Forum de FilmDeCulte

Du 16 au 24 septembre prochain donc...

Je propose que l'on groupe les informations ici.

J'ai une question simple et plutôt de bon sens: les films sont sous-titrés au moins en anglais ?

Evidemment (sauf cas très exceptionnel). Mais avec double St : anglais, espagnol.

Thematic retrospective - DIGITAL SHADOWS: LAST GENERATION CHINESE FILM


Thematic retrospective - DIGITAL SHADOWS: LAST GENERATION CHINESE FILM
Share

In Chinese culture, the expression “electric shadows” (“dian ying”) refers to the art of film. Today the electricity of those first projectors that allowed Chinese people to take delight in films has largely been substituted by the digital media with which a generation of new moviemakers is leaving a testimony of their country’s changing society. In recent years, independent Chinese cinema has experienced rapid development with the shift from stills to bytes. Digital media permit directors to take more chances, to be more daring, to explore hybrid documentary/fiction formats and combine images shot by themselves with others, reused and re-contextualised. Rather than mere nostalgia or simple social protest, the titles brought together in this retrospective show us some of the more unusual angles of Chinese reality thanks to plural points of view and varied approaches.

The cycle will comprise 18 movies filmed digitally from 2000-2010. We will therefore also discover some of the most interesting Chinese filmmakers to have made their appearance in the last decade.

This cycle is co-organised with San Sebastian’s San Telmo Museum and enjoys the collaboration of the Filmoteca de Catalunya.

DIGITAL SHADOWS: LAST GENERATION CHINESE FILM
(Provisional film list)

Unknown Pleasures, by Jia Zhangke (2002)
Crazy Stone, by Ning Hao (2006)
Meishi Street, by Ou Ning and Cao Fei (2006)
Jalainur, by Zhao Ye (2008)
Disorder, by Huang Weikai (2009)
Oxhide II, by Liu Jiayin (2009)
The Search, by Pema Tseden (2009)
The Ditch, by Wang Bing (2010)
The High Life, by Zhao Dayong (2010)
Thomas Mao, by Zhu Wen (2010)
Winter Vacation, by Li Hongqi (2010)

Thematic retrospective - AMERICAN WAY OF DEATH: AMERICAN FILM NOIR 1990-2010



The thriller, or film noir,is one of the genres to have weathered best with the passing of time, most likely because portraying the dark side of societies across the world has always been its true philosophy. Portrayals of delinquency, police and political corruption, criminal impulse and dark desire have nourished one of the most powerful cinematic imageries to come out of the 20th and 21st Centuries.

While criminal fiction of this kind emerged in the context of classic American film, it was later transplanted into cinematographies across the world. But how has the genre evolved in that American cinema over the last two decades? The aim of this retrospective is to offer a weighty selection of some of the most remarkable contributions to American film noir,underscoring its untold mutations and variations with time: nostalgic recreations of that former film noir, film adaptations by masters of noir fiction and post-modern revisions. However, there was also space for films offering revamped portraits of emblematic characters in the genre such as detectives and gangsters, films depicting the reality of the African-American community in the shape of a detective story, films on serial killers, erotic thrillers, country noir, and their x-rays of “deep America” or the independent movies turning to the genre.[

The cycle includes important works by moviemakers like Quentin Tarantino, Michael Mann, Abel Ferrara, Ethan and Joel Coen, Clint Eastwood, Spike Lee, David Lynch, Martin Scorsese and David Fincher. Here we can classic films in the genre like Reservoir Dogs(1992), Wild at Heart (1990) Miller’s Crossing (1990; Silver Shell for Best Director at San Sebastian Festival), Seven (1995), Fargo (1996), Collateral (2004) and Zodiac (2007). However, there will also be space to recover and discover independent productions and recent cult titles like John Dahl’s Red Rock West (1993), Suture (1993) by Scott McGehee and David Siegel, the Hughes brothers’ Menace II Society (1993), James Gray’s Little Odessa (1994) and Paul Thomas Anderson’s Hard Eight (1996).

Thanks to a selection of 40 titles, the cycle dusts down a rather unflattering view of the American dream, a mirror darkly reflecting the welfare society, yet similarly a clear-cut example of the astonishing vitality of a genre that continues to attract moviemakers and audiences the world over.

A book on this retrospective coordinated by Roberto Cueto and Antonio Santamarina willalso be edited.

This cycle is co-organised with the Filmoteca Vasca, with the collaboration of the Filmoteca Valenciana and sponsored by TCM.



AMERICAN WAY OF DEATH: AMERICAN FILM NOIR 1990-2010
(Provisional film list)

Goodfellas, by Martin Scorsese (1990)
King of New York, by Abel Ferrara (1990)
Miller’s Crossing, by Joel Coen (1990)
Wild at Heart, by David Lynch (1990)
Homicide, by David Mamet (1991)
The Indian Runner, by Sean Penn (1991)
New Jack City, by Mario Van Peebles (1991)
Basic Instinct, by Paul Verhoeven (1992)
One False Move, by Carl Franklin (1992)
Reservoir Dogs, by Quentin Tarantino (1992)
Menace II Society, by Albert and Allen Hughes (1993)
Red Rock West, by John Dahl (1993)
Suture, by Scott McGehee and David Siegel (1993)
Little Odessa, by James Gray (1994)
Heat, by Michael Mann (1995)
Sev7n, by David Fincher (1995)
Strange Days, by Kathryn Bigelow (1995)
Underneath, by Steven Soderbergh (1995)
The Usual Suspects, by Bryan Singer (1995)
Fargo, by Joel Coen (1996)
Hard Eight, by Paul Thomas Anderson (1996)
L.A. Confidential, by Curtis Hanson (1997)
Ghost Dog: The Way of the Samurai, by Jim Jarmusch (1999)
Summer of Sam, by Spike Lee (1999)
Memento, by Christopher Nolan (2000)
Training Day, by Antoine Fuqua (2001)
Mystic River, by Clint Eastwood (2003)
Collateral, by Michael Mann (2004)
Kiss Kiss Bang Bang, by Shane Black (2005)
Sin City, by Frank Miller and Robert Rodríguez (2005)
The Zodiac, by Alexander Bulkley (2005)
Before the Devil Knows You’re Dead, by Sidney Lumet (2007)
Zodiac, by David Fincher (2007)
Pride and Glory, by Gavin O’Connor (2008)
The American, by Anton Corbijn (2010)

Classic retrospective. JACQUES DEMY


n its 59th edition, San Sebastian Festival will dedicate a complete retrospective to the work of French filmmaker Jacques Demy (Pontchâteau, 1931-Paris 1990), a figure key to French cinema who pumped surprising new breath into the musical genre. Although initially grouped with other young directors belonging to the nouvelle vague movement,Demy’s work eventually became so unique and difficult to classify that he set off along his own, absolutely personal path. His original approach to “singing cinema” and his exquisite sense of artistic direction always shunned the movie fashions or trends of the moment.

Demy studied Fine Arts, starting in animation cinema as an assistant to Paul Grimault. He later worked as an assistant director to the documentary-maker, Georges Rouqier, who produced his first short, Le Sabotier du Val de Loire (1955). Having directed several short films, Demy made his debut in features with the first of his great films, Lola (1960), an emblematic title among French new wave movies. He reconfirmed his talent in a melodrama set in the gambling world, La baie des anges (Bay of Angels, 1963), starring Jeanne Moreau.

However, it was his third film that send ripples through the celluloid world and overwhelmingly established his peculiar vision of film: Les parapluies de Cherbourg (The Umbrellas of Cherbourg, 1964), winner of a Palme d’Or at Cannes Festival and nominated for the Academy Award for Best Foreign Language Film. Starring Catherine Deneuve, this brilliant new take on the musical where dialogue is replaced by song, was to find a continuation in his delicious homage to Hollywood movies, Les demoiselles de Rochefort(The Young Girls of Rochefort, 1967), in which Deneuve and François Dorleac rub shoulders on the cast with a myth of musical films, Gene Kelly.

In his next works, Demy continued exploring his extravagant aesthetics and cinematic narrative bringing us, among others, the remarkable Model Shop (1969), reflecting his view of American society at that time; Peau d’âne (Donkey Skin, 1970), a fascinating look at the world of children’s stories once again starring Catherine Deneuve; Lady Oscar (1979), adaptation of the Japanese manga “The Rose of Versailles;” Une chambre en ville (1982), yet another musical about a tragic love story set against a political backdrop; and Trois places pour le 26 (Three Places for the 26th, 1988), a last work in which fiction and reality merge to portray the life and career of actor Yves Montand.

A book on the filmmaker's work coordinated by Quim Casas and Ana Cristina Iriarte will be edited.

This cycle is co-organised with the Filmoteca Española and sponsored by EGEDA and IBAIA.

JACQUES DEMY

Shorts:

Le sabotier du Val de Loire (France, 1956)
Le bel indifférent (France, 1957)
Ars (France, 1959)
Les sept péchés capitaux: segmento La luxure (The Seven Deadly Sins: La Luxure segment),
(France-Italy, 1962)
Feature films:

Lola (France-Italy, 1961)
La baie des anges (Bay of Angels), (France, 1963)
Les parapluies de Cherbourg (The Umbrellas of Cherbourg), (France-West Germany, 1964)
Les demoiselles de Rochefort (The Young Girls of Rochefort), (France, 1967)
Model Shop (France-USA, 1969)
Peau d’âne (Donkey Skin), (France, 1970)
The Pied Piper (Le joueur de flûte), (UK-USA, 1972)
L’ événement le plus important depuis que l’ homme a marché sur la lune (A Slightly Pregnant Man), (France-Italy, 1973)
Lady Oscar (Japan, 1979)
La naissance du jour (TV MOVIE) (France, 1980)
Une chambre en ville (France-Italy, 1982)
Parking (France, 1985)
Trois places pour le 26 (Three Places for the 26th), (France, 1988)

The opening gala of the 59th San Sebastian International Film Festival will present Intruders, the new film from director Juan Carlos Fresnadillo (Intacto, 28 Weeks Later) and one of the most eagerly awaited Spanish movies of the coming season.

Intruders is a horror/thriller featuring an international cast starring Clive Owen, Carice van Houten, Daniel Brühl, Pilar López de Ayala and Kerry Fox. The screenplay was written by the author Nicolás Casariego (Nadal Prize finalist for his novel “Cazadores de luz”) and the director Jaime Marqués (Ladrones).

Produced by Apaches Entertainment, Antena 3 Films and Universal Pictures, Intruders was shot in London, Madrid and Segovia. Universal Pictures International will distribute the film worldwide.

Intruders tells the parallel tale of two families whose lives are thrown off track by menacing apparitions: in Spain, a mother protects her son from a faceless stranger; meanwhile, in the UK, a young girl has terrifying dreams of Hollowface, a demon who becomes a real danger to the girl and her family. According to Fresnadillo, the film “reflects my love of the darkest visual universe, of the demons buried in our unconscious”. But more than a simple tale of supernatural horror, Intruders is an intense psychological drama taking the family as its central theme.

Intruders will be screened at the opening gala of the 59th San Sebastian International Film Festival on September 16th.

Ouais bah j'espère que ce n'était pas l'une de tes deux-trois grosses exclus!

Rabat-joie....
Tu peux déjà commencer à faire grise mine pour le film de clôture. (même si c'est un choix, français, surprenant)
Pour le reste, si tout se signe, ce sera pas forcément des titres de cadors mondiaux (Venise a forcément ratissé large) mais de vraies surprises, et en tous cas des choix forts pour certains. (je pense notamment à un Belge et un Canadien).

Maddin et Tintin!

Maddin, pas que je sache.
Tintin, au delà du fait que quoi qu'en pense la Fondation Hergé, le film est tout sauf Belge en termes de nationalités, faut pas rêver....

C'était pour la blague. Bon si ce sont des exclus et des réalisateurs connus je sèche.

Y a quoi comme réalisateurs canadiens et belges avec des propositions de cinéma fortes?

Ben faudra attendre confirmation (ou malheureusement infirmation) pour savoir... le premier long Belge est en ballotage entre San Seb et Venise. Le second long canadien est au coeur d'une bataille pour savoir qui paie les billets d'avions de l'équipe...
Sinon, sont certifiés le premier long d'un acteur français, le nouveau long d'un japonais qui a été plusieurs fois en compet' à Cannes, et beaucoup de latinos alléchants.
Oui je sais, je tease...Embargo oblige.

Bon déjà vous avez le Kore Eda qui s'est fait bouler à Cannes...

Il avait déjà eu le coquillage pour Still Walking non?

Bon pour le belge, j'ai mis Arnotte sur le coup!

http://www.tarantula.be/fr/projects/mov ... RNIER_/69/
http://blog.hiverdernier.com/

Bon bah loulou pas de bol mais il est signé au lido.

Merci Arnotte, tu as le droit d'aller te marier maintenant.