March 30-April 2, 2017 - on - French Film Festival
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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 30-April 2, 2017
Exclusive Media Sponsor
All films have English subtitles
and are presented by their
actors and directors.
25th annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilmfestival.us
R i c
Virginia Commonwealth University and the University of Richmond present
h m o n d , V i r g i n i a
contents
Film Schedule. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 3
Special Symposium French Film:
Lock in your pass for the Arts, Science & Technology at Work
for Humanity II . . . . . . . . . . . . . . . . . . . . . . . . . pp. 5-23
26th French Film Festival Monday, March 27
with the 25th festival price Citizen Camera at Work for Humanity: Filmmaking
and Visual Authorship and Sovereignty. . . . . . . . 7-11
Regular VIP Pass: $115 Tuesday, March 28
Science & Technology: Accompanying and Creating
Instructor VIP Pass: $105 New Visual & Cinematic Experiences. . . . . . . . . 12-17
Wednesday, March 29
Student VIP Pass: $65 Interplay of Music on Screenwriting,
Cinematography and Editing . . . . . . . . . . . . . . . 18-23
Official Reception Add-On: $25
SPECIAL EVENTS
Make check payable to: French Film Festival
Magic Lanterns Live Show. . . . . . . . . . . . . . . . . . . . . . . 14
Henri Padovani Live Music Performance. . . . . . . . . . . 24
Mark your calendars! Reception. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
26th French Film Festival MEC! Philippe Torreton & Edward Perraud
March 22-25, 2018 Live Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
2017 Feature Films. . . . . . . . . . . . . . . . . . . . pp. 28-55
The Ride . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Offer available only during weekend
Himalaya, l’enfance d’un chef. . . . . . . . . . . . . . . . . . 30
of festival – see “will call table” Voyage à travers le cinéma français. . . . . . . . . . . . . 32
Au nom de ma fille. . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Enfin des bonnes nouvelles. . . . . . . . . . . . . . . . . . . 36
Co-academic Sponsors Virginia Commonwealth University and the University of Richmond present
Le Peuple migrateur. . . . . . . . . . . . . . . . . . . . . . . . . . 38
R i c h m o n d , V i r g i n i a Coraline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
March 27-30, 2014
Rock’n’roll... of Corse!. . . . . . . . . . . . . . . . . . . . . . . . 42
Médecin de campagne. . . . . . . . . . . . . . . . . . . . . . . 44
La Nouvelle Vie de Paul Sneijder . . . . . . . . . . . . . . . 46
Les Saisons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
L’Astragale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Adopte un veuf. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Les Enfants de la chance . . . . . . . . . . . . . . . . . . . . . 54
Exclusive Media Sponsor
All films have English subtitles
and are presented by their
actors and directors.
2017 Short Films. . . . . . . . . . . . . . . . . . . . . . pp. 56-61
Saturday, April 1
22nd annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilmfestival.us
Co-academic Sponsors Virginia Commonwealth University and the University of Richmond present Co-academic Sponsors Virginia Commonwealth University and the University of Richmond present Au loin, Baltimore. . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
R i c h m o n d , V i r g i n i a R i c h m o n d , V i r g i n i a
Une Poignée de main historique. . . . . . . . . . . . . . . . 56
A/K. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
March 26-29, 2015 March 31-April 3, 2016
Tunisie 2045 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Noyade Interdite. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Sunday, April 2
Petit-fil(s). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Les Courgettes de la résistance. . . . . . . . . . . . . . . . 59
La Caverne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Exclusive Media Sponsor
All films have English subtitles
and are presented by their
Exclusive Media Sponsor
All films have English subtitles
and are presented by their
Octobre noir ou Malek, Saïd,
Karim et les autres… . . . . . . . . . . . . . . . . . . . . . . . . 60
actors and directors. actors and directors.
23rd annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilmfestival.us 24th annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilmfestival.us
D’après une histoire vraie. . . . . . . . . . . . . . . . . . . . . 60
Les Parapluies migrateurs. . . . . . . . . . . . . . . . . . . . . 61
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Schedule
Monday, March 27 - Wednesday, March 29 9:55 a.m. Médecin de campagne by Thomas Lilti
Presentation by and discussion with actress Marianne Denicourt
ON THE UR CAMPUS AND VCU CAMPUS
Special Symposium 12:20 p.m. La Nouvelle Vie de Paul Sneijder by Thomas Vincent
French Film: Arts, Science & Technology at Work for Humanity II Presentation by and discussion with director and
FREE and open to the public screenwriter Thomas Vincent
Simultaneous Translation Headsets Provided
2:55 p.m. Les Saisons by Jacques Perrin and Jacques Cluzaud
Queally Hall – Ukrop Auditorium – Presentation by and discussion with director, screenwriter and
Robins School of Business-University of Richmond producer Jacques Perrin, music composer Bruno Coulais and
Monday, from 10:00am to 5:30pm
Tuesday, from 9:00am to 5:30pm executive producer Olli Barbé
VCUCinematheque – VCU Grace Street Theater, 6:00 p.m. Reception at The Daily Restaurant in Carytown
934 W. Grace St, Richmond 8:00 p.m. The North American Exclusive Live Magic Lantern Show from the
Tuesday 7:00pm to 8:30pm Cinémathèque Française by Laurent Mannoni and Laure Parchomenko
Presentation by and discussion with scientific director of the Ciné-
Queally Hall – Ukrop Auditorium – mathèque Française Laurent Mannoni, curator at the Cinémathèque
Robins School of Business-University of Richmond Française Laure Parchomenko, actor Nathan Willcocks, harpist Liénor
Wednesday, from 9:00am to 5:00pm
Mancip and foley-artist Zakaria Mahmoud
Wednesday, March 29 Sunday, April 2
IN THE BYRD THEATRE
8:00 p.m. The Ride by Stéphanie Gillard
IN THE BYRD THEATRE
8:00 a.m. Second Short Film Series
Presentation by and discussion with director and screenwriter
Petit-fil(s) by Romuald Beugnon
Stéphanie Gillard accompanied by Native American filmmakers
Chris Eyre, Georgina Lightning, George Aguilar and the Eleven Les Courgettes de la résistance by Côme Balguerie,
Native American Tribes of Virginia Benoît Lecailtel, Ivana Ngamou and Mélissa Idri
La Caverne by Joann Sfar
Octobre noir ou Malek, Saïd, Karim et les autres…
Thursday, March 30 by Florence Corre and Aurel
IN THE BYRD THEATRE D’après une histoire vraie by Cédric Prévost
3:30 p.m. Himalaya, l’enfance d’un chef by Eric Valli
Presentation by and discussion with producer Jacques Perrin, Les Parapluies migrateurs by Mélanie Laleu
music composer Bruno Coulais and executive producer Olli Barbé Presentation by and discussion with directors, screenwriters,
producers, actors and cinematographers Romuald Beugnon, Côme
6:00 p.m. Voyage à travers le cinéma français by Bertrand Tavernier Balguerie, Garance Rivoal, Quentin Faure, Florence Corre, Cédric
Presentation by and discussion with director and screenwriter Prévost, Mélanie Laleu and Christophe Larue
Bertrand Tavernier, music composer Bruno Coulais and journalist
Elsa Boublil 10:30 a.m. L’Astragale by Brigitte Sy
Presentation by and discussion with
9:50 p.m. Au nom de ma fille by Vincent Garenq director and screenwriter Brigitte Sy
12:45 p.m. Adopte un veuf by François Desagnat
Friday, March 31 Presentation by and discussion with
IN THE BYRD THEATRE director and screenwriter François Desagnat
1:30 p.m. Enfin des bonnes nouvelles by Vincent Glenn
3:05 p.m. Les Enfants de la chance by Malik Chibane
Presentation by and discussion with director, screenwriter and actor
Presentation by and discussion with actor Philippe Torreton
Vincent Glenn and executive producer Moïra Chappedelaine-Vautier
5:30 p.m. MEC! Actor Philippe Torreton interprets Allain Leprest’s
3:40 p.m. Le Peuple migrateur by Jacques Perrin, Michel Debats and
poetic lyrics with percussionist Edward Perraud
Jacques Cluzaud
Presentation by and discussion with actor Philippe Torreton
Presentation by and discussion with director, screenwriter and
and percussionist Edward Perraud
producer Jacques Perrin, music composer Bruno Coulais and
executive producer Olli Barbé
6:05 p.m. Coraline by Henry Selick Symposium Venue
Presentation by and discussion with director, screenwriter and The Ukrop Auditorium is located in Queally Hall in the Robins School of Business
producer Henry Selick and music composer Bruno Coulais on the campus of the University of Richmond. Free parking is available adjacent to
the Robins School in lots R8 and R9. Free and open to the public
8:30 p.m. Rock’n’roll… of Corse! by Lionel Guedj and Stéphane Bébert
Presentation by and discussion with Founder and first guitarist of
“The Police” Henry Padovani and producer & director Lionel Guedj Festival Venue
Followed by live on-stage concert with Henry Padovani The Byrd Theatre is located at 2908 W. Cary St. in Richmond. A parking deck is
located directly behind the theatre.
Saturday, April 1
IN THE BYRD THEATRE Reception with the French Delegation
8:00 a.m. First Short Film Series The Reception with the French Delegation is for all Festival student, faculty and regu-
Au loin, Baltimore by Lola Quivoron lar VIP reception pass holders who have purchased the $25 add-on for the reception.
Une Poignée de main historique by Aurélien Laplace If you have purchased a pass already and did not choose the reception add-on, you
A/K by Olivier Van Hoofstadt still may do so by contacting the Festival office. This special event will be held on the
evening of Saturday, April 1st, 6 p.m. - 8 p.m. at The Daily Restaurant in Carytown, a
Tunisie 2045 by Ted Hardy-Carnac
non-smoking venue, located at 2934 W. Cary St., Richmond, VA.
Noyade interdite by Mélanie Laleu
Presentation by and discussion with directors, screenwriters, Photo © Christophe Larue. Photo from Noyade interdite by Director Mélanie Laleu.
producers, actors and cinematographers Lola Quivoron, Aurélien Director of Photograpy Christophe Larue. Productions: Offshore & A Travers le Miroir.
Laplace, Olivier Van Hoofstadt, Ariane Blaise, Milena Studer, Ted
Hardy-Carnac, Mélanie Laleu and Christophe Larue
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Celebrating 25 Years
d’ouverture au monde, au service de
l’humanité toute entière.
Richmond, la ville du meilleur Festival
du Film Français en Amérique et dans
le monde. Le seul Festival qui traite de
dans une société démocratique, aspirant l’éternel retour des Français au (bon) rêve
Anik Couble - WebCannesStory.com
à l’émancipation sociale, à la justice et américain et de la curiosité américaine
à l’égalité qu’à mon héritage génétique. à la singularité de la France, le pays des
Dire, aujourd’hui, que la réalité politique Lumières et de la Révolution. Richmond,
m’a brutalement réveillé, que le rêve s’est où on peut parler à loisir de Lafayette
transformé en cauchemar, que le réveil et d’Oliver Stone, d’Edward Hopper,
de ce rêve américain-là a été infiniment d’Ernest Hemingway et d’Edgar Allen
douloureux est une évidence. Et dire que Poe, de Bertrand Tavernier et de Samuel
je vais aller essayer de retrouver ce bon Fuller, de François Truffaut et de Jacques
Rivette en même temps que de Robert
rêve, cette utopie, à Richmond, la ville où
Kramer, de Claude Lelouch et de Clint
l’attirance réciproque de l’Amérique et de
Eastwood, de Stéphane Brizé et de
la France est la plus tangible et justement
Damien Chazelle, de Michael Crawford
sur les idéaux évoqués plus haut, là où se
et de Stéphane Hessel. Cette tradition
tient le ‘’French Film Festival in America’’
sera perpétuée cette année encore par
depuis 25 ans, des noces d’argent qui
la présence, entre autres, de Jacques
célèbrent une attirance fondamentale de
Perrin, du compositeur Bruno Coulais,
deux pays par leur langue, leur littérature,
l’acteur Philippe Torreton et l’animateur
PARIS, le 8 février 2017 leur peinture, leur théâtre et…leur CINEMA. américain Henry Selick aussi bien que les
Est-ce le hasard qui m’a ramené à mes Il y aura beaucoup d’invités au Symposium cinéastes indiens américains Chris Eyre,
origines américaines, en Virginie, à de trois jours qui enrichira ce 25ème Georgina Lightning et George Aguilar.
Richmond, la ville de mon grand-père Festival. Des intervenants très érudits qui Bertrand Tavernier dirait : Que la fête
paternel et de ses ancêtres enterrés là viendront échanger à Richmond leurs commence…
depuis 3 siècles ? Il n’y a pas de hasard, expériences et leur savoir technique. On
il n’y a que des coïncidences dirait mon constatera bien vite que depuis l’invention Pierre-William GLENN
ami Claude Lelouch et, même si on sait du cinématographe l’échange des President, Association
que le passé surdétermine le présent, je traditions démocratiques et progressistes French Cinema in America
crois que mon attirance pour les USA doit françaises et américaines a été constant et President, Commission Supérieure
autant à la force du cinéma américain, que ça va continuer, que ça doit continuer de la Technique et du Son
exaltant les vertus du courage individuel pour le meilleur, un art cinématographique Professor, La Fémis Film School – Paris
Twenty-five years already! For a quarter century VCU & UR stu- ton National Forest in commemoration of the victims from recent
dents, faculty and staff have worked closely to make the French terrorist attacks in France. Film production students and faculty
Film Festival – Richmond, Virginia a flagship, and enduring, on our campuses have worked with their peers from the presti-
partnership between our two universities. The Festival has wit- gious La Fémis film school in Paris to shoot short films together in
nessed the creation of film studies and film production programs Richmond during the weekend of the Festival. With the support of
on both campuses. New courses in experiential and community the Virginia Film Office, several French directors decided to return
outreach including classes in the art & poetics of subtitling, gradu- to produce their own films in the Commonwealth. New friendships
ate courses for high school teachers of French and culture, and born between directors, actors and producers while at our Festival
Master classes with renowned directors, actors, screenwriters, have initiated and then fostered the creation of international
authors and artist-technicians on both campuses have all fostered blockbuster hits, like The Untouchables. Dozens of films found
conversations between hundreds of students and invited filmmak- distributors and were released in the United States after their world
ers turning their dialogues into original term/research papers or or North American première screenings in the Byrd Theatre. The
video projects. Over one hundred French graduate students have Festival office publishes and edits for US distribution a collection
come to intern at our Festival’s offices; many deciding to enter into of French feature, short and documentary films on DVD and Blu-
the film industry after their experiences with us. Hundreds of VCU ray for educational student and teacher as well as community use.
and UR students, whether from Humanities, Sciences, Engineer- The 25th edition, complete with a Symposium starting-off the Fes-
ing, Business or Art programs have formed close-ties with the tival, which even includes this year live on-stage US exclusive per-
Festival and its friends, and many return to Richmond years after formances by award-winning artists, is, as always, about learning,
graduation so their own children may also discover the magic and interacting and exchanging ideas about cultures, languages, film
energy of the Festival weekend. Couples have met and married art & technologies, society and the ever changing world in which
through the Festival. Parents have shared that they chose Rich- we live. The 25th Festival promises to be a week of educational
mond to live in because of the Festival when their companies gave discovery, personal and professional growth – new perspectives
them a re-location option. Many students decided to enroll at VCU and horizons – for students, educators and the American public,
or UR and/or major in French or Film Studies because they grew last year pass-holders came from 42 of the 50 US states. Enjoy!
up with the Festival. The Festival has made close to one thousand
visits in elementary and secondary schools and to universities Drs. Françoise & Peter Kirkpatrick
across Virginia and its surrounding states. Outreach of the Festival (UR & VCU Professors)
recently included the planting of 565 trees in the George Washing- Festival Co-Founders/Co-Directors
6
Citizen Camera at
Work for Humanity:
Special Symposium
Filmmaking and
Visual Authorship
and Sovereignty
Monday, March 27
10:00 a.m. - 11:00 a.m.
PHOTO-EXHIBIT: Viewer
Authorship and Sovereignty –
1 Image Out of 140,000 –
Write Your Own Film
By Gérard Krawczyk (director,
producer and screenwriter)
A film is comprised of 24 images per second.
140,000 images equal 1 hour 30 minutes of
cinema. The Interactive Photo Exhibit 1 Image
Out of 140,000 invites you to write your own
film from:
• one still-photo from one of the nine photos
of the exhibit
• a suggested film scenario for that specific
frame
• an original music composed by Armand
Amar, Maïdi Roth or Pierre Oberkampf for
that possible film sequence, accessible
through a flash-code
Gérard Krawczyk Biography:
Gérard Krawczyk graduated from Paris-
Dauphine University (Master of Management
and Economics) and IDHEC / FEMIS, in Film
directing and Image. In 1986, he wrote and She climbs the stairs trying to look as natural as possible. Her handbag feels
directed his first feature film, Je hais les acteurs, as if it is burning her arm. Inside it, the revolver with the mother-of-pearl
which was nominated to the Césars and to the handgrip is loaded. Six bullets. Her only fear is that her hand will tremble when
Michel Audiard Awards, soon followed by L’Été he opens his door to her. Still one more flight of stairs and she will be outside.
en pente douce. In 1997, after having directed She thought of everything. Except one detail. Someone is following her.
numerous commercials, Gérard Krawczyk
returned to the feature film industry with a musi-
cal film Héroïnes. The same year, he started
shooting the first Taxi. It was the beginning of
nine years of collaboration with producer Luc
Besson with films like Taxi 2; Wasabi; Taxi 3; Taxi
4; and Fanfan La Tulipe (which opened the 56th
Cannes Film Festival). In 2005, he co-produced
and directed La Vie est à nous! where he re-
turned to the world of his first intimate films. His
tenth film L’Auberge rouge took us into a visual
and acoustic universe of fantasy tales rarely
found in a comedy. Between 2000 and 2010,
Gérard Krawczyk was second at the box office
in French theatres behind Peter Jackson (The
Lord of the Rings; King Kong, etc.) with nearly
25 million admissions. In 2013, he directed the Write your own film on one page and publish it on Gérard Krawczyk’s
last two episodes of the TV series Taxi Brooklyn, Facebook account. The three films to receive the most “likes” will
written by Gary Scott Thompson (Las Vegas; participate in a final competition. From among these three finalists,
Fast and Furious, etc.), which was broadcasted a winner will be selected by a jury of professionals. The winner
on TF1 in France and on NBC in the United will receive a signed original print from the exhibit.
States. In 2014, he produced a 110 minute
documentary about the city of Marseille.
7
Special Symposium
René Vautier with Moïra
Chappedelaine-Vautier
Citizen Camera at Work for Humanity:
Filmmaking and Visual Authorship and Sovereignty
Monday, March 27 and the impact of digital technology on by Christian Sonderegger, and Salut et
11:00 a.m. - 12:00 p.m. its future distribution. Fraternité by Oriane Brun-Moschetti. At
the same time, she is safeguarding and
Challenges in Producing Moïra Chappedelaine- restoring the cinematographic work
Socially Engaged Films Vautier Biography: of her father René Vautier. Her goal is
By Moïra Chappedelaine- Moïra Chappedelaine-Vautier began to revive his films and bring to life his
Vautier (director, producer) her career in cinematographic produc- long-time censured works in order to
Topic: What relationships does social tion with short films and then expanded preserve and pass them on to new
intervention cinema generate between to documentaries. She directed her first audiences. In 2012, she supervised the
esthetic considerations and politics? documentary, Bogotrax Red Sonante digital restoration of Avoir 20 ans dans
With her experience at L’Unité de in 2006 in Colombia. This musical les Aurès (subtitled and distributed in
Production Cinéma Bretagne – the cin- documentary captures the international the US by the French Film Festival).
ematographic production cooperative and national musicians and artists In 2014, she, with her father, directed
created by her father René Vautier dur- roaming the streets of Bogota seek- Histoire d’Images, Images d’Histoire. In
ing the 1970s in Brittany, France – and ing encounters with citizens during the 2011, she began production of the full
through countless examples of socially Bogotrax festival. The film is a reflec- length work of fiction Enfin des bonnes
engaged films – Moïra Chappedelaine- tion in images of the festival, as both nouvelles by Vincent Glenn which pre-
Vautier scrutinizes the ways in which a social and artistic manifesto. Moïra miered in French theaters in 2016. She
militant cinema exists, the issues at joined Ciaofilm in 2011. With Ciaofilm, also is a director of post-production for
stake regarding its production and also she produced Zona Franca, a docu- Rouge International while continuing to
its distribution up to the present day, mentary by Georgi Lazarevski, Coby produce and direct documentary films.
8
Special Symposium
Citizen Camera at
Photo credit: Gilles Delbos
Work for Humanity:
Filmmaking and Visual
Authorship and Sovereignty
Monday, March 27
2:00 p.m. - 3:30 p.m.
Cinema as language: A subversive
tool for elucidation, emancipation and
advancements in social, ecological
and political spheres.
By Vincent Glenn (director/producer)
Topic and biography: In the beginning, there was a
vague desire to tell stories, to play with the subject mat-
ter of images, sound, music and words. Since I learned to
play classical piano, I could read jazz music and I began to
dream up several pieces that I imagined setting to music.
My father had explained something quite simple to me:
cinema is a language, it is a technique that can be used
to say things. It is like the piano – if you want to play, you
have to learn the notes and if you want to write, you have to
learn the basic vocabulary and grammar . . . , films are the
same. So that is what I began to do, learning cinema like a
language, before even knowing if I had anything to say . . .
As I learned, as I discovered films, great filmmakers made
me want to do what they do – or at least to try . . . I progres-
sively forged the conviction that cinema could be a tool of
knowledge and of transmission of knowledge, as well as a
means of subversion. A means of reflection, of studying, an
investigative tool with the potential to make statements in
the socio-politico-economic field. A language and a tool to of a comedy, a fictional work disguised as a documentary,
tell stories and to enter a battle in which the stakes could between the power of capital and the power of the people
be emancipation, elucidation or new social, ecological and (Enfin des bonnes nouvelles, 2016).
political conquests. Films appeared to me as lifelines in a
wild, polluted, all-engulfing economico-political river. Every time, the same common elements came into the
process: a desire to understand and to pass on what I had
From there, I made films to be able to understand, to stand understood and felt, a desire to shape this communication,
up, keeping a singular rapport with words and with a cer- playing with words, images, musicality, the mysteries of the
tain number of dialectics: the sacred and negligence . . . world and of men.
(Les Larmes du crocodile, 1993); chaos and determinism
(Dernières nouvelles du chaos, 1994); democracy and Vincent Glenn holds a degree from the Louis Lumière Film
individual subjectivity (Rue de la Solidarité, 1996, as well School in Paris. He recently co-wrote with Christophe
as a quote by Renoir: “The problem with this world is that Alévêque On marche sur la dette : Vous allez enfin tout
everyone has good reason”); identity and alterity (Enfants comprendre !
du Raï, 1995 and Du côté de chez soi, 1998); evaluation
and apprenticeship (Ralentir Ecole, 2000); globalization,
power and the notion of visibility of ideologies (Davos Porto In the Byrd Theatre • March 31, 1:30 p.m.
Alegre et autres batailles, 2001); globalization, cultures and To complete his presentation, Vincent Glenn will screen
the rules of indicators of economic wealth (Pas assez de his feature Enfin des bonnes nouvelles followed by a
volume – Notes sur l’OMC, 2004); between economic sense question & answer session (see pages 36-37).
and nonsense (Indices, 2011); and finally a duel in the shape
9
Special Symposium
Citizen Camera at Work for Humanity:
Filmmaking and Visual Authorship and Sovereignty
Monday, March 27 books was an inspiration to her and sables (Special Jury Mention for Docu-
3:45 p.m. - 5:15 p.m. gave her the energy and determination mentary at the International Pan-African
to succeed in becoming part of that Film Festival of Cannes 2009; Second
Reframing Cultural ride. Making films of this nature is a Jury Prize at the Caméra des Champs
Survivance: Experiences tenuous and delicate task, as the cam- Film Festival 2010). Her third documen-
with the Lakota (Sioux) era can easily become a barrier, and as tary, Lames ultramarines, focusses on
before, during, and after faith and trust remain overly fragile. young fencers from the French West
the Shooting of the Indies and their dream of joining the
Stéphanie Gillard National Fencing Team of France. Co-
Documentary The Ride Biography: Stéphanie Gillard was produced by France Ô, the film received
By Stéphanie Gillard (director) in born in 1973 in Paris. After studying the Best documentary prize FEMI-Gua-
the presence of Native American law, she pursued a film degree at ESAV deloupe (Regional and International Film
filmmakers Georgina Lightning, (Ecole Supérieure d’AudioVisuel) in Festival-Guadeloupe) 2016). The Ride is
Chris Eyre and George Aguilar. Toulouse and started working as an her first feature documentary which will
Topic: The Ride depicts the 300- assistant director and production as- be theatrically released.
mile journey undergone each winter sistant. Thereafter, she produced and
by a troop of Lakota Sioux through the directed her first documentary, Une his- In the Byrd Theatre,
plains of Dakota on horseback to com- toire de ballon, about the meeting point Wednesday, March 29,
memorate the massacre of their ances- of oral tradition and the culture of soccer 8:00 p.m.
tors at Wounded Knee, and to regain, in Cameroon (aired on Arte, TV5, RTBF, Stéphanie Gillard will present the
for a few days, their sense of belonging France Ô, NHK World TV) and for which screening of The Ride followed by
to a nation that was once free. How did she received several awards (Etoile de a question & answer session in
a foreigner, a French woman director la SCAM 2007; Special Jury Prize at the presence of Native American
whose culture is supposed to be so the International Sports Film Festival – filmmakers Georgina Lightning,
different from Native Americans’, man- Palermo 2007). She directed a second Chris Eyre and George Aguilar.
age to be accepted within the Lakota documentary in 2009 in coproduction (see pages 28-29).
rider group? How one of Jim Harrison’s with France Ô, Les Petits Princes des
10Special Symposium
Citizen Camera pose pictures on individuals or groups
in a predatory manner. Historical ex-
libertaires. Au service des forces de
transgression et de révolte (2015).
at Work for amples lead from 1913 and the People
Cooperative to René Vautier during the
She is the scientific editor or co-
editor of the writings of Masao Adachi,
Humanity: Algerian War and Armand Gatti and
Hélène Chatelain in the 1970s. Today,
Edouard de Laurot, and Jean Ep-
stein. With Philippe Grandrieux, she
Filmmaking while anyone can create their own im-
ages, we mainly observe the triumph
produces the collection “It May Be
That Beauty Has Strengthened Our
and Visual of self-reification. So the process of
autonomization cannot be related only
Resolve”, devoted to revolutionary
filmmakers forgotten or neglected by
Authorship and to the so-called “democratization” of
technical recording devices, but must
the histories of cinema. She worked
for Chantal Akerman and Jean-Luc
Sovereignty be inscribed in a political concep-
tion of representation and a history of
Godard. She has organized many film
events and retrospectives, in Buenos
Tuesday, March 28 figurativity. Aires, Rio de Janeiro, New York, Tokyo,
7:00 p.m. - 8:30 p.m. Vienna, London, Madrid, Singapore . . .
Nicole Brenez Biography:
Conquest of a Visual Nicole Brenez teaches Film Studies VCUCinémathèque
Autonomy: Historical at the University of Paris III Sorbonne VCU Grace Street Theater:
Examples and Nouvelle. Graduate of the Ecole Nor- 934 West Grace Street,
Contemporary Filmic male Supérieure, agrégée of Modern Richmond, VA 23220
Literature, she curates the Ciné-
Initiatives mathèque Française’s avant-garde film
By Nicole Brenez (Professor at
series and the Cinéma du Réel’s sec-
University of Paris III and world
tion « À l’œuvre / At Work ». Her publi-
leading scholar on avant-garde and
cations include: De la figure en général
revolutionary filmmakers)
et du corps en particulier (1998), Abel
Topic: Visual Autonomy can be un- Ferrara (2007), Cinémas d’avant-garde
derstood as a free image made by the (2008), Cinéma d’avant-garde mode
people for the people, in opposition to d’emploi (2012), Jean-Luc Godard
any attempt to take, steal, use or im- théoricien des images (2015), Cinémas
11Special Symposium
Science & Technology: Accompanying and
Creating New Visual & Cinematic Experiences
Tuesday, March 28 in cinema. Later, his groundbreaking work would also extend
9:00 a.m. - 10:00 a.m. into digital effects. He contributed to the development of digital
film technology in France by designing the visual effects for
Analogue and Digital Technologies: numerous feature films and blockbusters, as well as for auteur
Creative and Esthetic Choices films. All in all, Christian Guillon has worked on more than 200
By Pierre-William Glenn (director of photography, director), film productions (including Femme Fatale, directed by Brian de
Christian Guillon (director of photography, digital technol- Palma, Lord of War, directed by Andrew Niccol, as well as all
ogy specialist) & Gérard Krawczyk (director, producer and of Jacques Perrin’s films after Microcosmos). In 2016, Guillon
screenwriter) proved his continual commitment to innovation, as he worked
to develop “Previsualization on Set”, with his visual effects
Topic: Art does not acknowledge exclusivity. More than
company, “Les Tontons Truqueurs”. Guillon is also the Vice
a century after the era of the Impressionists, the galleries of
President of the Commission Superieure Technique de l’image
Honfleur, France or Carmel, California are filled with figurative
et du son (CST).
paintings of dogs and children on the beach. Cinema is invent-
ing its own “Querelle des Anciens et des Modernes”. Filming Pierre-William Glenn Biography: Pierre-William
with a digital camera is presented as a revolution. It is not the Glenn is a Director of Photography, a Director and Producer
right way to look at the issue of digital technology. Whichever of films. His career began in 1967 following his studies in
you use, analogue or digital camera, there is always a perspec- Mathematics and his diploma from IDHEC (predecessor of the
tive, a window where the image is formed, a pace, a tempo of Fémis, École Nationale Supérieure des Métiers de l’Image et
shot taking, and a procedure for adjusting the photometric and du Son) in the Filming department. He has contributed to more
colorimetric parameters. than a hundred films as 2nd Operator’s Assistant, 1st Opera-
And over all, there are always actors in front of the camera. tor’s Assistant, Cameraman and Director of Photography,
This remains to be the main gesture of this ritualistic operation working with numerous directors such as Jacques Rivette,
called cinema, regardless of the medium of capture. François Truffaut, Claude Miller, Maurice Pialat, Yannick Bellon,
Jacques Bral, George Roy Hill, John Berry, Philippe Labro,
The real digital revolution is in computer graphics and how
Samuel Fuller, Bertrand Tavernier and Claude Lelouch. In 2003,
one uses them: first, they provided the possibility of producing
he fought for the creation of a jury to present an award for Best
images without actual shots, then the possibility of combining
Artist-Technician at the Cannes Film Festival; an idea that saw
them and broadcasting them outside of the studio.
the light of day with the Vulcain Prize. Pierre-William Glenn is
It is a fourth dimension that is offered to us and baffles our a founding member of AFC (French Association of Directors
brains: not only is the earth round, but it is us who revolve of Photography) and served from 1997 to 2000 as president
around it. of the Association. Since 2002, he has been the President of
the CST (Commission supérieure et technique de l’image et
Christian Guillon Biography: Director of Pho- du son) and co-director of the Image Department at La Fémis
tography, then specialist in mechanical and optical special
since 2005.
effects throughout the 1980s, Christian Guillon began, in the
1990s, to emerge as one of the pioneers of image synthesis Gérard Krawczyk Biography: see page 7
Tuesday, March 28 Topic: Beyond the “wow” effect of ode VR in France – while in Asia, more
10:00 a.m. - 11:30 a.m. virtual reality (VR) in its early days, this game-oriented places are appearing
instrument should – if it is given time to (VR game arcades or VR bars).
Virtual Reality and develop – assert itself as a fully-fledged
Cinema: Complementary Virtual reality is also a marketing base
medium. Virtual reality requires a differ-
for promoting films. Hollywood studios
or Competitors? ent approach to the production of con-
already produce VR and 360 content
By Stéphan Faudeux (General Man- tent (writing, directing, post-production)
but it also needs distribution platforms prior to the release of their blockbust-
ager of Génération Numérique – New
and places to experiment it. ers. The idea is to create a buzz and
technology for TV, Cinema, Broadcast,
commitment to this content, which is
new media, publisher of Mediakwest A movie theatre – or at least a cinema
visible on social networks.
and Sonovision, General Manager of complex – could be one of these plac-
Think Factory Formation, President es to discover virtual reality content. Finally, the VR production of fiction
of the Training Department within the Various projects are being developed – programmes should be able to find its
Uni-VR association) such as the MK2 VR cinema or the Ge- place in relation to cinema and television
12Special Symposium
because of the way programmes are School of Audiovisual Directing), and technologies ecosystem. Généra-
conceived, the projects themselves and Stéphan Faudeux began working as a tion Numérique was founded in 2014
especially the way they are financed. producer-director on numerous films. and it now publishes Mediakwest and
This lecture will cover the progress of Parallel to this, he worked as a trainer, has relaunched Sonovision. That same
virtual reality in various areas, with a consultant and journalist in the field year, Génération Numérique organised
pragmatic, practical and fun approach. of new technologies as chief editor Screen4All Forum, during which a day
for Sonovision from 1997 to 2003. In was devoted to VR 360. The 2016 edi-
Stéphan Faudeux Biography: 2007, he founded Dimension 3, the tion of Screen4All Forum was a great
After a degree in the Sciences, fol- International 3D Image Forum. In April success with visitor numbers up by
lowed by studies at Ecole Supérieure 2012, he developed Mediakwest, the 50%.
de Réalisation Audiovisuelle (Higher first magazine to cover the audiovisual
Photo from film
On-Set Previz, directed
by Christian Guillon,
Production ENS Louis
Lumière, 2015
Science & Technology: TOPIC: Previsualization On Set (Previz) is used for hybrid
films that aim to combine real-time filming and synthetic
Accompanying and images. Previz involves the use of an on-set technology that
provides the director and crew with a more or less complete
Creating New Visual & visualization of the mixture of live action filming and the syn-
thetic, or animated elements. Previz represents a potentially
Cinematic Experiences transformative movement within the film industry, as long
as all of the technical industries within the film world can
develop the proper technologies to accompany it.
Tuesday, March 28
11:30 a.m. - 1:00 p.m. CHRISTIAN GUILLON BIOGRAPHY: see page 12
Previz On-Set and New Technologies: FRANCINE LEVY BIOGRAPHY: Francine Lévy, director
of ENS Louis Lumière, is an architect and professor. Her re-
What Impact for the Future of Our
search investigates images in relation to time, photography,
Cinematographic Production and cinema, animation, comics, architecture, perspective, light,
Perception? framing, and the human body. She teaches special effects
By Christian Guillon (director of photography and digital and digital imaging and contributes her expertise in these
technology specialist) with the participation of Francine Lévy areas to the French film industry. Her publications also focus
(Director of ENS Louis Lumière) on the relationships between painting/cinema and time.
1314
Special Symposium
Stéphane Dabrowski – Cinémathèque Française
Science & Technology: Accompanying and
Creating New Visual & Cinematic Experiences
Tuesday, March 28 tablished itself within the foundation of work: De Méliès à la 3D – la machine
2:30 p.m. - 4:00 p.m. cinematographic language; including cinéma, which was in exhibition at the
animated and colorful images accom- Cinémathèque Française until Janu-
The Magic Lantern and panied by music and sounds, tracking ary 2017. His next exhibition will be
Moving Images of Another shots, fade-in fade-outs, etc. What if of works by Georges Méliès and will
Kind – The 400 year-old cinema has existed since 1659? be held at the Palais des Festivals in
Awe-Inspiring Grandfather Cannes during the summer of 2017.
Laurent Mannoni
of HD Cinema. What if BiographY: Laurent Mannoni is the Laure Parchomenko
Cinema Has Existed scientific director of the Cinémathèque BiographY: Laure Parchomenko
Française (French Film Institute). He has overseen camera collections at
since 1659? the Cinémathèque Française since
has written more than twenty books
By Laurent Mannoni (scientific director
on cinema, including topics such 2007. In addition to her work as a
of the Cinémathèque Française) and
as the origins of cinema, German curator, she had the opportunity of
Laure Parchomenko (curator at the
Expressionism, Georges Méliès, Magic performing magic lantern shows with
Cinémathèque Française)
Lantern and Painted Film, and more. Laurent Mannoni using the excep-
Topic: Laurent Mannoni and Laure His most recent project, published tional material provided by the Ciné-
Parchomenko will present the Magic in 2016, is titled La Machine cinéma. mathèque Française: in Paris, in Turin,
Lantern, a now forgotten optical He is also the curator of numer- at the Musée du Louvre, and at many
instrument, which, however, has es- ous exhibitions, including his latest other locations.
To complete this presentation, on Saturday, April 1st from 8:00 p.m. to 9:30 p.m. inside the Byrd Theatre, there will be a special
Exclusive North American performance of Magic Lanterns, imported from the Cinémathèque Française, featuring rare, prismatic and
vibrant hand-painted glass slides moving across the giant screen accompanied by an original story written by Laurent Mannoni
and Laure Parchomenko, with actor-bonimenteur Nathan Willcocks, harpist Liénor Mancip and foley-artist Zakaria Mahmoud.
15Special Symposium
Science &
Technology:
Accompanying
and Creating
New Visual &
Cinematic
Experiences
Tuesday, March 28
4:00 p.m. - 5:30 p.m.
The Caveman with a
Computer: Director
Henry Selick Embraces
Ancient and Future
Technologies to Make
Unique Films
By Henry Selick (American
animation feature director)
TopiC: Henry Selick, known for
the animated features Coraline,
James and the Giant Peach, and
The Nightmare before Christmas,
loves the handmade quality of
stop-motion animation where
real puppets on real sets are
manipulated a frame-at-a-time to
create the illusion of life. But he
is also the first director to shoot a
stop-motion feature film in 3D as
well as the first to use rapid pro-
totype 3D printers to create facial
expressions and props for a film.
Along with Tim Burton, he is also
the first to make stop-motion
feature filmmaking a viable me-
dium. In this presentation, Henry
will describe and show examples
of how, why, and when he has
employed the newest technolo-
gies with the oldest to serve his
unique aesthetic.
16Henry Selick Biography: feature at the Annecy Film Festival in animated movie, was nominated for
After studying Experimental Anima- 1997, and Monkeybone (2001), both an Academy Award, a BAFTA, and a
tion at the California Institute of the of which mixed stop-motion with live Golden Globe, all for Best Animated
Arts, and working as an animator for action. After contributing stop-motion Feature.
Walt Disney Studios and, later, MTV, animation to Wes Anderson’s The Life
Henry Selick captured the attention of Aquatic, Selick directed his first com-
Tim Burton, who produced his debut puter-generated animation film, the
film, 1993’s stop-motion The Night- award-winning short film Moongirl, In the Byrd Theatre
mare Before Christmas, which was the inspiration for Candlewick Press’s March 31, 6:05 p.m.
nominated for an Academy Award children’s book of the same name. Henry Selick and Bruno Coulais
for Best Visual Effects and won the Selick also became the supervising (music composer for the film) will
International Animated Film Soci- director for feature film development present the screening of Coraline
ety’s Annie Award for Best Creative at the Portland, Oregon animation followed by a question & answer
Supervision. Following were James studio LAIKA, where his fourth film session (see pages 40-41).
and the Giant Peach (1996), which Coraline was produced. Coraline,
received the top prize for an animated the first stereoscopic stop-motion
17Special Symposium
Photo from In the
Tracks of Bruno
Coulais. Film by
Pascale Cuenot.
Interplay of Music to put the exacting nature of his writ-
ing within reach of the widest possible
lyricism that lies somewhere between
marvel and fantasy. On a broader
on Screenwriting, audience. The transition came when
working with François Reichenbach,
scale, Microcosmos, which earned
Bruno Coulais his first César (French
Cinematography and then film auteurs like Jacques Da-
vila, Christine Pascal, Nico Papatakis
Film Industry Award equivalent to the
Oscar Award) for best music writ-
and Editing or Agnès Merlet. ten for a film, brought him as well an
avalanche of offers, from Olivier Dahan
“In films,” he explains, “a composer
Wednesday, March 29 has to meet directors halfway, and to Gabriel Aghion and from Mathieu
9:00 a.m. - 10:00 a.m. enter their universe without abandon- Kassovitz to Akhenaton. They gave
ing his own. That is the difficulty — or him the chance to build lasting loyal
Screening of the relationships with filmmakers such
the paradox — in writing music for
documentary In the pictures. Collaborating with filmmak- as James Huth, Jean-Paul Salomé,
tracks of Bruno Coulais ers whose worlds varied wildly helped Frédéric Schoendoerffer, and Jacques
(52 minutes) me progress, and explore fields that Perrin. Bruno Coulais collaborated
directed by Pascale Cuenot weren’t naturally my own.” on a number of films Jacques Perrin
Those wider audiences discovered directed and/or produced: Hima-
The Cultural
the firepower of his writing with the laya – l’enfance d’un chef–for which
Service of the
French Embassy: great television series of Josée Dayan he received his second César for
Supporting Contribution (La Rivière Espérance, The Count of best music written three years after
for Documentary
Screenings Monte-Cristo) and the documentary obtaining the same for Microcos-
Microcosmos, le peuple de l’herbe mos. He received his third César for
On Bruno Coulais, written directed by Claude Nuridsany & Marie another Galatée Films production, The
by Stéphane Lerouge: As a Pérennou, an initiatory voyage on the Chorus (Les Choristes). Other films
young symphonist in 1978, Bruno micrometer scale. Into this plunge by Jacques Perrin for which Bruno
Coulais discovered film music as an deep inside the world of the infinitesi- composed include the breathtaking
additional means of expression, a way mally small, Coulais injected a strange Oceans, Winged Migration (Le Peuple
18Special Symposium
migrateur) and most recently Seasons
(Les Saisons).
Whether his films deal with research or
develop into such French blockbusters
as Dark Portals (Vidocq), Belphegor
or The Crimson Rivers (Les Rivières
pourpres), Coulais sees his art like a Photo from In the
window opening onto the world, one Tracks of Bruno
that reveals a modern alchemist’s Coulais. Film by
gifts. It is his personal manner of min- Pascale Cuenot.
gling cultures or creating a genuine fu-
sion between, for example, in the film
Himalaya, Tibetan choirs and Egyptian
percussions, or Corsican polyphony
with A Filetta, who have been his
“mascot” vocal group since Jacques
Weber’s Don Juan, not to mention
a unique signature for constructing
dreamlike atmospheres of disturb-
ing softness, and climates based on
distorted lullabies, music-boxes and
children’s voices.
Similarly, Bruno Coulais has estab-
lished himself as a link between the
animated film d’auteur alongside
Henry Selick, whose film Coraline
brought Coulais the 2010 Annie
Award, or Tomm Moore, and a director
like Benoît Jacquot.
2017 offers a balance between new
collaborations and reconnections.
Interplay of Music on Screenwriting,
With, on one hand, La Mélodie, first
feature of young comedian and direc-
tor Rachid Hami; on the other, the TV
version of Voyage à travers le cinéma Cinematography and Editing
français, documentary-chronicle
signed by Bertrand Tavernier, ambas- Wednesday, March 29 This was established in 2000 and now
sador of modern cinephilia. A way for 10:00 a.m. - 11:30 a.m. includes more than 130 titles. It was
inaugurated with French musicians (De-
Bruno Coulais to pay tribute to his Historical Perspectives lerue, de Roubaix, Magne, Demarsan)
grand predecessors who have shaped on Film Music in French and gradually opened up to interna-
his vocation: Maurice Jaubert, Henri
Dutilleux, Georges Delerue. . .
Cinema tional musicians (Goldsmith, Nino Rota,
By Bruno Coulais (renowned award- John Barry, Lalo Schifrin). He is the
Today, after thirty-five years of film mu- winning international film music com- author of the Film Music Alphabet (Gal-
sic, Bruno Coulais has acquired a sta- poser and Stéphane Lerouge (French limard 2000) and Conversations with
tus that is unique: that of a composer author and editor on film composers Antoine Duhamel (Textuel 2007).
and ferryman between different worlds, and scores) Since 1998, he has compiled the com-
and a triple-agent and dynamiter of
An enlightening conversation amongst plete collection of Michel Legrand’s
frontiers combined. Just take a look at
Bruno Coulais and Stéphane Lerouge discographic re-editions for Universal
his filmography: it has the Marsupilami
spanning pivotal moments of creative and co-wrote, with the composer, his
of Houba! next to Volker Schlöndorff,
and innovative interplay when the two memoirs, Rien n’est grave dans
André Gide alongside Lucky Luke, and
worlds of French cinema and music les aigus (Cherche-Midi, 2013) and the
both Diderot and Isaac Hayes! Listen-
meet. second volume, J’ai le regret de vous
ing to his work, in a cinema, at a con-
dire oui that will be published in 2017.
cert or on record, is like being invited to Stéphane lerouge
travel through the universe of a creator Biography: Stéphane Lerouge is In 2016-17, he took part in Bertrand
determined to dream forwards, an in- specialized in film music and he is the Tavernier’s Voyage à travers le cinéma
novator whose outward calm comes as designer of the discographic collection français and published two antholo-
an astonishing contrast to the intensity of original film soundtracks “Ecoutez le gies with Universal, devoted to Lalo
of the inner world. Cinéma!” for Universal Music France. Schifrin and Quincy Jones.
19Special Symposium
“… a natural music
combining itself with the
soundtrack, as well as
with the rhythm of wings
flapping and birdsongs
joining in with the
orchestration”
Bruno Coulais
Interplay of Music expand the cinematic narrative. Moder-
ated by Stéphane Lerouge with partici-
tion of acclaimed directors and the
foundation of long lasting working
on Screenwriting, pation by Olli Barbé (executive producer,
Galatée Films) and Henry Selick (Ameri-
relationships, as with Pierre Schoen-
doerffer (La 317e Section, 1964), Con-
Cinematography can animation feature director).
Jacques Perrin Biography:
stantin Costa-Gavras (Compartiment
tueurs, 1964), Claude Chabrol (La
and Editing As an actor, Jacques Perrin has
participated in more than 80 films.
Ligne de demarcation, 1966) and
Jacques Demy (Les Demoiselles de
He started his acting career with La Rochefort, 1966; Peau-d’Ane, 1970).
Wednesday, March 29
Peau de l’ours (Claude Boissol, 1957) In 1968, at the age of 27, he created
1:30 p.m. - 3:30 p.m. his own production company, Reg-
before starring in Valerio Zurlini’s film
Film Music Composition La Fille à la valise (1960). His meeting gane Films – which would become
within Cinematic Art with Zurlini led to two additional Galatée Films and produced Con-
This presentation will focus on the collaborations: Journal intime (1962) stantin Costa-Gavras’ film Z (1968).
artistic collaboration between music and Le Désert des Tartares in 1976 This film won two Oscars, followed
composer Bruno Coulais and French (for which Perrin was also the co- by two other films from the same
director, producer and actor Jacques producer). His career in Italy included director, State of Siege and Section
Perrin as they convey their symbiotic also films directed by Mauro Bolognini Spéciale. He also produced Le Crabe
relationship resulting in astonishing aural and Vittorio De Seta. In France, his tambour (1977) by Pierre Schoendo-
and visual processes which push and acting talent brought him the recogni- erffer. All films in which Jacques Perrin
20Director, producer and
actor Jacques Perrin
was also acting. Jacques Perrin also Debats, the following year. In 1999, he STEPHANE LEROUGE
produced Black and White in Color by produced Himalaya by Éric Valli, and BIOGRAPHY: see page 19
Jean-Jacques Annaud, also an Oscar then went on to produce two films HENRY SELICK BIOGRAPHY:
winner. by Christophe Barratier, The Chorus see page 17
and Faubourg 36. In 2003, he began
In the 1980s and 1990s, while pursu-
producing and codirecting Oceans,
ing his acting cinematographic career,
for which filming lasted five years, and
with notably the success of Cinema In the Byrd Theatre
won a César award for Best Documen-
Paradiso (Giuseppe Tornatore, 1988), MARCH 30, 3:30 P.M.
tary. In 2010, he co-directed L’Empire
he devotes himself to television and Himalaya
du Milieu du Sud along with Eric Deroo,
also to his activities as a producer. In
a documentary on French colonization MARCH 31, 3:40 P.M.
1989, he discovered the natural world
in Vietman constituted exclusively of Le Peuple migrateur
when he produced The Monkey Folk,
archival images and soldiers’ letters. APRIL 1, 2:55 P.M.
directed by Gérard Vienne. He followed
His newest film, Les Saisons, is an am- Les Saisons
up by producing several films about
bitious and successful project on the
nature and the animal kingdom includ- Bruno Coualis and Jacques
long shared history that binds human-
ing Microcosmos by Claude Nuridsany Perrin will present the films, each
kind and nature, filmed from the point
and Marie Pérenou in 1996, for which followed by a question & answer
of view of nature.
he received the César of Best Produc- session (see pages 30-31;
er, and Winged Migration in collabora- BRUNO COULAIS BIOGRAPHY: 38-39; and 48-49).
tion with Jacques Cluzaud and Michel see page 18
21Special Symposium
Interplay of Music
on Screenwriting,
Cinematography
and Editing
Wednesday, March 29
3:30 p.m. - 5:00 p.m.
Conversation with
Bertrand Tavernier:
How Music Informs
My Visual and
Cinematographic
Process
By Bertrand Tavernier (film director,
screenwriter, producer and author)
and Elsa Boublil (music journalist)
Elsa Boublil Biography: After
studying literature and obtaining an
advanced degree in jazz and in 1950s
and 1960s social movements in the
United States, Elsa Boublil followed
her passion for the radio by working
for France Inter and France Culture, all
while continuing to practice the clari-
net and singing in various groups.
22Photo: Radio Vinyle - Gautier & LeDuc
After collaborations with Frédéric Lo- Bertrand Tavernier Journey Through French Cinema, is a
déon, Laure Adler, Michel Polac, Patrice Biography: Bertrand Tavernier has personal retrospective of 50 years of
Gelinet, Ivan Levaï, and Stéphane Bern, directed over 50 feature-length films French Cinema compiling newly remas-
Elsa Boublil became producer of her and has won many awards, includ- tered excerpts of nearly 100 films.
show on France Inter. She first began ing five César Awards, four Berlin Film
with a two-hour coverage of jazz fol- Festival awards, a Best Director Award
lowed by “Summertime” which was on (Cannes Film Festival), a Los Angeles
Film Critics Association Award, and a AT THE BYRD THEATRE
air every Sunday and summer evenings, MARCH 30, 6:00 P.M.
and later, she worked on her show Prix Louis Delluc.
Bertrand Tavernier will screen
“Vous avez dit classique?” (Did You Say He has explored different genres, from Voyage à travers le cinéma
Classic?) which aired every day from dramatic comedy with A Sunday in the français with Bruno Coulais,
4pm to 5pm. Country, to war films with Capitaine who is also the film’s musical
Conan and police films with L.627. His composer and journalist Elsa
She wrote and published Body Blues
other successes include The Judge Boublil, followed by a question
with L’Iconoclaste Publishing Company
and the Assassin (1976), Coup de Tor- & answer session (see pages
last year. chon (1981), Mississippi Blues (1982), 32-33).
Since September 2016, she has been Round Midnight (1986), Life and Noth-
producing and hosting “Musique émoi”, ing But (1991), The Undeclared War At the Byrd Theatre,
on Sundays from 9am to 11am on (1991), It All Starts Today (1999), Safe April 2, 5:30-7:30 p.m.
France Musique, where she receives a Conduct (2000), In The Electric Mist Exclusive North American Pre-
guest each week from a cultural, politi- (2007), The Princess of Montpensier miere live performance on stage
(2010) and Quai d’Orsay (2013). of MEC!, the texts of poet Allain
cal, scientific, or economic background
Leprest, interpreted by award
for an interview where they comment Throughout his rich career, he collabo- winning stage and screen actor
on the influence music has had on their rated with main French Cinema figures Philippe Torreton with renown
lives. With a note of playfulness and such as cinematographer Pierre- percussionist Edward Perraud
a touch of humor, the program is the William Glenn, actors Philippe Noiret, (see pages 26-27).
materia prima of a life story and of the Philippe Torreton and Thierry Lhermitte.
intimate emotions aroused by music. His newest film, released in 2016, A
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