants de la terre, de la famille et de la transmission. Ce sont des sujets qui résonnent particulièrement en vous ? En travaillant sur le script, en Bourgogne, je me suis vite rendu compte que le thème de la transmission y était essentiel. C’est une région habitée et cultivée depuis des siècles, ça remonte aux Romains puis aux moines. Les vignerons sont plus souvent à la tête de petits domaines familiaux que de grandes exploitations. Savoir qui va reprendre le vignoble est un véritable enjeu pour le viticulteur bourguignon et l’idée de transmission s’est imposée. La manière dont vous filmez cette terre bourguignonne rend parfaitement hommage à ce qu’elle représente. Il fallait magnifier le vignoble. Je voulais montrer la terre et la manière dont ils la cultivent : les pieds dans la boue, les mains dans le raisin, le visage buriné par la météo... Il y avait donc l’idée d’un film un peu naturaliste, sans en faire trop sur l’esthétisme ! Le ton du film est très moderne, juste, concret... J’ai écrit avec l’envie de trouver un ton simple et fluide en évitant d’être trop bavard, d’autant que les bourguignons sont plutôt des taiseux. J’ai ensuite allégé une partie du texte pendant le tournage, puis j’ai coupé encore au montage pour vraiment rester sur la corde de ce qu’il fallait comprendre. Autre élément d’importance, la musique de Premiers crus. Vous avez joué sur deux tableaux, deux inspirations... La musique a été écrite par JeanClaude Petit. Il a parfaitement compris les émotions de l’histoire et sa musique épouse parfaitement la mise en scène. Nous y avons ajouté à de rares endroits des influences plus modernes signées par Pascal Lafa, un jeune compositeur qui apporte une touche plus contemporaine. 27 Belle et Sébastien, l’aventure continue feature French actor Félix Bossuet presents Belle et Sébastien, l’aventure continue English synopsis September, 1945. Sebastian impatiently waits for the return of his friend Angelina, whom he has not seen for two years. When the plane carrying the young woman to her small village in the Alps is reported to have crashed in the mountains, Sebastian is convinced that Angelina is still alive. Along with his faithful dog Belle, Sebastian embarks on the most dangerous adventure of his life . . . Synopsis en français Septembre 1945. Sébastien attend avec impatience le retour d’Angélina qu’il n’a pas revue depuis deux ans. Malheureusement, on rapporte que l’avion qui ramène la jeune femme dans son petit village des Alpes a dû s’écraser dans la montagne. Pourtant, Sébastien en est convaincu : Angélina est toujours en vie ! Accompagné de sa fidèle Belle, Sébastien s’engage dans l’aventure la plus périlleuse de sa vie… all audiences director Christian Duguay director of photography Christophe Graillot screenwriters Juliette Sales and Fabien Suarez based on the book and series by Cécile Aubry producers Clément Miserez and Matthieu Warter starring Félix Bossuet, Tchéky Karyo, Thierry Neuvic, Margaux Chatelier, Thylane Blondeau running time 1h 39min 28 le début de l’amitié entre le chien et Sébastien, enfant solitaire. Pour le deuxième volet, on a décidé de donner un autre rythme au film : on souhaitait qu’il y ait plus d’aventures et on a axé l’enjeu sur la relation père/enfant. Interview with screenwriters Juliette Sales and Fabien Suarez Belle et Sébastien, l’aventure continue is the second opus of a trilogy. How did you imagine it? In the first film, there was a strong dramatic tension: it was the beginning of a friendship between the dog and solitary kid Sebastian. We tried to give the second opus a different pace: we wanted more adventure and we focused on the father/son relationship. The action scenes are very believable. We wanted the action to be as realistic as possible. This is why we worked with director Christian Duguay on the plausibility of elements and situations. There are a few special effects but they were mechanical rather than digital. It would have been simpler to use digital tools but we had chosen to remain faithful to the DNA of the first opus. On the set of the previous feature, the film director Nicolas Vanier had taken the kids into 40 inches of snow. Physically, this realistic approach shows on screen, especially in the kids’ reaction. When did you find out that Christian Duguay would direct the film? He arrived when we were writing the step outline. It was very pleasant to work with Christian: he was very respectful of the script while making his intentions clear to us. Christian Duguay was at the same time present, very curious about Nicolas Vanier’s work and concerned with respecting the strengths of the first film in order to create with his own talent the second opus. He managed to direct a more adventurous, more mysterious film with a gripping side to it. He found his place in the existing team. With lots of generosity, he picked up the characters where Nicolas had left them, took them elsewhere and made them grow. Entretien avec les scénaristes Juliette Sales et Fabien Suarez Belle et Sébastien, l’aventure continue est le deuxième volet d’une trilogie. Comment l’avezvous construite et imaginée ? Dans le premier film, il y avait un enjeu dramatique très fort : c’était Les scènes d’action sont d’une grande crédibilité. On souhaitait placer l’action dans le registre le plus réaliste possible. On a donc travaillé avec Christian Duguay, le réalisateur, sur la plausibilité des éléments et des situations. Il y a quelques effets spéciaux mais davantage mécaniques que numériques. Il aurait été plus simple d’avoir recours au numérique mais on avait choisi de rester fidèle à l’ADN du premier opus. Sur le tournage du précédent volet, le réalisateur Nicolas Vanier avait emmené les enfants dans un mètre de neige. Physiquement, cela ne ment pas à l’écran et se voit surtout chez les enfants. À quel moment avez-vous su que Christian Duguay réaliserait le film ? Il est arrivé pendant que nous écrivions le séquencier. C’était très agréable de travailler avec Christian : il s’est montré respectueux du texte tout en nous indiquant ce vers quoi il voulait aller. Christian Duguay a été à la fois très présent, très curieux du travail de Nicolas Vanier et soucieux de respecter les points forts du premier film pour pouvoir créer avec son propre talent un deuxième opus. Il a su réaliser un film plus aventureux, plus mystérieux avec un côté un peu haletant. Il a réussi à trouver sa place dans une équipe qui existait déjà. Avec beaucoup de générosité, il a pris les personnages là où Nicolas les avait laissés pour les emmener ailleurs et les faire grandir. 29 Le Goût des merveilles feature French director and screenwriter Eric Besnard presents Le Goût des merveilles all audiences director Eric Besnard director of photography Philippe Guilbert screenwriter Eric Besnard producers Patrice Ledoux and Michel Seydoux starring Virginie Efira, Benjamin Lavernhe running time 1h 40min 30 English synopsis In the heart of the Drôme in Provence, Louise is raising her two children alone while trying to maintain and run the family farm. One evening she almost runs over a stranger whose odd behavior makes him different from other people. His capacity of marveling about the world may well change the life of Louise and her family. Synopsis en français Au cœur de la Drôme provençale, Louise élève seule ses deux enfants et tente de préserver l’exploitation familiale. Un soir, elle manque d’écraser un inconnu au comportement singulier. Cet homme se révèle vite différent de la plupart des gens, et sa capacité d’émerveillement pourrait bien changer la vie de Louise et de sa famille. Interview with DIRECTOR AND SCREENWRITER Eric Besnard How did you come up with the idea for this project? I began with the idea of a sensory movie. I wanted to let the narrative aside, and provoke sensations. I am a screenplay writer. I always write with the intention of telling a story to be understood by those who watch it. But this time, I was aiming at something different, less rational. I wrote this after experiencing a loss. I wanted to work on suspended time, emotional porosity. Very quickly, it occurred to me that a character with Asperger’s syndrome would allow me to work with the themes that I was interested in; such a character is in a state of hypersensitivity to the world. Was the writing process particularly complicated? I built the movie based on the understanding that my character is one who does not evolve, which is the exact opposite of what you should do according to Screenwriting for Dummies. The character is what he is: consistent, unchanging. What will change is the way others see him, especially one of those the spectators may equate with. Difference, first seen as a pathology, becomes an asset. And with a little luck, the character’s openness to the world’s wonders will become contagious. What choices did you make for the lighting and setting? I wanted to remain close to the colors of nature and keep a simple color palette, while staying away from any saturation or commercial effects. Very quickly, I decided that the protagonist would see the world as though looking through polarized sunglasses, which would increase the density of the color contrasts without altering them. Therefore, there was a need for a slightly sharper picture, more well-defined than in reality. In addition, I wanted to materialize light. It was essential to get the right shot at the right time, which meant to react quickly; which was better achieved with a smaller team. Finally, we worked a lot with backlight, facing the sun. Entretien avec le RÉALISTEUR ET SCÉNARISTE Eric Besnard Comment avez-vous eu l’idée de ce projet ? Un film sensoriel. Je suis parti de cette idée. Oublier un peu la narration. Provoquer un ressenti. Je suis scénariste. J’écris toujours avec la volonté de raconter une histoire. D’être compris par ceux qui la regardent. Mais là je voulais autre chose. Quelque chose de moins rationnel. J’ai écrit à la sortie d’un deuil. Je voulais travailler sur le temps suspendu. La porosité émotionnelle. Très vite il m’est apparu qu’un personnage souffrant d’un syndrome d’Asperger pourrait me permettre de travailler sur les thèmes qui m’intéressaient. Un tel personnage est en état d’hyper sensibilité au monde. L’écriture a-t-elle été complexe ? J’ai construit le film sur la conscience d’avoir un personnage qui n’évolue pas. Soit exactement le contraire de tout ce que conseille le manuel des castors juniors de la scénarisation. Le personnage est tel qu’il est. Un bloc. Et c’est le regard des autres sur lui qui allait changer. En particulier celui d’un autre personnage dans lequel pourrait se transférer le spectateur. La différence vue tout d’abord comme une pathologie deviendrait un atout. Et avec un peu de chance la porosité du personnage aux merveilles du monde deviendrait communicative. Quels étaient vos choix de lumière et de cadre ? Je voulais rester dans les couleurs de la nature et garder une palette simple, en bannissant les effets de publicité ou de saturation. Très vite, j’ai décidé que le protagoniste allait voir le monde comme à travers des lunettes de soleil polarisées qui densifient les contrastes de couleurs sans les dénaturer. Du coup, il fallait que l’image soit un peu plus définie que la réalité. Plus précise. D’autre part, je voulais essayer de matérialiser la lumière. Il fallait obtenir le bon plan à la bonne heure. Mais pour y parvenir, il faut pouvoir être réactif et donc en effectif réduit. Enfin nous avons beaucoup travaillé à contre-jour. Face au soleil. 31 Le Grand Partage feature French director and screenwriter Alexandra Leclère and actress Josiane Balasko present Le Grand Partage ©PAN-EUROPÉENNE PHOTOS : THIERRY VALLETOUX PAN-EUROPÉENNE PRÉSENTE EN ASSOCIATION AVEC WILD BUNCH un film de ALEXANDRA LECLÈRE SCÉNARIO DE AVEC LA PARTICIPATION DE ANÉMONE JACKIE BERROYER FIRMINE RICHARD SANDRA ZIDANI MICHÈLE MORETTI ET PAULINE VAUBAILLON ALEXANDRA LECLÈRE PRODUIT PAR PHILIPPE GODEAU PRODUCTEURS ASSOCIÉS NATHALIE GASTALDO GODEAU ET BRAHIM CHIOUA MUSIQUE ORIGINALE PHILIPPE ROMBI UNE COPRODUCTION PAN-EUROPÉENNE WILD BUNCH FRANCE 2 CINÉMA AVEC LA PARTICIPATION DE CANAL+ CINÉ+ D8 ET DE FRANCE TÉLÉVISIONS EN ASSOCIATION AVEC A PLUS IMAGE 5 DISTRIBUTION WILDBUNCH VENTES INTERNATIONALES OTHER ANGLE PICTURES IMAGE JEAN-MARC FABRE MONTAGE PHILIPPE BOURGUEIL ANDREA SEDLACKOVA RONAN TRONCHOT SON JEAN UMANSKY THOMAS DESJONQUÈRES GUILLAUME D’HAM OLIVIER DO HUU DÉCORS ANNE SEIBEL COSTUMES JACQUELINE BOUCHARD ÉRIC PERRON 1ER ASSISTANTE RÉALISATRICE VÉRONIQUE LABRID A.F.A.R SCRIPTE DOMINIQUE PIAT CASTING ISABELLE UNGARO RÉGIE JEAN-PHILIPPE AVENEL DIRECTION DE PRODUCTION JEAN-YVES ASSELIN SUPERVISION MUSICALE VALÉRIE LINDON ALL AUDIENCES director Alexandra Leclère director of photography Jean-Marc Fabre screenwriter Alexandra Leclère producer Philippe Godeau starring Karin Viard, Didier Bourdon, Valérie Bonneton, Michel Vuillermoz, Josiane Balasko, Patrick Chesnais running time 1h 42min 32 English synopsis Winter is the worst on record. A governmental decree compels those who have the best housing to take in fellow citizens living in precarious conditions during the cold-spell. As the time for the “Great Sharing” draws near, a wave of panic spreads through a very chic Parisian building. Synopsis en français Un hiver pire que jamais. Le gouvernement publie un décret obligeant les citoyens français les mieux logés à accueillir chez eux pendant la vague de froid leurs concitoyens en situation précaire. A l’heure du Grand Partage, un vent de panique s’installe à tous les étages dans un immeuble très chic de la capitale. L’actualité de ces derniers mois percute votre scénario, démarré il y a sept ans … Chacun de vos personnages symbolise nos petites lâchetés, notre bonne conscience, nos engagements de façade et sur le fond notre hésitation à accueillir des personnes défavorisées chez nous… C’est bien normal, nous serions tous, comme les habitants de cet immeuble, secoués par ce décret, ce cataclysme social non ? Interview with DIRECTOR AND SCREENWRITER Alexandra Leclère Where did you get the idea of creating this film on this particular subject? It occurred to me seven years ago, with this recurring theme found in all my films: obligations imposed on people. The necessity for solidarity. The news from the past months collides with your storyline, that you began writing seven years ago . . . Each of your characters symbolizes our little cowardices, our clear conscience, our claimed commitments, but in substance our hesitation towards welcoming underprivileged people into our homes . . . It is very normal, just as the people of this building, we would all be rattled by this decree, this social cataclysm, right? Let’s speak about your actors, you have reunited a plethora of great ones: Patrick Chesnais, Karin Viard, Didier Bourdon, Anémone, Valérie Bonneton, Michel Vuillermoz, and of course Josiane Balasko in the role of a fascist caretaker . . . For the fascist caretaker role, I absolutely wanted Josiane Balasko, whom I had met on my film Maman. I love her as a comedian and as a woman. Coming from Josiane and knowing her personal social and political engagement and activism, playing a fascist caretaker has to be seen as an ironical militant stance. You are not used to films with large casts. How did you feel during the shooting of Le Grand Partage? First, I was fortunate to have a cast that demonstrated exemplary solidarity. When shooting, I always anticipate my future editing needs, as well as what I will not use eventually. I can add a scene just as delete another. I sleep very little, I rewrite at night, I refine, adjust, change dialogues. To help myself with it, I have imagined a system using snapshots of the main scenes of the day that I use throughout the shooting to fit pieces together, like an enormous puzzle. Entretien avec la RÉALISATRICE ET SCÉNARISTE Alexandra Leclère D’où vient l’idée de réaliser ce film sur ce sujet particulier ? L’idée m’est venue il y a sept ans, avec toujours cette idée qui traverse mes films : celle d’une contrainte imposée aux personnages. L’obligation de solidarité. Parlons de vos comédiens, vous avez réuni une pléthore de grands comédiens : Patrick Chesnais, Karin Viard, Didier Bourdon, Anémone, Valérie Bonneton, Michel Vuillermoz, et bien sûr Josiane Balasko dans le rôle de la gardienne fasciste… Pour la gardienne facho, je voulais absolument que ce soit Josiane Balasko rencontrée sur mon film Maman. J’adore la comédienne et la femme. Elle seule était capable de faire passer cette pilule-là, puisque chacun connait ses engagements sociaux et politiques, et son activisme. Quand Josiane joue la gardienne fasciste, à sa façon, elle milite. Vous n’êtes pas une habituée des films choraux. Comment vous êtes-vous sentie durant le tournage du Grand Partage ? Tout d’abord j’ai eu la chance d’avoir une équipe d’une solidarité exemplaire. Pendant le tournage, j’anticipe les besoins que j’aurai au montage. Et ce dont je n’aurai finalement pas besoin. Je suis capable de rajouter une scène comme d’en supprimer une. Je dors très peu, je réécris la nuit, je peaufine, j’ajuste, je change un dialogue. Et pour m’y aider, j’ai mis en place un système avec des clichés des principales scènes de la journée et je m’en sers tout au long du tournage comme d’un immense puzzle. 33 ed dent n e c e Unpr America h Nort eening Scr documentary French director Yann Arthus-Bertrand presents Human Director Yann Arthus-Bertrand Head of Aerial Photography Yazid Tizi Head of Terrestrial Photography Erik Van Laere Director of Aerial Photography Bruno Cusa Director of Terrestrial Photography Daniel Meyer Producer Jean-Yves Robin Production year 2015 Running time 3h 11min English synopsis directed by HUMAN a filmby YANN ARTHUS-BERTRAND producedby HUMANKIND PRODUCTION original editing by ARMAND AMAR by FRANCOISE BERNARD & ANNE-MARIE SANGLA YANN ARTHUS-BERTRAND music creative aerial photoexecutive production graphy Bruno Cusa producer JEAN-YVES ROBIN producer FLORENT GILARD manager Eric Salemi Truly an ode to humanity, Human is a rare collection of exclusive testimonies, faces and destinies. From asylum seekers in Calais, fighters in Ukraine, workers in Bangladesh to peasants in Mali and death-row inmates in the USA, Yann Arthus-Bertrand’s encounters lead us on an immersive exploration into human destiny. From our joyful gatherings to our forced wanderings, from the exhilaration of our cities to the destruction of our villages, from the beauty of nature to its desecration, Human creates a powerful link between Mankind and the Earth, raising the question concerning our common future. Synopsis en français Saturday Evening, 8:00 p.m. Free Screening – Open to All Audiences In the presence of Yann Arthus-Bertrand “I imagined this film for the big screen and I think that it is in the ambience of the movie theater that Human finds its fullest meaning.” - Yann Arthus-Bertrand A Humankind Production. A project from the GoodPlanet Foundation made possible thanks to the support of the Bettencourt Schueller Foundation. 34 Véritable ode à l’humanité, Human est une collection rare de récits, de visages et de destins. Demandeurs d’asile à Calais, combattants d’Ukraine, travailleurs du Bangladesh, paysans au Mali, condamnés dans le couloir de la mort aux Etats-Unis, au fil des rencontres Yann Arthus-Bertrand nous entraîne dans une expérience immersive à travers la destinée humaine. De nos rassemblements de joie à nos errances forcées, de l’exaltation de nos villes à la destruction de nos villages, de la beauté de la nature à son appauvrissement... Human crée un lien émouvant entre l’Homme et la Terre et pose la question de notre futur commun. 35 Director Yann ArthusBertrand’s note I am one man among seven billion others. For the past 40 years, I have been photographing our planet and its human diversity, and I have a feeling that humanity is not making any progress. We are not yet ready to live together. Why is that? I did not look for an answer in statistics or analysis, but in mankind itself. It is in faces, gazes, and words that I find today a powerful way of reaching the depths of the human soul. Each encounter brings you a step closer. Each story is unique. By immersing myself in the life experience of others, I was in search of understanding. Do we all have the same thirst for love, freedom and recognition? In a world torn between tradition and modernity, do our fundamental needs remain the same? Deep down, what does it mean to be human today? What is the meaning of life? Are our differences so great? Do we, in fact, share more values than we might have imagined? And if so, why can we not manage to understand one another? I wanted to ask these questions and discuss humanity: an insanely utopian gamble. My crew and I approached the task with a great deal of humility. In the course of two years, we visited 60 countries and recorded some 2,020 interviews reaching out to as many people as possible – to those we talk about and especially to those we never talk about. Those who for the first time shared their life-stories. I dreamed of a film in which the power of the words resonates, echoes the beauty of the world. By putting humanity’s ills – poverty, war, immigration, homophobia – at the heart of the film, I made some politically engaged choices. But these men and women spoke to us about all topics, from their difficulties in growing up to their search for love and happiness. It is this vast wealth of human discourse which lies at the heart of Human. This film carries the voice of all the men and women who confided their stories to me. The film becomes their messenger. I made the film I dreamed of; my dearest wish now is that everyone takes possession of it in their own way, organizes screenings, and advocates for harmoniously Living Together! 36 Yann Arthus-Bertrand, World Renown Director and Photographer of films and books such as Home, Planet Ocean, The Earth From Above and Paris From Above. Note d’intention du réalisateur Yann Arthus-Bertrand Je suis un homme parmi 7 milliards d’autres. Depuis 40 ans, je photographie notre planète et la diversité humaine et j’ai le sentiment que l’humanité n’avance pas. On n’arrive toujours pas à vivre ensemble. Pourquoi ? Ce n’est pas dans les statistiques, dans les analyses que j’ai cherché la réponse, mais dans l’homme. C’est dans les visages, les regards, la parole que je vois aujourd’hui une façon forte de plonger au fond de l’âme humaine. Chaque rencontre te fait avancer. Chaque histoire est unique. En me plongeant dans le vécu de l’Autre, j’avais envie de comprendre. Avons-nous tous la même soif d’amour, de liberté et de reconnaissance ? Dans un monde tiraillé entre la tradition et la modernité, nos besoins immuables restent-ils les mêmes ? Et au fond, qu’est-ce qu’un être humain aujourd’hui ? Quel est le sens de sa vie ? Nos différences sont-elles si grandes ? Ne partage-t-on pas plus de valeurs qu’on ne le croit ? Et si oui, pourquoi n’arrive-t-on toujours pas à se comprendre ? J’avais envie de poser toutes ces questions, de parler de l’humanité. Un pari fou, utopiste. Avec mon équipe, nous nous y sommes lancés avec beaucoup d’humilité, de modestie. Pendant deux ans, nous avons parcouru 60 pays, fait plus de 2020 interviews... pour aller à la rencontre des autres. Ceux dont on parle et surtout ceux dont on ne parle jamais. Ceux qui pour la première fois racontaient leur vie. J’ai rêvé d’un film où la force des mots résonne sur la beauté du monde. En mettant au cœur du film les maux de l’humanité : la pauvreté, la guerre, l’immigration, l’homophobie, j’ai fait des choix. Engagés, politiques. Mais les hommes m’ont parlé de tout : de leur difficulté de grandir comme de l’amour ou du bonheur. C’est toute cette richesse de la parole humaine qui est le cœur de Human. Ce film porte la voix de tous les hommes et les femmes qui m’ont confié leur histoire. Il s’en fait leur messager. J’ai fait le film dont je rêvais, mon souhait le plus cher est que tout un chacun s’en empare à sa façon, organise des projections et devienne un ambassadeur du Vivre Ensemble ! Testimonies from the crew Témoignages de l’équipe I built my team like a family, a community of perspectives and desires with people who have strong beliefs and are aware of making a difficult and fascinating film which speaks about life. (Yann Arthus-Bertrand) J’ai construit mon équipe comme une famille, une communauté de vues et d’envies, avec des gens qui ont des convictions et qui sont conscients de faire un film difficile et passionnant qui parle de la vie. (Yann Arthus- Françoise Bernard and Anne-Marie Sangla, editors “Put in everything that is powerful!” Yann would say to us. So we had to organize the powerful and the sensitive, the singular and the universal, the different and the identical. Recounting death and happiness, war and forgiveness, poverty and the reasons behind all this; recounting Humanity. And then we had to alternate between time for watching and time for listening, time for thinking and time for receiving. A face, a location, a word, a piece of music. Editing is also a matter of saying goodbye, of keeping this rather than that. It is a sensitive and subjective business. And then sometimes it is just so obvious, an image which reaches beyond, which unites us, or which scares us, one we would rather not have seen. We put all that in the film. There is Yann, there is them, there is all of us. A mind-blowing experience. Armand Amar, composer I was gripped by traditional music. It is music that moves me, and has a direct relationship with one’s emotions. For Human, my idea was to construct a kind of resonance with the interviews through a song that would deliver the same emotion. I wanted things to open up, for our hearts to open up, for sadness to open up and for there to be no holding back. Human was one of the rare moments in my career making music for movies where I could express all these different cultures, and work both with minimalist music and at the same time with all these musicians and singers from elsewhere. Bruno Cusa, chief camera operator, aerial photography When Yann sees a place, he immediately knows what he wants to get out of it. I try to adapt to his unique approach bringing out emotions through graphics or beauty. Sometimes, it is a majestic site that has already been filmed or photographed thousands of times, but often, it is a place that might appear insignificant to anyone else, but Yann turns it into something sublime through his images. We use a helicoptermounted Cineflex camera system that offers great stability and wonderful image quality, even with the very long focal lengths that Yann particularly likes. Bertrand) Françoise Bernard et Anne-Marie Sangla, chefs monteuses « Mettez tout ce qu’il y a de fort ! » nous disait Yann. Il a fallu organiser le « fort » et le sensible, le singulier et l’universel, l’autre et l’identique. Raconter la mort et le bonheur, la guerre et le pardon, la misère et le pourquoi. Raconter l’humanité. Et puis il a fallu alterner le temps de regarder et le temps d’écouter, le temps de penser et le temps de recevoir. Un visage, un lieu, une parole, une musique. Le montage est aussi un travail de deuil, garder celui-ci plutôt que l’autre. Affaire sensible et subjective. Et puis non ! Il y a l’évidence. Celle qui touche au-delà de tout, celle qui rassemble, celle qui nous fait peur, celle qu’on aurait aimé ne pas voir. Tout ça, on l’a fait entrer dans le film. Il y a Yann, il y a eux, il y a nous tous. Expérience bouleversante. Armand Amar, compositeur Les musiques traditionnelles m’ont accaparé, elles me touchent, elles ont un rapport direct avec l’émotion. Pour Human, mon idée était de construire une sorte de résonnance des interviews par un chant qui délivrerait la même émotion. J’avais envie que les choses s’ouvrent, que le cœur s’ouvre, que la tristesse s’ouvre, de ne pas avoir de retenue. Human a été un des rares moments dans ma vie de compositeur de musiques de film où j’ai pu exprimer toutes ces cultures différentes : être aussi bien dans des musiques minimalistes que dans des rencontres avec tous ces musiciens et chanteurs venus d’ailleurs. Bruno Cusa, chef opérateur des prises de vue aériennes Quand Yann voit un lieu, il a immédiatement dans la tête ce qu’il veut faire ressortir. J’essaie de m’adapter à son style très particulier, qui fait ressentir l’émotion par le graphisme ou la beauté. Quelquefois c’est un site grandiose déjà filmé et photographié des milliers de fois, mais souvent c’est un cadre qui paraîtrait insignifiant à tous auquel Yann s’attache, qu’il fait ressentir d’une façon sublime par ses images. Nous utilisons un système de caméra «Cineflex» monté sur l’hélicoptère, qui offre une grande stabilité et une grande qualité d’image même aux très longues focales que Yann affectionne particulièrement. 37 L’Enquête feature French journalist and author Denis Robert presents L’Enquête all audiences based on L’Affaire des affaires by Denis Robert, Yan Lindingre and Laurent Astier, and La Boîte noire by Denis Robert 2001. Journalist Denis Robert sets the world of finance ablaze when he exposes Clearstream Banking’s opaque operations. His search for truth and attempt to disclose the “affair of all affairs” lead him to cross paths with Judge Renaud Van Ruymbeke, known for his commitment to fighting corruption and in charge of the Taiwan Frigate Affair’s investigation. Their pursuits lead them to the heart of a dark political financial conspiracy called the Clearstream Affair, which will shake the French governing class. producers Christophe Rossignon and Philip Boëffard Synopsis en français director Vincent Garenq director of photography Renaud Chassaing screenwriters Vincent Garenq and Stéphane Cabel starring Gilles Lellouche, Charles Berling, Laurent Capelluto, Florence Loiret Caille running time 1h 46min Prix Jacques Deray - Institut Lumière 2016: Vincent Garenq César Nomination 2016 for Best Adaptation: Vincent Garenq and Stéphane Cabel 38 English synopsis 2001. Le journaliste Denis Robert met le feu aux poudres dans le monde de la finance en dénonçant le fonctionnement opaque de la société bancaire Clearstream. Sa quête de vérité pour tenter de révéler « l’Affaire des affaires » va rejoindre celle du juge Renaud Van Ruymbeke, très engagé contre la corruption et en charge de l’investigation dans l’affaire des frégates de Taïwan. Leurs chemins vont les conduire au cœur d’une machination politico-financière baptisée « l’Affaire Clearstream » qui va secouer la Vème République. Interview with DIRECTOR AND SCREENWRITER Vincent Garenq Were you ever worried about bringing out into the open the extremely sensitive and complex issues at stake in international finance? I began by focusing on Denis Robert’s first investigation where, in my mind, the backbone of the film lies. Afterwards, screenwriter Stéphane Cabel nudged me along with these simple words: “This story can not be restricted to only one character like you did with Alain Marécaux in your last film Présumé coupable.” Immediately all the other characters took shape in my mind, starting with Judge Van Ruymbeke. After Présumé coupable, this character allowed me to show another side of the French judicial system, by shedding light on an investigating magistrate who did positive work. Eventually, the film helps the audience understand the workings of this extremely complex case, which until now only a select few had been able to untangle. But financial secrecy remains, as does our powerlessness faced with this colossal system made up of tax havens, leading international banks, intangible flows of capital, and money laundered by the mafia with everyone’s knowledge. It is a reflection of our times. We know the source of our troubles, but nobody acts on it. Did you encounter any difficulties putting the project together or were you subject to any pressure? I was pleasantly surprised by the support we received from the Film Fund of the Grand Duchy of Luxembourg, without which the film undoubtedly would never have been made. Thanks to this support and help from Belgium, we were able to shoot the film in Luxembourg, with actors from Luxembourg. Neverthe- less, I did not expect the French magistrates to forbid me from shooting at the Paris courthouse when the film shows Judge Van Ruymbeke in a positive light. Entretien avec le RÉALISATEUR ET SCÉNARISTE Vincent Garenq Vous n’avez jamais été anxieux à l’idée d’exposer les enjeux extrêmement sensibles et complexes de la finance internationale? J’ai commencé par m’attacher à la première investigation de Denis Robert, où se concentre, à mon sens, l’épure du film. Par la suite, le scénariste Stéphane Cabel m’a débloqué par ces simples mots: «Tu ne pourras pas raconter cette histoire avec un seul personnage comme tu l’as fait pour Alain Marécaux dans ton dernier film Présumé coupable». Aussitôt, tous les autres personnages du film ont déferlé dans mon esprit, à commencer par le juge Van Ruymbeke. Avec ce personnage, j’étais heureux de révéler un autre versant de la justice française, après Présumé coupable, en mettant en scène un juge positif, cette fois. Au final, le film rend intelligible pour le grand public les rouages de cette affaire tellement complexe que seuls quelques initiés avaient jusqu’alors décryptée. Mais l’opacité financière demeure, à l’image de notre impuissance face à ce système titanesque, fait de paradis fiscaux, de grandes banques internationales, de flux financiers impalpables et d’argent de la mafia blanchi au su de tous. C’est à l’image de notre époque. Nous savons de quoi nous souffrons, mais personne n’agit. Avez-vous rencontré des difficultés à monter le film ou subi des pressions? J’ai été agréablement surpris par l’appui du Fond National de Soutien à la Production Audiovisuelle, sans lequel le film n’aurait sans aucun doute jamais vu le jour. Grâce à ce soutien et à celui de la Belgique, nous avons pu tourner au Luxembourg, avec des acteurs luxembourgeois. En revanche, je ne m’attendais pas à ce que les magistrats m’interdisent de tourner au Palais de justice de Paris, alors même que le juge Van Ruymbeke est montré sous un jour très positif dans le film. 39 En équilibre feature French director and screenwriter Denis Dercourt presents En équilibre English synopsis Marc is an equestrian stuntman. A dreadful accident left him with no hope of ever getting back on a horse. The insurance company puts Florence in charge of Marc’s case. They have nothing in common, but their brief interaction will affect them in more ways than they can imagine . . . Synopsis en français Marc est cascadeur équestre. Un grave accident sur un tournage lui fait perdre tout espoir de remonter un jour à cheval. Florence est chargée par la compagnie d’assurances de s’occuper du dossier de cet homme brisé. Cette brève rencontre va bouleverser leur équilibre… PARENTAL DISCRETION director Denis Dercourt director of photography Julien Hirsch screenwriter Denis Dercourt based on the book Sur mes quatre jambes by Bernard Sachsé, written in collaboration with Véronique Pellerin producer Jérôme Petament starring Albert Dupontel, Cécile de France, Marie Bäumer, Patrick Mille running time 1h 30min 40 qui empêcherait d’exercer l’activité à laquelle vous vous consacrez depuis votre plus jeune âge, est une constante chez les musiciens. Plus profondément, ce thème d’un homme qui se reconstruit avait une forte résonance en moi. Interview with DIRECTOR AND SCREENWRITER Denis Dercourt How was the idea to adapt Bernard Sachsé’s autobiography born? I immediately felt connected to the story. When 30-year-old stuntman Bernard Sachsé became paraplegic, he was living on commissions, as I had myself for a long time when I was working in music. The fear of an accident, that would hinder your ability to practice the activity to which you have devoted your life from a very young age, is a constant in the lives of musicians. More precisely, the idea of a man rebuilding himself resonated with me. Albert Dupontel’s performance as Bernard Sachsé is quite riveting. We had agreed from the beginning that he would perform all the stunts in the film, especially those on the horse. The acrobatic figures on the beach were actually so dangerous that we had to shoot them on the last day of filming to meet insurance regulations. Cécile de France, who had never played the piano before, sounds like a professional! How did she do it? When they act as musicians in my films, I request that actors train long enough ahead to be able to play the pieces themselves – I rule out using special effects on the actors’ hands. The transcendent execution study by Liszt, which Cécile de France plays in the film, is one of the most difficult of the repertoire. We did not cut during the takes for the audition scene, Cécile was playing the full study every time. There is a lot of sensuality in the scenes between the hero and his horse. I shot them in the same spirit I have always filmed the musical scenes in my previous features. Music and equestrian art have a lot in common, even in the terminology that is used. Throughout the film, you had to feel this passion breaking through. It would give the film its resonance up to the final scenes. Entretien avec le RÉALISATEUR ET SCÉNARISTE Denis Dercourt D’où est née l’idée d’adapter le livre autobiographique de Bernard Sachsé ? Je me suis tout de suite senti très proche du sujet. Lorsqu’il est devenu paraplégique à trente ans Bernard Sachsé était un cascadeur qui vivait du cachet, comme je l’avais fait moi-même longtemps en musique. La peur de l’accident, Albert Dupontel est assez exceptionnel dans le rôle de Bernard Sachsé. Dès le départ il avait été convenu que ce serait lui qui assurerait toutes les cascades du film, en particulier celles à cheval. Ce qu’il réussit à faire relève de l’exploit. Les figures de voltige sur la plage, par exemple, étaient tellement dangereuses que pour les besoins de l’assurance du film, nous avons dû les tourner le dernier jour. Cécile de France, qui n’avait jamais pratiqué le piano de sa vie, se déplace et joue comme une pianiste ! Comment a-t-elle fait ? Lorsqu’ils interprètent des musiciens dans mes films, je demande aux acteurs qu’ils s’entraînent suffisamment longtemps à l’avance pour pouvoir jouer eux-mêmes les morceaux – je ne veux pas faire de trucages sur les mains. L’étude d’exécution transcendante de Liszt que joue Cécile de France dans le film est une des plus difficiles du répertoire. Pour la scène de l’audition nous n’avons pas coupé pendant les prises, Cécile jouait à chaque fois l’étude jusqu’au bout. Les scènes entre le héros et son cheval dégagent beaucoup de sensualité. Je les ai filmées dans le même esprit avec lequel j’ai toujours filmé les scènes de musique dans mes films précédents. Il est connu que l’art de la musique et l’art équestre offrent de nombreux parallèles, jusque dans les termes utilisés. Tout au long du film on devait sentir cette passion qui affleure, elle allait lui donner sa vibration, jusqu’aux scènes finales. 41 Floride feature French director and screenwriter Philippe Le Guay presents Floride English synopsis ALL AUDIENCES director Philippe Le Guay director of photography Jean-Claude Larrieu screenwriters Philippe Le Guay and Jérôme Tonnerre based on the play Le Père by Florian Zeller producers Jean-Louis Livi and Philippe Carcassonne starring Jean Rochefort, Sandrine Kiberlain, Laurent Lucas, Anamaria Marinca running time 1h 50min 42 Claude Lherminier, 80, has never lost his panache. However, more and more he experiences moments of forgetfulness, fits of confusion . . . a condition he obstinately denies. Carole, his oldest daughter, constantly battles to keep him from his own devices. Suddenly, Claude decides to fly off to Florida. What is behind this unexpected journey? Synopsis en français A 80 ans, Claude Lherminier n’a rien perdu de sa prestance. Mais il lui arrive de plus en plus souvent d’avoir des oublis, des accès de confusion… Un état qu’il se refuse obstinément à admettre. Carole, sa fille aînée, mène un combat de tous les instants pour qu’il ne soit pas livré à lui-même. Sur un coup de tête, Claude décide de s’envoler pour la Floride. Qu’y a-t-il derrière ce voyage si soudain ? première fois que j’adapte une œuvre préexistante. Au cinéma, le champcontrechamp installe immédiatement la subjectivité du héros. Il suffit de passer du regard du personnage à ce qu’il voit pour installer le point de vue. Il fallait donc trouver un autre principe de récit, et proposer un espace différent de celui de la pièce. C’est Jérôme Tonnerre qui a trouvé le déclencheur en imaginant le personnage dans un avion, avec un but, une idée fixe : aller rejoindre sa fille qui habite en Floride. Du coup, on ne traite pas la partie « médicale » du dossier, les symptômes de la perte de mémoire. Interview with DIRECTOR AND SCREENWRITER Philippe Le Guay How did you develop the scenario with Jérôme Tonnerre? It is the first time that I have adapted a pre-existing work, in this case the play Le Père by Florian Zeller. In filmmaking, subjectivity is immediately established by the “shot reverse shot” technique. You simply have to film the character gazing at something, then the object of the gaze in order to install a point of view. Here, it was necessary to come up with another type of narration and a different setting. Jérôme came up with the idea of setting the character in a plane, driven by the obsession to reconvene with his daughter who lives in Florida. It allowed us not to dwell on the “medical” aspect of the subject, the loss of memory symptoms. How did you work with the lighting? By our choices of scenery. With director of photography Jean-Claude Larrieu, we wanted to compensate for the harshness of memory loss by a warm and glowing atmosphere. There are colors in every scene, orange lightening, and bright colors of the costumes. We frequently think of old age as being gray and colorless. In real life, Jean Rochefort wears a wide variety of colors and we emphasized that aspect. With Elisabeth Tavernier, who created the costumes, we had David Hockney in mind, famous for his vivid outfits. Jean Rochefort sings Jean Sablon’s song “Puisque vous partez en voyage” . . . It echoes the theme of the journey to Florida. Florida became this mythical place where you feel protected, where nothing can harm you. It is a place of appeasement, where all that has taken a toll on you ceases to hurt. Actually, Florida is a bit like the inside of a cinema, at the same time a screen and a protective case, where one can dream, where loved ones are with us forever . . . Entretien avec le RÉALISATEUR ET SCÉNARISTE Philippe Le Guay Comment avez-vous développé le scénario avec Jérôme Tonnerre ? J’ai découvert Le Père, la pièce de Florian Zeller, au théâtre. C’est la Au niveau technique, comment avez-vous travaillé la lumière ? Par les choix des décors. Avec JeanClaude Larrieu, mon chef opérateur, nous voulions compenser la violence de la perte de mémoire par une image chaude et chatoyante. Il y a des couleurs tout le temps, dans la présence des lampes orangées, ou par les couleurs vives des costumes. On associe souvent la vieillesse au gris et au terne. Dans la vie, Jean Rochefort s’habille avec une palette très colorée et on a surenchéri dans ce sens. Avec Elisabeth Tavernier qui a créé les costumes, nous avions l’image de David Hockney en tête, célèbre pour ses tenues vestimentaires acidulées. Jean Rochefort chante une chanson de Jean Sablon, « Puisque vous partez en voyage »… Elle fait écho au thème du voyage en Floride qui devient cet endroit mythique où on est protégé, où plus rien ne peut vous atteindre. C’est le lieu de l’apaisement, où tout ce qui vous fait violence dans la vie cesse de vous faire mal. Au fond, la Floride, c’est un peu la salle de cinéma, un écran-écrin où l’on peut rêver, où ceux qu’on aime sont à jamais avec vous… 43 Discount feature French director and screenwriter Louis-Julien Petit and producer Liza Benguigui present Discount English synopsis screenwriters Louis-Julien Petit and Samuel Doux Revolted by their employer’s business practices and their coming layoffs, staff members at a Hard Discount store secretly create their own “Alternative Discount” outlet by diverting products that otherwise would be thrown away. This rebellion, steeped in solidarity, will prove particularly profitable, but risky as well . . . producers Liza Benguigui and Philippe Dupuis-Mendel Synopsis en français All audiences director Louis-Julien Petit director of photography David Chambille starring Olivier Barthélémy, Corinne Masiero, Pascal Demolon, Sarah Suco, M’Barek Belkouk, Zabou Breitman running time 1h 45min 44 Révoltés par les pratiques à l’œuvre dans la grande distribution et par l’annonce de leur proche licenciement, des salariés d’un Hard Discount créent clandestinement leur propre « Discount alternatif », en récupérant des produits qui auraient dû être jetés. Une rébellion solidaire qui va se révéler très lucrative, mais aussi dangereuse... Interview with DIRECTOR AND SCREENWRITER Louis-Julien Petit What was the idea behind Discount? I wanted to make a film about the positive consequences that the financial crisis can bring about in people, and about the mutual assistance and sense of solidarity that it is likely to elicit, with characters who would take charge of their own fate. How did you conduct enquiry to so precisely allude to the tough working conditions of Hard Discount employees and to the often brutal practices of the mass distribution industry? Cashiers blogs have been my main source of information. They are like bottles tossed into the sea, cries for help. On those blogs, cashiers explain how they are being timed when cashing out customers, as well as during bathroom breaks, among other things. A director forced one of them to clean her cash register every night using bleach and a toothbrush. I drew inspiration from this story to create Christiane’s character, who carries a toothbrush around her neck. I also collected watchmen testimonies. At the beginning of the film, I wanted to emphasize the prison-like atmosphere of the discount store with its body searches, its video surveillance cameras and strict protocol. There are no internal trade unions, as the stores count less than fifty employees; hence the workers’ inability to take action and stand for their rights. Being both a comedy and a militant movie, Discount falls in with Ken Loach and Stephen Frears’ films. I tried to depict a bullied micro-society, a situation similar to that of the British society in its post-Thatcher era, like in a “survival mode”. I mostly focused on highlighting how to resist humiliations and scorn by opposing solidarity, friendship and humor. Entretien avec le RÉALISATEUR ET SCÉNARISTE Louis-Julien Petit Comment est née l’idée de Discount ? J’avais envie de faire un film sur les conséquences positives que peut engendrer la crise financière chez les gens, sur l’entraide et la solidarité qui peuvent en naître, avec des personnages qui prendraient leur destin en main. Quelles recherches avez-vous effectuées pour évoquer avec autant de justesse les conditions de vie difficiles des employés du hard discount et les méthodes parfois sauvages de la grande distribution ? Les blogs de caissières ont été ma principale source d’informations. Ils sont comme des bouteilles jetées à la mer, des appels au secours. Elles y évoquent, entre autres, les chronométrages du temps d’encaissement ou du temps de pause pour aller aux toilettes. Un directeur a imposé à l’une d’elles de nettoyer sa caisse tous les soirs avec une brosse à dents imbibée d’eau de javel. Je m’en suis directement inspiré pour le personnage de Christiane, qui porte une brosse à dents autour du cou. J’ai également recueilli le témoignage de vigiles. Au début du film, j’ai souhaité montrer le côté carcéral du discount avec les fouilles au corps, les caméras de vidéosurveillance, un protocole strict. Dans cette filière, parce qu’ils sont moins de cinquante employés, il n’y a pas de syndicat en interne, donc pas vraiment de moyen de se défendre. À la fois une comédie et un film militant, Discount s’inscrit dans la lignée des films de Ken Loach et de Stephen Frears. J’ai voulu dépeindre une microsociété pressurisée, de la même manière que la société anglaise a pu l’être dans sa période post-Thatcher, en mode « survie ». Je me suis surtout attaché à pointer la manière dont on peut résister aux humiliations, au mépris, grâce à la solidarité, à l’amitié, à l’humour. 45 Un peu, beaucoup, aveuglément feature Un peu, beaucoup, aveuglément PARENTAL DISCRETION director Clovis Cornillac director of photography Thierry Pouget screenwriters Lilou Fogli, Clovis Cornillac and Tristan Schulmann producers Pierre Forette and Thierry Wong starring Clovis Cornillac, Mélanie Bernier, Lilou Fogli, Philippe Duquesne running time 1h 30min English synopsis He invents puzzles. He is committed body and soul to his work and needs silence to concentrate. She is an accomplished pianist and cannot live without music. She must prepare for a competition that could change her life. They are obliged to coexist without seeing each other . . . Synopsis en français Lui est inventeur de casse-têtes. Investi corps et âme dans son travail, il ne peut se concentrer que dans le silence. Elle est une pianiste accomplie et ne peut vivre sans musique. Elle doit préparer un concours qui pourrait changer sa vie. Ils vont devoir cohabiter sans se voir... 46 Interview with DIRECTOR, SCREENWRITER AND ACTOR Clovis Cornillac Was it difficult to be the director and the main actor at the same time? It was not, because the movie lends itself to it. As Mélanie and I had very little scenes together -since we are always separate by the two apartments – I was not actually the one playing opposite. So when we were filming her scenes, I was focusing on the staging and direction of actors when another actor would answer her cues. How did this first experience as a director benefit you? This experience allowed me to measure the extent of my deep attachment to cinema, one that has been haunting me from the very first day of preparation up until the release of the film. The notion of spectacle is very important to me. I had an idea, a forceful idea about the movie, in terms of graphic imagery, in terms of sound, which was fundamental to me. I was attached to the idea of beauty. There was that necessity, that urge for finding the settings, the lights, for making the right choices. In both apartments, there is space to be dealt with. How should it be handled? What should be done with it? I work, I devise my shooting script, the scenery, the costumes, the actors, the light, the setting, the editing . . . All of it is essential. This is, in my mind, the very idea behind directing a movie: to take on all its components, every nook and cranny. You find yourself beguiled by a tea spoon. This is the amazing part of film directing, everything is important: the ground, the objects, the light . . . whereas in ordinary life I do not pay any attention to these things. Here, each detail means something. These are continuous choices to be made, and they are yours; which is awesome. You are God for a short time, which is not unpleasant. It lasts what it lasts. Entretien avec le RÉALISATEUR, SCÉNARISTE ET ACTEUR Clovis Cornillac Réaliser et jouer en même temps était-il un exercice difficile ? Non parce que le film s’y prête. Comme nous avions, Mélanie et moi, très peu de scènes ensemble puisque nous sommes séparés tout le temps par les deux appartements, je ne lui donnais pas la réplique moi-même. Lorsque l’on tournait ses scènes, je me concentrais sur la direction d’acteurs et la mise en scène et un autre comédien lui donnait la réplique. Que vous a apporté cette première expérience de réalisateur ? Cette expérience m’a donné la mesure de mon profond attachement au cinéma, attachement qui m’a hanté du premier jour de préparation et certainement jusqu’à la sortie du film. La notion du spectacle est très importante pour moi. J’avais une idée sur le film qui était forte, une idée graphique, une idée sonore essentielle à mes yeux. J’étais attaché au « beau ». Il y avait cette nécessité et cette envie de trouver les cadres, de trouver les lumières, de faire les bons choix. Dans les deux appartements, il y a du volume. Comment on le traite ? Qu’est-ce qu’on en fait ? Comment on fabrique avec ça? Je travaille, je décide de mon découpage, je décide de mes décors, des costumes, des acteurs, de la lumière, du cadre, du montage… Tout cela est essentiel. L’idée de faire un film pour moi c’est ça. C’est d’en assumer tous les recoins. Tu te surprends à te passionner pour une petite cuillère, c’est ça qui est fabuleux quand tu réalises. Tout est important : le sol, les objets, la lumière… alors que je n’y prête aucun intérêt dans la vie. Là, tout prend du sens. Ce sont des choix permanents et ce sont les tiens. C’est génial. Tu es Dieu pendant quelques temps et ce n’est pas désagréable. Ça dure ce que ça dure. 47 L’Hiver est proche short Director & screenwriter Hugo Chesnard presents L’Hiver est proche director/screenwriter Hugo Chesnard director of photography Gérard de Battista producers Karine Blanc, Pauline Seigland and Michel Tavares starring Sophie Cattani, Petru Carolea running time 13min 57sec English synopsis Louise, 30, works for the protection of green spaces in a forest near the city, preventing youths from riding scooters in the woods and families from barbecuing. A Roma camp, evicted from a city nearby, has settled in the forest. Louise is asked to convince them to leave the premises. Synopsis en français Louise, la trentaine, travaille comme agent des espaces verts, dans une forêt qui borde la ville. Son travail : faire de la médiation, empêcher les jeunes de faire du scooter dans les bois, et les familles, des barbecues. Un camp de Roms chassé d’une ville voisine s’est installé dans cette forêt. Louise est chargée de les convaincre de quitter les lieux. La Nuit américaine d’Angélique short animation Co-directors Joris Clerté and Pierre-Emmanuel Lyet present La Nuit américaine d’Angélique directors Joris Clerté and Pierre-Emmanuel Lyet based on La Nuit américaine d’Angélique from Ils ne sont pour rien dans mes larmes by Olivia Rosenthal producer Maryline Charrier animation Christian Desmares and Jean-Yves Castillon running time 7min 25sec César Nomination 2016 for Best Animated Film English synopsis While watching Day for Night, Angélique discovers it is possible to invent one’s own life. Adopting Nathalie Baye’s persona, getting her father’s attention and admiration, choosing a mind-boggling profession: Francois Truffaut’s film opens up so many possibilities. Synopsis en français En allant voir La Nuit américaine de François Truffaut, Angélique découvre qu’on peut inventer sa vie. Se prendre pour Nathalie Baye, obtenir l’admiration de son père, choisir un métier incompréhensible, autant de perspectives ouvertes par ce film. 48 ZZ short Director, screenwriter & producer François Villard presents ZZ director/screenwriter/producer François Villard director of photography Nicolas Beauchamp starring Jérémie Covillault and Pierre-Marie Escourrou running time 8min 30sec English synopsis Somewhere in the world, two hostages are locked in a cell, awaiting the worst. Fear is omnipresent and overbearing. Then, a simple, harmless remark leads to a conversation that will shake up the established order . . . Synopsis en français Deux otages sont retenus dans un lieu de détention quelque part dans le monde. La peur est là, omniprésente et pesante. Soudain, une remarque, à priori anodine entraîne les deux hommes dans une conversation qui va bousculer l’ordre établi… Une bonne affaire short Director Denis Larzillière and actor Mathieu Busson present Une bonne affaire director Denis Larzillière director of photography Romain Prouveur screenwriter Léo Noël producer Marc Brunet starring Mathieu Busson, Riton Liebman, Harry Cleven, Maxime Bailleul English synopsis Carefully collecting and organizing every coupon and promotion offer that comes his way, Guillaume Malbet makes the world a better place . . . at least for himself. Until one day when he realizes he has an intimate enemy, the kind who makes super-heroes transgress into new zones. Synopsis en français Guillaume Malbet en collectionnant, en organisant et en conservant tous les bons de réductions et offres de promotion qu’il trouve sur son chemin, rend le monde meilleur... pour lui. Un jour, il découvre qu’il a un ennemi intime, un de ceux qui poussent les superhéros à dépasser leurs limites. running time 20min 49 La Boucle short Director & screenwriter Alexandre Mehring presents La Boucle director/screenwriter Alexandre Mehring director of photography Tariel Méliava producers Sandrine Pollacchi and Nicolas Pollacchi starring David Proux, Michel Duléry, Jamel El Gharbi running time 5min 50sec English synopsis During a heated riot, two police officers find themselves caught in a loop. Synopsis en français Lors d’un mouvement social musclé, deux agents de police se retrouvent prisonniers d’une boucle. white-spirit short Director, screenwriter & producer Julie Voisin, actor & songwriter Alexandre Tacchino, producer & actor Mathieu Simonet, editor Thierry Brunello and English adaptor Joan Lagache present white-spirit director/screenwriter Julie Voisin directors of photography Matthieu-David Cournot and Senda Bonnet producers Julie Voisin and Mathieu Simonet starring Alexandre Tacchino, Mathieu Simonet, Camille Claris, Noémie Wonder and Mary Corvisier editor Thierry Brunello running time 28min 21sec English synopsis Overwhelmed by his dark thoughts, 20 year-old Lulu attempts to put an end to his life. His encounter with a shrink will help him tame his anxieties sparking him back to life . . . and to discover his artistic creativity: rap. Synopsis en français Submergé par ses idées noires, Lulu, 20 ans, tente de mettre fin à ses jours. Sa rencontre avec un psy va l’aider à domestiquer ses angoisses pour revenir à la vie… Et découvrir son art : le rap. 50 Discipline short director/screenwriter Christophe M. Saber director of photography Denis Jutzeler producer Elena Tatti starring Adel Ahdy, Nour Gayed, Garance Rohr, Frank Semelet running time 11min English synopsis It is 9:30pm in a Swiss grocery store operated by Egyptian owners. An exasperated father, losing his temper, disciplines his disobedient child. A shocked customer immediately intervenes to express her concern. Other customers join in, each adding their two cents. The store staff is quickly overwhelmed. The discussion turns into a debate, which develops into a quarrel. The situation gradually gets out of hand and leads to chaos . . . Synopsis en français 21h30, dans une épicerie de Lausanne tenue par des Egyptiens. Excédé, un père de famille perd patience et corrige son enfant désobéissante. Une cliente choquée exprime son désaccord. D’autres clients interviennent, chacun y met son grain de sel et le personnel est dépassé. La conversation se transforme en débat, le débat en dispute. La situation vire peu à peu au chaos. H recherche F short animation director/screenwriter Marina Moshkova producer Sébastien Aubert running time 11min 56sec English synopsis A love story in a world where paintings become animated and come alive. In the midst of a creative crisis, the painter André realizes he needs to find his muse. A marriage agency ad offers a last chance to find love and inspiration. Synopsis en français Une histoire d’amour dans un monde où les peintures s’animent et prennent vie. André, un peintre en pleine crise artistique, en vient à la conclusion suivante : s’il manque tant de créativité, c’est parce qu’il n’a pas encore trouvé sa muse. Il tombe un jour sur l’annonce d’une agence matrimoniale, et décide qu’il tient là sa dernière chance de trouver l’amour et l’inspiration. 51 Wellington Jr. short animation Director & screenwriter Cécile Paysant presents Wellington Jr. director Cécile Paysant directors of photography Benoît Bouthors and Marine Atlan screenwriters Patrick Vuittenez and Cécile Paysant producer Patrick Vuittenez running time 9min 15sec English synopsis On his tenth birthday, a child must undergo the ritual of hunting his first animal. When a friendly competition ensues among several families, the relationship between father and son becomes tense. Synopsis en français Pour son dixième anniversaire, un enfant doit passer le rituel familial en chassant son premier animal. Alors qu’une compétition amicale s’installe entre plusieurs familles, la relation avec son père s’endurcit. Le C.O.D. et le coquelicot The Cultural Service of the French Embassy: Supporting Contribution for Documentary Screenings short animation documentary Animator Nicolas Lemée presents Le C.O.D. et le coquelicot directors/screenwriters/directors of photography Jeanne Paturle and Cécile Rousset animators Nicolas Lemée, Sandrine Martin, Marc Ménager, Jeanne Paturle and Cécile Rousset producer Valérianne Boué running time 24min English synopsis In an elementary school in a tough neighborhood on the outskirts of Paris, where teachers burn out and usually quit their first year, five young teachers make the commitment to stay despite the challenges. Five years later, they describe their daily lives in the place they are attempting to transform into a real school. Synopsis en français Dans une école primaire d’un quartier périphérique de Paris réputé difficile, où les équipes d’enseignants s’épuisent et se succèdent d’année en année, cinq jeunes maîtres sans expérience ont fait le pari de rester. Cinq ans après, ils nous parlent de leur quotidien dans ce lieu où ils tentent de construire, dans une alternance de découragement et de projets, une école comme les autres. 52 Une brume, un matin short Director & screenwriter Joachim Weissmann presents Une brume, un matin directors Joachim Weissmann and Nicolas Buysse director of photography Frédéric Noirhomme screenwriters Nicolas Buysse, Geoffroy Rouffiange and Joachim Weissmann producer Geoffroy Rouffiange starring Sylvain Bouder, Fabrice Murgia, Virgile Bramly, Jean-Michel Frère, Michelangelo Marchese, Philippe Résimont, Vincent Tavier . . . running time 15min 16sec English synopsis A group of friends, kind of a rock band on tour, set sail for new horizons through the oppressive Ardennes countryside and rugged Brittany. The atmosphere, giggles and awkward silences, music and fishing trips, alcohol and contemplation, melancholia and late-night euphoria seems like a party, but their souls are in pain. Synopsis en français Entre fous-rires et silences pesants, entre musique et partie de pêche, entre alcool et contemplation; les Ardennes pesantes et la Bretagne abrupte, un climat bleuté de mélancolie et une atmosphère de fin de soirée doucement euphorisante. C’est dans cette ambiance qu’une bande d’amis, une sorte de groupe de rock en tournée part vers de nouveaux horizons, la fête au coin des yeux et l’âme en peine. Sous tes doigts short animation Director & screenwriter Marie-Christine Courtès presents Sous tes doigts English synopsis producers Jean-François Le Corre and Mathieu Courtois When her grandmother dies, dance and traditional rituals in honor of the deceased allow young Emilie to retrace and relive the story of the women in her family, from colonial Indochina to the isolation of transit camps. The young Eurasian girl learns how to come to terms with this legacy . . . graphic design Ludivine Berthouloux and Marcelino Truong Synopsis en français director/screenwriter Marie-Christine Courtès running time 12min 54sec César Nomination 2016 for Best Animated Film À l’occasion du décès de sa grand-mère, Emilie revit, entre danse et rituels, l’histoire singulière des femmes de sa famille, de l’Indochine coloniale à l’isolement d’un camp de transit. La jeune Eurasienne apprend à accepter cet héritage… 53 Papa, Alexandre, Maxime et Eduardo short Director & screenwriter Simon Masnay presents Papa, Alexandre, Maxime et Eduardo director/screenwriter Simon Masnay director of photography Julien Gidoin starring Bertrand Blier, Jean-Paul Rouve, Damien Bonnard, Guy Lecluyse producer Charles Paviot running time 12min 22sec English synopsis Alexander and Maxime have got into the habit of coming up with little surprises when they make their weekly visit to their elderly sick father. A contemplative parenthesis in the life of these two men still acting as kids. But this time it is their father who gives them a surprise -and it is not a pleasant one. Synopsis en français Alexandre et Maxime ont l’habitude de se faire des surprises quand ils viennent faire la visite hebdomadaire de leur vieux père malade. Une parenthèse contemplative dans la vie de ces deux grands gamins. Aujourd’hui c’est papa qui va leur faire une bien mauvaise surprise. - FESTIVAL FILM COLLECTIONS ON DVD /$81&+,1*2)7+('9'%/85$<&2//(&7,21 LAUNCHING PEDAGOGICAL WORKBOOKS TO ACCOMPANY VOLUMES 1, 2 AND 5 $//),/06+$9((1*/,6+68%7,7/(237,21$1'$5(,1176&5(*,21 3/$<$%/(,17+(81,7('67$7(6 USE FESTIVAL SHORTS IN YOUR CLASSROOM 54 Virginia Commonwealth University and the University of Richmond present Official Reception with the actors & directors Saturday, April 2 7:00 - 9:00pm VCU Scott House 909 W. Franklin Street (Parking along W. Franklin Street from Harrison to Laurel for Reception Pass Holders) VCU Scott House is a non-smoking venue. Featuring some of Richmond’s Best of the Best Event planner Exclusive Media Sponsor Post-Festival Events Author and actress Anny Romand reads passages in English from her new book Ma Grand’mère d’Arménie Followed by a discussion with the author Monday April 4, 5:00 p.m. to 6:30 p.m. VCU Meeting Center (located on the corner of floyd & north harrison) Free and Open to the Public Anny Romand discovers in 2014 an unfamiliar diary kept by her grandmother, Serpouhi Hovaghian. Serpouhi’s journal entries date from 1915, written in Armenian, French and Greek during the Genocide Death Marches. Serpouhi’s revelations of what she and her family endured juxtaposed with Anny’s childhood memories of her grandmother create a powerful, touching and emotional book, My Grandmother from Armenia. absorb something ® Event co-sponsored by VCU School of World Studies – International Studies & Foreign Languages Planting 550 Trees in Memory of the Victims of 2015 Presented in partnership with VCU’s Science Technology & Society Program CHEESE MITES & ACROBATIC FLIES: Early Popular Science Films WED, APRIL 6 | 5:30 PM Short screenings of early 20th century science films and discussion with Dr. Oliver Gaycken. Registration is required at sciencepubrva.org George Washington National Forest Planting Dates: April 8-10, 2016 To Donate/Volunteer contact the French Film Festival Office College of Humanities and Sciences 56 Coordinated with the US Forest Service 2012 2016 Attorneys at Law | 1111 East Main Street, Suite 2100 | Post Office Box 796, Richmond, Virginia 23218-0796 Telephone 804.775.3100 | Facsimile 804.775.3800 | Web site www.mccandlishholton.com French Film Festival SACD supports the authors Cinéma Télévision Animation Radio Théâtre Musique Danse Mise en Scène Humour Arts du Cirque Arts de la Rue SACD's various missions all have the same goal: to defend and accompany authors in France and abroad. To protect their rights, to guarantee their remuneration through an efficient collection and distribution scheme, to offer them workspaces and places to meet, to negotiate their first contract, to offer legal guidance, to finance creations thanks to the private copying levy... SACD offers a comprehensive range of reliable services well adapted to the needs of authors. In this context, SACD goes into action to strengthen the recognition of the rights of authors and especially the rights of its scriptwriters and directors. French Film Festival La SACD soutient les auteurs Les nombreuses missions de la SACD s'organisent autour d'un objectif unique : la défense et l'accompagnement des auteurs en France et à l'international. Protéger leurs droits, garantir leur rémunération par un système de perception et de répartition efficace, leur offrir des espaces de travail et des lieux de rencontres, négocier un premier contrat, apporter un conseil juridique, financer des créations via la copie privée... La SACD propose une gamme complète de services performants et spécialement adaptés aux auteurs. Dans ce contexte, la SACD se mobilise pour consolider la reconnaissance du droit d'auteur et plus particulièrement des droits des scénaristes et des réalisateurs qu'elle représente. 100% creators Twitter : @SACDParis Facebook : facebook.com/SACD.fr THE BEST OF EUROPE! Watch your favorite European movies subtitled in English! Visit us on www.eurochannel.com + ACCESS PRINT & DIGITAL 20% OFF FOR RICHMOND FRENCH FILM FESTIVAL ATTENDEES! France-Amérique is a proud media partner of the Richmond French Film Festival and is happy to offer a 20% discount on annual subscriptions to all participants! Subscribe Today! Call 800-901-3731 and provide code RFFF2016 or fill out the coupon below and return it to us in an envelope to: France-Amérique LLC, PO Box 3110, Langhorne, PA 19047-9930 RFFF2016 Last name : Subscription for 1 year (12 issues) for only $70.40 (instead of $88) First name : Subscription for 2 years (24 issues) for only $120 (instead of $150) Address : Bill me later (please provide complete contact information) City : For abroad subscriptions, (off USA) please add $35 for 1 year or $56 for 2 years. State : Enclosed check (addressed to France-Amérique) : Ck# ZIP code : Credit card: E-mail : Card number: Yes, I want to receive a free of charge digital version of France-Amérique (with my paid subscription) Yes, I want to receive the free weekly newsletter of France-Amérique by e-mail Expiration date: Visa MasterCard American Express eartwood Grove School French Immersion | Arts Emphasis Spanish Immersion Russian Enrichment BOGO 1/2 OFF Buy one Entree and get a second Entree for half-off. Full Academic Curriculum! K - 8th Grade Admissions@Heartwood Grove.com 4301 Patterson Ave. 804.433.3561 Shrimp & Grits Entree HeartwoodGrove.com Welcoming students regardless of race, religion or origin Entrees must be full size, no half portions. Present your 24 th French Film Festival ticket stub or program Ad at time of payment. COUPFFF6 • Exp 04.03.2017 3553 W. Cary Street | Richmond, VA | 804.213.0800 www.bakerscrust.com Félicitations àà Françoise Françoise et Félicitations et Peterpour pour la la 23ème 24ème édition Peter édition Festival du du Film Film Français. duduFestival Français. 501 Research Road, Richmond, VA 23236 63 We’ve been making it damn easy since 2003. Pardon our French. 8 0 4 . 3 5 3 . 8 2 8 2 | WY T H K E N .C O M Carytown www.needsupply.com 804.355.5880 Nous l’aviation. Nousparlons parlons l’aviation. Less time. Less hassle. Less stress. It’s easier than ever to fly where you Less time. Less hassle. Less stress. It’s easier than ever to fly where you want, when you want. With major airlines offering competitive fares and want, when you want. With major airlines offering competitive fares and convenient schedules for hundreds of major destinations theU.S. U.S. convenient schedules for hundreds of major destinationsacross across the and around world, from from RIC RIC makes more sense andthe around the flying world, flying makes more sensethan than ever. ever. CAPITAL REGION AIRPORT COMMISSION | FLYRICHMOND.COM | 804.226.3000 APITAL REGION AIRPORT COMMISSION | FLYRICHMOND.COM | 804.226.3000 ® @flack4ric @flack4ric ® ©2016 Capital Region Airport Commission ©2016 Capital Region Airport Commission Richmond, Virginia 23284-3073 our Web site: www.frenchfilm.vcu.edu. refundable after being printed and processed. Supporting the French Film Festival: Isaac Moses Regelson Painting, poetry and clay creations Beau-He-Me-N-Rib Professional location scouting and location management services The work of Mary-Susan Kirkpatrick design services by: http://www.vcu.edu/arts/cinema/dept www.imrlocations.com Readers will appreciate this soulful artist’s natural expression and great sense of shape and color. MarySusan’s work flows gracefully across each canvas, accompanied by her insightful poetry. The artist’s lifelong, distinctive style continues into three dimensions with a selection of her favorite clay sculptures in matte shades of antiquity. 132 pages, 8.5 x 11 inches, paperback $ 37.00 Begin the journey of Beau-He-Me-N-Rib. Order online at MarinerMedia.com VirginiaBornandBred.com • By special request at any bookstore or online retailers ISBN 978-0-9820172-0-3 c. (804) 301-0111 [email protected] TORXMEDIA.COM french film festival Old World Butcher Shop • Fresh Seafood Beer & Wine • Bountiful Produce European Delicatessen • Imported Cheeses Immersion weekend for teachers ofGourmet FrenchCoffees and foreign languages • Baked Goods VCU is an equal opportunity/affirmative action university. 100128-05 Virginia Commonwealth University and the University of Richmond present R i c h m EXPERIENCE THE FOOD!™ o n d The Virginia Commonwealth University and University of Richmond French Film Festival offers a special opportunity for middle and secondary-school teachers of French and foreign languages to use their French and/or increase their understanding of French culture through an immersion weekend during the festival, March 25-28, 2010. , V i r g i n i a Price information: Your cost for the total workshop including the Faculty VIP Pass, graduate registration fee and two graduate credits is $400, or with one additional graduate credit is $475. Contact Manon Caillosse at the festival office for more information. Registration deadline is March 10, 2010. 1527 North Parham Rd | Richmond, VA 23229 10 North Nansemond Street | Richmond, VA 23221 1200 Huguenot Rd | Midlothian, VA 23113 The VCU and UR French Film Festival is a Mon-Sat: unique French cultural event French Film Festival Office 9aM - 9pM | Sun: 10aM - 8pM founded and directed by Drs. Peter and Françoise Kirkpatrick. The 920 West Franklin Street, 3rd Floor festival showcases newly released films from France. All screenings P.O. Box 843073 are at the historic Byrd Theatre in Richmond and have English subtitles. Richmond, Virginia 23284-3073 The French actors and directors come to town to present their new films Phone: (804) 827-3456 to the American public in the Byrd Theatre with question-and-answer E-mail: [email protected] sessions after each screening. A master class opens the festival on www.frenchfilm.vcu.edu Friday afternoon. On Saturday evening, the French delegation of stars interacts further with viewers during the official reception held at the The immersion French cultural 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 addition to the regular activities and events of the festival, the weekend Studies, VCU Office of Continuing Studies, VCU Division of is a true immersion experience in French culture and language for Community Engagement, the Cultural Services of the French middle and high school teachers of French and foreign languages. Embassy and the American Association of Teachers of French Teachers will be able to earn up to two or three graduate credits. of Virginia. visit us online at www.thefreshmarket.com 5 Nos remerciements à Honorary Presidents Pierre-William Glenn* Claude Miller† (1942-2012) Directors/Founders Dr. Peter Kirkpatrick* Dr. Françoise RavauxKirkpatrick* Associate Directors Jessica R. Abernathy* Richard W. Haselwood Festival assistants Claire Conrardy Laure Curallucci de Peretti Barbara Lerenard Marine Miquet Julie Solleau Julie Stessin Briac Vigy Website Design Matthieu Normand Editing and graphic design Ruffin Marshall, Wythken Printing Joel Smith, Style Weekly Graduate course liaison Edward Howard Festival photographers Pierre Courtois Leslie Courtois Immigration specialist Shira B Schieken UR Students Amelia Clark Aleah Fedorciw Sugandh Gupta Katherine Hinman Abby Lavalley Matt Miller Danielle Moreau Erica Ott UR Film Studies students Natalia Chaney Rayna Mohrmann Clara Ng Sydney Niegos Katie Rothert Matt VanDini VCU Students Salem Daniel Hannah Foster Kathryn Hemphill Hortance Houngbeke Jamie Mack Dorothy O’Boyle Colton Peregoy Katherine Peterson Marko Petkovic Alton Rittenour Zoltan Suhay Dorothy Yen Jennifer Yu Indica Webb VCUarts Cinema students Francesco Basti Nicole-Anne Keyton Luca Alexander Jeremy Brown Waymon Chung Zoë Ferebee Alexandria Jones William James Carson Levy Victoria Maxwell John Shutika Tyler Scheerschmidt 68 Clare Starrs Grey Walters Briana Windhausen Alexandra Wong Monica Woolsey Alain Besse* Jean-Michel Martin Eric Chérioux Moira Tulloch Myriam Guedjali VCUarts Cinema staff Dr. Rob Tregenza Nikita Moyer Hyekang Shin MONAL Group Denis Auboyer Benoit Provost Bertrand Chalon Jean-François Morette Fanny Louis Special thanks Michael Rao, VCU President Ronald A. Crutcher, UR President Jacquelyn Fetrow, UR Provost Gail Hackett, VCU Provost Eugene P. Trani, Ph.D., VCU President Emeritus Alison Baski, VCU Dean Kathleen Skerrett, UR Dean Governor Terry McAuliffe Senator Mark Warner Senator Timothy Kaine Governor Douglas Wilder Mayor Dwight C. Jones Friends of the Festival Donors Robin & Todd Bassett Debra & Michael Binns Catherine & Jordan Black Cathy Bradley Anne Chapman Fran & John Freimarck Bob Holsworth Elizabeth T. Kemp-Pherson Françoise & Peter Kirkpatrick* Robin Lotz Susan Miller & Ken Kendler Martha & Rich Morrill Sue Ann Messmer* Susan & Kevin Nunnally Danielle & Clinton Peters Thu Pham Richard Priebe Isaac Moses Regelson* Sylvia Regelson Richard Stone French Ministry of Foreign Affairs Centre National de la Cinématographie Frédérique Bredin Gérard Krawczyk* Embassy of France to the United States His Excellency, Gérard Araud,French Ambassador Michel Charbonnier, French Consul General Catherine Albertini, Cultural Attaché Nicolas Valcour, Consul Honoraire-Norfolk SACD Pascal Rogard* Bertrand Tavernier Sophie Deschamps Jacques Fansten Gérard Krawczyk* Valérie-Anne Expert Nathalie Germain Christine Coutaya Sophie Masson Pascal Mirleau Anne Houeïx de la Brousse* CST Pierre-William Glenn, President* Angelo Cosimano* Cinémathèque française Laurent Mannoni* Laure Parchomenko Emilie Cauquy Céline Ruivo UniFrance Jean-Paul Salomé Isabelle Giordano Daniel Toscan du Plantier† Christine Gendre Fédération nationale des cinémas français Richard Patry, President* Stéphane Landfried Alain Surmulet L’ARP Dante Desarthe Eric Lartigau Thomas Langmann Florence Gastaud Michel Hazanavicius Caroline Santiard Elisabeth Dufrenoy Agence du Court Métrage Karim Allag Claire Chauvat Florence Keller La Fémis Raoul Peck, President Marc Nicolas, General Director Pierre-William Glenn, Image* Jean-Jacques Bouhon, Image Pascale Borenstein Géraldine Amgar Style Weekly Magazine Brent Baldwin Lori Waran Dana Elmquist Joel Smith McCandlish Holton, PC Tom McCandlish Tom Foster Dominic Madigan Kelly Lyda Darlene Yeary The Byrd Theatre Todd Schall-Vess Bob Gulledge Damion Champ Gretta Daughtrey Brandon Bates Jessica Hodges Bob Perkinson Andrea Owen Allie Smith Stephanie Saaverda Melissa Duffy Patti Kuny Kelly Murray Charlotte Davis Elisa Rios Holly Hooper Emma Barnes Brian Baynes Patricia Tscharskij Julie Karr Bill Enos† Virginia Tourism Corporation Rita D. McClenny* The Virginia Film Office Mary Nelson Andy Edmunds Kelly Lyda Wythken Printing Ric Withers Former Assistants Bastien Arnaud Louis Asciak Léo Becker Julien Ponceau Julie Solleau Pauline Gatillon Lucas Matray Ingmar Pascal Leslie Semichon Julien Lafaye Charles Lannes Marine Leclaire Cécile Albrecht Elsa Gauthier Antoine Goujard Astrid Renet Margaux Balériaux Myriam Afgour Barbara Bobillier Heloise Beaufils Diane Catala Floriane Ferenbach Mélanie Grandserre Hind Kacem Soujoud Khamassi Keltoum Lahbabi Chanaella Lezoma Sophie Perrot Géraldine Seyve Laure Breillot Manon Caillosse Myriam Guedjali Adrien Guillon Verne Amale Moktafi Aurore Philippon Mathieu Robiquet Frédérique Ranger Ophélie Adeline Natacha Bécard Nancy Miramont Pierrick Beaugendre Laetitia Beuscher Anaëlle Bourguignon Elodie Bouscarat Karine Pardé Alexandre Planet Eoin Landers Christiane Martin Jennifer Gore Anne Lestienne Aurélia Prévieu Violaine Miclet Joachim Alimi-lchola Antoine Blanc Marielle Jubert Cécile Lenoir Marjorie Reymond Benjamin Garçon Marie Herault-Delanoë Isabel Moya-Serrano Sébastien Aubert Maïlys Bernadet Julien Foullon David Guiraud Mathieu Havoudjian Jean-Baptiste Prevost Cécile Zandvliet Sabrina Bengeloune John Forsythe Marie-Caroline Fourmont Cécile Mouly Angélique Tresse Participation includes VCU President’s Office VCU Provost’s Office UR President’s Office UR Provost’s Office VCU Scott House VCU College of Humanities & Sciences VCUarts Cinema VCU School of World Studies VCU GEO UR Film Studies UR Languages, Literatures, and Cultures Cinéma français en Amérique (FCinA) fi-tech inc SECCO Amour Wine Bistro Baker’s Crust Studio K by Kambourian Weezie’s Kitchen Feast Catering+Events For the Love of Chocolate Copolla’s Deli Jeweler’s Services Chop Suey Books Mott Gallery Eurochannel France-Amérique Peggy Guy & Associates, LLC Chadwick Orchids Brux’L Café Millie’s Diner Chez Foushee Tommy’s Garden Paris Crêperie Can Can Barrel Thief The Black Sheep Monique’s Crêpes Virginia Production Alliance IMR Locations Ouroboros Acoustical Solutions Daily Kitchen Need Supply Co. Heartwood Grove School Laura Bice Todd Bassett Michael Stone Peggy Guy Nancy Christiansen Monique Pecora Joe Cusumano† Isaac Moses Regelson* Booth Hardy Sylvia Regelson Todd Gelsolmino Kevin Roberts Amy Hess Art Chadwick Paul Heitz Stephen Shaffner Andrew Hardie Adam Hafi Tommy and Pam Autry Julia Battaglini* Lisa Edwards Paul Keevil Dr. Mark Wood Dr. Angelina Overvold Alex Slusher Michael Binns Elizabeth Hiett McKenna Brown Jean Dufour Stephanie Danis Karin Vidal Alex Susher Booth Hardy Josephy de Momvallien Laurel Burnett Dr. Kasongo Kapanga* Tonie Stevens* Hana Mataillet Elizabeth Eaton Lisa Granger Scott Halloran Michael Calkins Leandra Dunlevy Kiersyn Cocke Michelle Williams Aaron Mott James Kinard Jen Rooker Jess Burgess John Kochman Dr. J. Daniel Hartman Dr. Bob Godwin-Jones Jacqueline Francis† Delegation Participants in past VCU & UR French Film Festivals FEATURE FILMS Jean Achache* Mona Achache* George Aguilar* Jean-Pierre Améris Cédric Anger Jean-Hugues Anglade Luis Armando Arteaga Denis Auboyer Tristan Aurouet Jesse Ausubel Abdelkrim Bahloul Josiane Balasko* Olli Barbé Marc Barrat Jean-Pierre Beauviala Jean Becker Véra Belmont Lucas Belvaux Laurent Bénégui Touria Benzari Jean-Jacques Bernard† Fabienne Berthaud Eric Besnard Alain Besse* Nicolas Birkenstock Olivia Bonamy Eric Besnard Gérard Bitton Jacques Bouanich Ariane Boeglin* Claire Bouanich Elsa Boublil Rachid Bouchareb Patrick Bouchitey Jean-Jacques Bouhon Nicolas Boukhrief Guila Braoudé Patrick Braoudé Nicole Brenez Frédéric Brillion Stéphane Brizé Mathieu Busson Gérard Camy* Julien Camy Irina Cardoza Vigne Paul Carpita† Jean-Max Causse Hannelore Cayre Laetitia Chardonnet Laurent Chevallier Bruno Chiche Benoît Chieux Stijn Coninx Héléna Cotinier Angelo Cosimano* Jean-Luc Couchard Dominique Coujard Sylvie Coulomb Alexandre de la Patellière Matthieu Delaporte* Amélie Demoulin Gérard Depardieu Gregori Derangère Jacques Deray† François Desagnat* Dominique Devoucoux Dora Doll† Maurice Dugowson† Albert Dupontel J.K. Eareckson Michel Ferry Aurélie Ferrier Stéphane Freiss Serge Frydman Thierry de Ganay Vincent Garenq José Giovanni† Julie Gayet Cyril Gély Jacques-Rémy Girerd Amélie Glenn Pierre-William Glenn* Vincent Glenn Vivianne Glenn Fabienne Godet Vincent Goubet Guillaume Gouix Romain Goupil Sanda Goupil Sébastien Grall Cyril Guelblat Philippe Guillard Christian Guillon Eric Guirado Yves Hanchar Jean Loup Hubert Anne Houëix de La Brousse* Guy Jacques Camille Japy Alexandre Jardin Jean-Paul Jaud Yves Jeuland Takako Johnson Steve Johnson Rémy Julienne Cédric Kahn Pierre Kalfon Sam Karmann Antoine Khalife Gérard Krawczyk* Carine Lacroix Jean-François Laguionie Stéphane Landfried Philippe Lasry Anne-Sophie Latour Yves Lavandier Vianney Lebasque Sandrine Le Berre Philippe Le Guay Gilles Legrand Léo Legrand Claude Lelouch* Gilles Lellouche Serge Le Péron Kenan Le Parc Dominique Le Rigoleur Toma Leroux Jalil Lespert Jean-Louis Leutrat† Francine Levy* Thierry Lhermitte* Suzanne Liandrat-Guigues Jean-Paul Lilienfeld Philippe Lioret Julie Lopes-Curval Laurent Mannoni* Jean Marboeuf Pierre Marcel Gianni Marchesi Françoise Marie Didier Martiny Vincent Mathias Stephen McCauley Patricia Mazuy Lester McNutt Philippe Meunier Viviane Mikhalkov Annie Miller Claude Miller† Nathan Miller Christie Molia* Florence Moncorgé-Gabin Michel Munz Philippe Muyl* Olivier Nakache Claude Nuridsany* Marc Nicolas Catherine Olson Lionel Ollier Mehdi Ortelsberg Luc Pagès Harmandeep Palminder Sandrine Paquot Laure Parchomenko Richard Patry* Charles Paviot Raoul Peck Nos remerciements à Hébert Peck Marie Pérennou* Jacques Perrin* Gabriel Perrimond Claude Pinoteau† Priscilla Phelps Roger Planchon Béatrice Pollet Gilles Porte Michelle Porte Magali Potier François Rabes Jean-Paul Rappeneau Aurélien Recoing Serge Renko Jean-Philippe Reza Jean Michel Ribes Claude Rich Jacques Richard Patrick Ridremont Isabelle Rochet Pascal Rogard* Philippe Ros Jonathan Rosenbaum Maïdi Roth Jean Roy Michel Royer Régis Royer Jérôme Salle Lucine Sanchez Marc Sandberg* Pierre-Olivier Scotto Christiane Seguron Christophe Servell Clément Sibony Mathieu Simonet* Abderrahmane Sissako Jules Sitruk Frédéric Sojcher Pamela Soo Agnès Soral Thomas Sorriaux Slony Sow Salomé Stévenin Amandine Taffin Eriko Takeda Carine Tardieu Bertrand Tavernier Nils Tavernier Seydou Togola Eric Toledano Philippe Torreton* Rob Tregenza Laurent Tuel Martin Valente Alexandra Vandernoot Moira Vautier René Vautier† Daniel Vigne* Lambert Wilson Ariel Zeitoun Christian Zerbib Karl Zéro Short film Delegation Participants Jean Achache* Mona Achache Yves Alion Marie-Paule Anfosso Karine Arlot Sébastien Aubert Serge Avédikian Olivier Ayache-Vidal Lionel Bailliu Antoine Baladassi Jean-Luc Baraton Olivier Bardy Michaël Barocas Dominique Barouch Stephane Belaïsch Violaine Bellet Karine Blanc Senda Bonnet Yossera Bouchtia Fabrice Bracq Yves Brodsky Charlie Bruneau Vincent Burgevin Mathieu Busson Marie Calderon Gérard Camy Julien Camy Franck Carle Jon J. Carnoy Stéphanie Carreras Daniel Cattan Sébastien Chamaillard Ellis Chan Alexandre Charlet Emilie Cherpitel Raphaël Chevènement Olivier Ciappa Jérémy Clapin Guillaume Cliquot Joachim Cohen Benjamin Cohenca Jonathan Colinet Bruno Collet Guillaume Cotillard Emmanuel Courcol Matthieu-David Cournot Gilles Cuvelier Patrick Delage Arnaud Delalande Romain Delange Pauline Delpech Arnaud Demuynck Alex Dension Franck Dion Dominique Duport Félicie Dutertre Ron Dyens Yzabel Dzisky Nicolas Engel Thomas Favel Mikaël Fenneteaux Elodie Fiabane Jean-Charles Finck Maud Forget Jean-Luc Gaget Philippe Gamer Corinne Garfin Alexandre Gavras Sébastien Goepfert Noémie Gillot Johann Gloaguen Mathieu Guetta Dominique Guillo Jeanne Guillot David Guiraud Ted Hardy Carnac Samuel Hercule Sébastien Hestin Guillaume Husson Gabriel Jacquel Eric Jameux Charlotte Janot Fanny Jean-Noël Daniel Jenny Charlotte Joulia Macha Kassian David Kremer Damien Lagogué Toinette Laquiére Jean-Philippe Laroche Carlos Lascano Philippe Lasry Lucien Leconte Franck Lebon Julien Lecat Violaine Lécuyer Raphaël Lefèvre Yann Le Gal Simon Lelouch Emeric Lemaître Sylvie Léonard Jean-Pierre Léonardini Georges Le Piouffle Fabrice Luang-Vija Stéphanie Machuret Nina Maïni Adetoro Makinde Chiara Malta Gabriel Mamruth Foued Mansour Xavier Marquis Vincent Mariette Benoit Mars Guillaume Martinez Patrick Maurin Simon Masnay Vincent Mayrand Alexandre Mehring Christian Merret-Palmair Florence Miailhe Charlotte Michel Nathan Miller Shirley Montsarrat Yoann de Montgrand Pierre-Yves Mora Camille Moulin-Dupré Valérie Müller Xavier Mussel Alexandra Naoum Laurent Navarri Duy Nguyen Matthieu Normand Joel Olivier Virginie Peignien Jean-Luc Perréard Michael Pierrard Pierre Pinaud Arthur de Pins Renaud Philipps Béatrice Pollet Olivier Pont Aurélia Prévieu Thomas Pujol Louise Revoyre Clément Rière Cécile Rousset Matthieu Rozé Benjamin Rufi Juliette Sales Nicolas Salis Danny Sangra Jean-Stéphane Sauvaire Marc-Etienne Schwartz Jean-Marc Seban Eva Sehet Julien Sèze Mathieu Simonet* Grégoire Sivan Lewis-Martin Soucy Slony Sow Sara Sponga Gerhard Stiene Fabien Suarez Eriko Takeda Bernard Tanguy Samuel Tilman Olivier Treiner Matthieu Van Eeckhout Arnaud Viard Marie Vieillevie Pascal Vincent Guillaume Viry Vincent Vivioz Julie Voisin Augusto Zanovello († deceased) (* FFF/FCinA Board/Member) 69 Registration Screenings of all feature films and short films Name________________________ Address___________________________ Email/Phone________________ will be held at the historic Byrd Theatre. The Registration: (Please include name to be printed on each pass.) official reception will be held on Saturday evening at 7 p.m. at the VCU Scott House (909 W. Franklin St.). Student, Faculty and Regular ❏ Regular VIP PASS, $115 per pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ____x $115 $_________ ❏ Faculty VIP PASS, $105 per pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ____x $105 $_________ ❏ Student VIP PASS, $65 per pass (currently enrolled students). . . . . . . . . . . . ____x $65 $_________ ❏ $25 – Add-on per pass for Saturday’s official reception . . . . . . . . . . . . . . . . . ____x $25 $_________ VIP passes include guaranteed seating at all Other donations to help support the festival (tax deductible) . . . . . . . . . . . . . . . . . . . . . $_________ screenings and Q&A sessions with the actors Friend of the Festival Pass & Donor option (see details online) . . . . . . . . . . . . . . . . . . . . . . $_________ and directors. There is a $25 add-on cost per Make your contributions payable to: French Film Festival-Richmond, VA pass for admission to the official reception on Saturday evening with the actors and directors (7-9:00 p.m., VCU Scott House). Tickets for each film are available for $15 at the box office. Tickets will be available at the box office 30 minutes before each screening. To guarantee your seating and to avoid lines at the door, buy a pass today. Please return this form and payment to: Virginia Commonwealth University French Film Festival Office 920 West Franklin Street, Room 304 P.O. Box 843073 Richmond, Virginia 23284-3073 Phone: (804) 827-FILM (office and passes) Fax: (804) 287-6446 Email: [email protected] www.frenchfilmfestival.us Total$_________ These major credit cards also accepted: ❏ Visa ❏ Discover ❏ MasterCard ❏ Amex Card No.__________________________________________ Exp. date ____________ Verification code______________ Cardholder’s signature______________________________ Phone ( ) ______________________________________ Online credit card purchasing is now available. No refunds. Virginia Commonwealth University and the University of Richmond present Immersion weekend for teachers of French and foreign languages Co-sponsored by Virginia Commonwealth University and University of Richmond, the French Film Festival offers a special opportunity for middle and secondaryschool teachers of French and foreign languages to use their French and/or increase their understanding of French culture through an immersion weekend during the festival, March 31-April 3, 2016. The French Film Festival is a unique French cultural event founded and directed by Drs. Peter and Françoise Kirkpatrick. The festival showcases newly released films from France. All screenings are at the historic Byrd Theatre in Richmond and have English subtitles. The French actors and directors come to town to present their new films to the American public in the Byrd Theatre with questionand-answer sessions after each screening. Master classes open the festival on Thursday afternoon. On Saturday evening, the French delegation of stars interacts further with viewers during the official reception held at the VCU Scott House on the Monroe Park campus of VCU. In addition to the regular activities and events of the festival, the weekend is a true immersion experience in French culture and language for middle and high school teachers of French and foreign languages. Teachers will be able to earn up to two or three graduate credits. Price information: Your cost for the total workshop including the Faculty VIP Pass, graduate registration fee and two graduate credits is $400, or with one additional graduate credit is $475. Contact Briac Vigy at the festival office for more information. Registration deadline is March 19, 2016. French Film Festival Office 920 West Franklin Street, 3rd Floor P.O. Box 843073 Richmond, Virginia 23284-3073 Phone: (804) 827-3456 E-mail: [email protected] www.frenchfilmfestival.us The immersion French cultural weekend is a collaboration among VCU College of Humanities and Sciences, VCU School of World Studies, VCU Office of Continuing Studies & Professional Education, VCU Division of Community Engagement, the Cultural Services of the French Embassy and the American Association of Teachers of French of Virginia. R i c h m o n d , V i r g i n Continuing our partnership to bring you the festival. French Film Festival - Richmond, Virginia is a 501(c)(3) non-profit organization i a
Documents pareils
March 21-24, 2013 - French Film Festival
is Peggy Guy with the following food sponsors: Belle Vie, The
Black Sheep, Pearl’s Cupcake Shoppe, Bistro Bobette, Millie’s,
Weezie’s Kitchen, Jean-Jacques Bakery, Twig, Wild Greens
Catering, For t...
March 29-April 1, 2012
In addition to her scholarly books like Abel Ferrara; Cinémas
d’avant-garde; and Shadows, John Cassavetes, many important
contributions to film studies by Brenez can be found in journals
such as Tr...