| news june 2007
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| Rétrospective Pedro Costa
O sangue
Portugal, 1990, 98'
with Pedro Hestnes, Nuno Ferreira, Inês de Medeiros, Luís Miguel Cintra
Casa de Lava
Portugal/France/Germany, 1994, 110'
with Inês de Medeiros, Isaach by Bankolé, Edith Scob, Pedro Hestnes, Cristiano Andrade Alves
Ossos
Portugal/France/Danemark, 1998, 93'
with Vanda Duarte, Nuno Vaz, Mariya Lipkina, Isabel Ruth, Inês de Medeiros, Miguel Sermão
No quarto da Vanda
Potugal/Germany/Swiss/Italie, 2000, 170'
with Lena Duarte, Vanda Duarte, Zita Duarte, Pedro Lanban,
António Moreno, Paulo Nunes, Fernando
Paixão
6 Bagatelas
co-directed with Thierry Lounas
France/Protugal, 2001/B&W, 18'
with Danièle Huillet et Jean-Marie Straub
Où gît votre sourire enfoui ?
France/Portugal, 2002, 104'
with Danièle Huillet and Jean-Marie Straub
Ne change rien
Portugal, 2005, noir&blanc, 12'
with Jeanne Balibar
En avant, jeunesse !
France/Portugal/Swiss, 2006, 155'
with Silva
'Nana' Alexandre, Alberto 'Lento' Barros, Paula Barrulas, Cila Cardoso,
Isabel Cardoso, Beatriz Duarte, Vanda Duarte
Tarrafal
2007, 17'
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| Carte blanche to Pedro Costa
The night of the demon
by Jacques Tourneur
United Kingdom, 1957, 95', B&W
with Dana Andrews, Peggy Cummins, Niall MacGinnis, Maurice bynham, Athene Seyler
Billie Holiday chante « Fine and Mellow »
Programme CBS « The sound of jazz »
USA, 1957, 7', noir&blanc
Les vertes années
by Paulo Rocha
Portugal, 1963, 91', B&W
with Oscar Acurcio, Furtado Ruy, Isabel Ruth, Alberto Ghina
Beauty#2
by Andy Warhol
USA, 1965, 66', B&W
with Edie Sedgwick, Gino Piserchio
Jaime
by Antonio Reis
Portugal, 1974, 40', 35 mm
Dalle Nube Alla Resistenza
by Jean-Marie Straub et Danièle Huillet
Italy/Germany/United Kingdom/France, 1980, 104'
with Olimpia Carlisi, Guido Lombardi, Lori Pelosini, Ennio Lauricella, Gino Felici, Walter Pardini
Unknown Chaplin
by Kevin Brownlow and David Gill
United Kingdom, 1983, 3x60',
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There
are noises off and the cameraman spins round. During his sudden
rotation, the camera films the wings : the origin of a sound, the
source of some music or background noise. Presto is a parallel screen
dedicated to sound where the films exhibit their duration, their pace,
their rhythm, their editing. The cinema deploys its fluctuations. After
the emergence of the material in the programme From Sound to Image by
Laurent Ghnassia in 2003 the field is now open to all activity. In
his Dictionary of Music (1767), Jean-Jacques Rousseau defined Presto as
a rapid movement, more lively then Allegro and less serene in
character. Less impassive, the attempt at recording admits the
uncertainty of satisfaction in waiting. Does Orpheus see Eurydice again through such a movement? Preston
Sturges has given a title to the turning of the camera: Unfaithfully
Yours. Post-war comedy or post-burlesque tragedy, the film reveals all
the secrets of listening and places the musical drama on the same plane
as a crime. From 1948 onwards, variations of misunderstandings spring
out from the first scene to the last and leave the viewer fooled, groggy
and dizzy. 1948 was an important year in the sound world. It marked the
birth of the tape recorder and the intense use of vinyl disc recorders.
At several points, Sturges confronts his main character (a
conductor) with just such an invention: the BK6 model of the Presto
brand. Tools necessary for the recording of material and the
constitution of sound archives appeared. In France, Pierre Schaeffer
and Pierre Henry introduced so-called concrete music, a prelude to what
we now call, in a less defined way, electronic music. This invention is
related to amplification, an electrical precedent indispensable for
concerts and the cinema.
Gilles Grand
| Presto !
1. Presto
Anthem
by Apichatpong Weerasethakul
Thaïland, 2006, 5'
Presto, perfect sound
by Manon de Boer
Belgium, 2006, 6'
Suffering and smiling
by Dan Ollman
USA, 2006, 65'
2. Da capo
Casa Verdi – Le baiser de Tosca
by Daniel Schmid
Swiss, 1984, 87'
D.O.A.
by Lech Kowalski
USA, 1981, 90'
with the Sex Pistols
Unfaithfully yours
by Preston Sturges
USA, 1948, 107', noir & blanc
with Rex Harrison, Linda Darnell, Rudy Vallee, Barbara Lawrence, Kurt Kreuger
En avant-première de sa ressortie française.
David, Mofett and Ornette
by Dick Fontaine
USA, 1966, 24', noir & blanc
Igor Stravinsky, composer
by Janos Darvas
Germany, 2001, 53', noir & blanc
Pixinguinha e a velha guarda do samba
by Thomaz Farkas and Ricardo Dias
Brasil, 2006, 10'
Au fil du son, un portrait de Yann Paranthoën
by Pilar Arcilar
France, 2006, 52'
Das sein und das nichts
by Bady Minck
Austria, 2007, 10'
Scarpia
by Jean-François Jung
France, 1995, 45'
3. A tempo
Opera Jawa
by Garin Nugroho
Indonesy/Austria, 2006, 120'
Nömadak Tx
by Raùl de la Fuente
Spain, 2006, 86', noir & blanc
Quatre jours à Ocoee
by Pascale Ferran
France, 2000, 115'
Soigne ta droite
by Jean-Luc Godard
France/Swiss, 1987, 81'
with Jane Birkin, Dominique Lavanant, Pauline Lafont, Eva Darlan, Isabelle
Sadoyan, Jacques Villeret, Michel Galabru, Rufus, Jean-Luc Godard
Pink Floyd London '66 – '67
by Peter Whitehead
United Kingdom, 1967, 30'
Tonight let's all make love in London
by Peter Whitehead
United Kingdom, 1967, 70'
Marc Ribot, concert solo
by Anaïs Prosaïc
France, 2006, 30'
Building a broken mousetrap
by Jem Cohen
USA, 2006, 63'
Homemade
by Olivier Cousin
France, 2006, 35'
Damo Suzuki, le chant de l'imprévu
by Jérôme Florenville
France, 2006, 52'
Elegy of Life : Rostropovich. Vishnevskaya.
by Alexander Sokurov
Russie, 2006, 2x52'
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The
proposition is a very simple one: to bring together films made by
women. Is it about trying to find a resemblance? No. Is it about
extolling the virtues of a community of interests. Not really. Here,
not more than elsewhere, identification motives are not apparent. Under
the title of this programme, you might recognise another title, the
famous Destroy, says she by Marguerite Duras. If we substituted one
verb for another, it is in the hope that the first will continue to
resonate behind the second, and shake assurance.
Here are some films
therefore that do their utmost to take a dig at things. Undermining
cinematography and a declaredly masculine architecture would be to
speak too quickly. Let’s say rather that in each of one of these
films is coming to light a form of calculated casual manner with regard
to an order that shares so easily, for example, outside and inside.
Outside and inside a house, a city, a country, a history, a thought,
etc. Destroy, film, get started (or, equally, de-route), to accept
to hear this triad on a tight braid, would without doubt be the most
accurate equation. Le Camion (The Truck) by Margaret Duras and
Hôtel Monterey by Chantal Akerman blew the starting whistle a few
years ago. More recently, other signataries of similar misdemeanours
have happily manifested themselves. Hito Steyerl, Lisl Ponger, Latifa
Ekchach, Ayreen Anastase, Hala Alabdalla, Dora Garcia, Ursula Biemann.
It is through their films that we hear each one say what it is to film. | Filmer, dit-elle
Le Camion
by Marguerite Duras
France, 1977, 80'
with Marguerite Duras et Gérard Depardieu
Hôtel Monterey
by Chantal Akerman
Belgium/USA, 1972, 65'
Ana Alati Tahmol Azouhour Ila
by Hala Alabdalla Yakoub et Ammar AlBeik
Syria, 2006, 110', B&W
Pasolini Pa* Palestine
by Ayreen Anastas
Palestine, 2005, 50'
Remote sensing
by Ursula Biemann
Swiss, 2001, 53'
Writing bysire
by Ursula Biemann
Swiss, 2001, 26'
Performing the border
by Ursula Biemann
Swiss, 1999, 45'
Black sea files
by Ursula Biemann
Swiss, 2005, 34'
Contained mobility
by Ursula Biemann
Swiss, 2004, 21'
Europlex
by Ursula Biemann
Swiss, 2003, 20'
Kurz davor is es passiert
by Anja Salomonowitz
Autriche, 2006, 73'
Sans titre, 11 mars 2005
by Latifa Echakhch
France, 2005, 23'
Zimmer, Gespräche
by Dora Garcia
Belgium, 2006, 28'
Imago munidi. das gültige, sagbare und machbare verändern
by Lisl Ponger
Austria, 2007, 37'
Chacun sa Palestine
by Nadine Naous et Léna Rouxel
France, 2006, 57' | |
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Revolver
is a magazine about film. It fits into every pocket and can be read
anywhere. Itgathers the thoughts, opinions, and dreams of filmmakers
and film viewers. It intends totalk directly, precisely and honestly
about the cinema of the future. Revolver wants toprovide a forum of
opinions. The reader’s opinion is called for. Through their
selections,the editors, filmmakers themselves, want to provoke,
document and complement discussions.
Revolver
continues to publish two issues per year, one in spring and one in
autumn. Two of the founding members, Benjamin Heisenberg and Christoph
Hochäusler, are still on the editing and contributing team, which
has been joined by filmmakers Jens Börner, Franz Müller and
actor/director Nicolas Wackerbarth. They recently published the
Revolver anthology Kino muss gefährlich sein (Cinema must be
dangerous) which collects texts from the past 15 issues of which a
number are no longer available.
Jens Börner
Benjamin Heisenberg
Christoph Hochhäusler
Franz Müller
Nicolas Wackerbarth
| Revolver
Halbe Stunden
by Nicolas Wackerbarth
Germany, 2007, 20' français
Ortswechsel. Fünf Kapitel über einen Umbruch
by Jens Börner
Germany, 2002, 55'
Schläfer
by Benjamin Heisenberg
Germany, 2005, 100'
Marseille
by Angela Schanelec
Germany, 2004, 95'
Parallel screening in collaboration with the Festival International du Film Francophone de Tübingen
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Imagine
the following hypothesis. On one hand, we are told life is a
construction of choice and chance. On the other hand, we all remember a
fragment of film that intimately touched as children. It is precisely a
choice (that of entering the cinema) and chance (that of coming across
such and such a film rather than another) that have provided us with
those moments that will remain with us for the rest of our existence.
Images as emotion rather than entertainment.
Our role as programmers
is to spark off this choice and organise this accident to present
something to see, feel and think about to the youngest amongst us. To
awaken their gaze to a cinema that plays with frontiers and to bring to
life a multitude of cultures and expressions. It is this desire that
has given rise to the approach of Fotokino that has created
exhibitions, projections, workshops and meetings in the field of visual
arts for more than six years now.
It is also thanks to the use of a
screen that the International Documentary Film Festival of Marseille
has invited us to program for the second year running. The programme is
aimed at everybody and is accessible to everybody over six years old,
without obstacles to understanding (especially language). These
screenings reunite adults and children in the desire to discover and
understand reality (but they are not only defined by this
particularity).
It is above all about showing, through various film
languages, sensitive works whose imagination and concept speak to all
of us. Rare or totally new films from all over the whole world.
It
is an opportunity to direct the gaze of children onto the world (Jeunes
lumières, Le Pain et la rue, En rachâchant), to question
the relationship between people and their environment
(Sönemböör, La Cabale des oursins), and to go in search
of the other and his daily life (Baka, Homem da meia noite). Or, as
with Le Goût des olives, to combine the intimate with childhood
rumours. Also, this year we are offering La route avec elles to
grownups, a film for the transmission of a memory, that of the Camps,
but also of a certain political consciousness.
The Paths: because it is about choosing a path, and we will see where it leads us.
Nathalie Guimard and Vincent Tuset-Anrès
Artistic directors of Fotokino.
Every year Fotokino offers Magic Lantern sessions.
| Les Sentiers
Baka
by Thierry Knauff
Belgium, 1995, 55', noir et blanc
La Cabale des oursins
by Luc Moullet
France, 1991, 17’
Das Modell (La Maquette)
by Florian Gwinner
Germany, 2006, 6', video, without dialogue
En rachâchant
by Jean-Marie Straub and Danièle Huillet, from the text ”Ah! Ernesto“, Marguerite Duras
France, 1982, 7', B&W
with Olivier Straub, Nadette Thinus, Bernard Thinus, Raymond Gérard
Le Goût des olives
by Anne Lacour
France, 2006, 23'
Homem da meia noite (L’homme de minuit)
by Paolo Santagostino
Italie, 2006, 16'
Jeunes lumières
Collectif composé par Nathalie Bourgeois
France, 1995, 60'
Lux
by Carole Sionnet
France, 2007, 3'
Le Pain et la Rue (Nan Va Kucheh)
by Abbas Kiarostami
Iran, 1970, 10', noir et blanc
Prise de son
by Frédéric Guelaff
France, 2007, 13'
Paul
by Cécile Rousset
France, 2005, 7'30
La Route avec elles
by Anne-Sophie Birot
France, 2007, 83'
Sönemböör
by Samuel Bester
France, 2006, 13' | |
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