news june 2007

 

 

 

The 18th edition of FIDMarseille will take place July 4-9, 2007 at the TNM La Criée, at the BMVR L’Alcazar, at the Variétés Theater, at the Agora des Sciences and at the CRDP.

cliquez pour ouvrir le suivi des films du fidmarseillecliquez pour ouvrir la programmation hors les murscliquez pour ouvrir l'agendacliquez pour ouvrir le suivi des films du fidmarseillecliquez pour ouvrir la programmation hors les murscliquez pour ouvrir l'agenda 


 

 

 

 

 

news june 2007

JURY OF THE INTERNATIONAL COMPETITION 


President
Apichatpong Weerasethakul – Thailand
Film director


Patricio Guzmán - Chile
Film director

Angela Schanelec - Germany
Film director

Tahani Rached – Egypt
Film director

Enrico Ghezzi - Italy
Film director

INTERNATIONAL COMPETITION

1937
by Nora Martirosyan
Armenia, 2007, 44'

AUTOHYSTORIA
by Raya Martin
Philippines, 2007, 95'
with JK Anicoche, Lowell Conales

FENGMING – CHRONIQUE D’UNE FEMME CHINOISE
by Wang Bing
Hong-Kong/China, 2007, 186’

COSMONAUT POLYAKOV
by Dana Ranga
Germany, 2007, 110'

DE SON APPARTEMENT
by Jean-Claude Rousseau
France, 2007, 70'

GAJOK CHOSANGHWA
by Kim Young-Jo
Korea, 2007, 67'

GHIRO GHIRO TONDO
by Yervant Gianikian and Angela Ricci Lucchi
Italy, 2007, 60'


by Gaëlle Vu Binhgiang
Vietnam, 2007, 151'

HULING BALYAN NG BUHI : OR THE WOVEN STORIES OF THE OTHER
by Sherad Anthony Sanchez
Philippines, 2006, 97'
with  Marilyn Roque, Jeliete Ruca, Ronald Arguelles, Junjun Lizada et Connie Bordios

LE RAVISSEMENT DE NATACHA
by Marcel Hanoun
France, 2007, 22'
with Lucienne Deschamps

LOVE CONQUERS ALL
by Tan Chui-Mui
Malaysia, 2006, 90'
with Coral Ong Li Whei, Leong Juin Juin, Stephen Chua Jyh Shyan, Ho Chi Lai

MOSTRAME
by Anneleen Hermans
Belgium, 2006, 47'

PROFIT MOTIVE AND THE WHISPERING WIND
De John Gianvito
USA, 2007, 57'

RUE SANTA FE
by Carmen Castillo
France, 2007, 163'

SABLÉ-SUR-SARTHE, SARTHE
by Paul Otchakovsky-Laurens
France, 2007, 95'

THE HALFMOON FILES
by Philip Scheffner
Germany, 2007, 87'

THE JOURNALS OF KNUD RASMUSSEN
by Zacharias Kunuk, Norman Cohn
Canada, 2006, 112'
by Leah Angutimarik, Pakak Innukshuk, Neeve Irngau Uttak

THE PERVERT'S GUIDE TO CINEMA
by Sophie Fiennes
United-Kingdom, 2006, 150'

JURY OF THE FRENCH COMPETITION

President
Jean Echenoz - France
Writer


Nathalie Richard – France
Actress

Jérôme Beaujour - France
Writer, scriptwriter

Dunja Bialas - Allemagne
Artistic director

Hala Alabdalla Yakoub – Syrie
Film director

FRENCH COMPETITION

1. ORAKEL (Orakel von Prohlis)
by Andreas Fohr
France, 2007, 48'

CÈNE
by Andy Guerif
France, 2006, 31'

DES INDES À LA PLANÈTE MARS
by Christian Merlhiot, Matthieu Orléan
France, 2007, 80'
with Jacques Bonnaffé, Mireille Perrier, Boris Alestchenkoff, Édith Scob, Jean-Christophe Bouvet

FRANCE 2007
by Gee Jung Jun
France, 2007, 20', noir et blanc

HARUKI YUKIMURA & NANA-CHAN
by Xavier Brillat
France 2006, 38'

HIC ROSA, PARTITION BOTANIQUE
by Anne-Marie Faux
France, 2006, 57'

LA VIE DE CHÂTEAU
by Frédérique byvillez
France, 2007, 56'

MAFROUZA, OH LA NUIT!
by Emmanuelle Demoris
France, 2007, 148'

MÈTIS
by Vincent Barré
France, 2007, 32'

NAWNA (JE NE SAIS PAS...)
by Nazim Djemaï
France, 2007, 105'

TENTATIVE D'ÉPUISEMENT D'UN LIEU PARISIEN
by Jean-Christian Riff
France, 2007, 73'

TRABALHO ESCRAVO
by Nikola Chesnais
France, 2007, 51'

YVES – PREMIERE PARTIE
by Olivier Zabat
France, 2007, 82’

 

 

 

 

 

 

news june 2007



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'

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',
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'
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'
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
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'

 

 

 

 

news june 2007



LOCATIONS

Théâtre National de Marseille – La Criée
30, quai Rive Neuve
13007 Marseille

Agora des Sciences
61, La Canebière
13001 Marseille

Cinéma Les Variétés
37, rue Vincent Scotto
13001 Marseille

Cinémathèque de Marseille/ CRDP
31bis, bd d’Athènes
13001 Marseille

L’Alcazar- Bibliothèque Municipale à Vocation Régionale
58, Cours Belsunce
13001 Marseille

FMR
44, Quai Marcel Pagnol 13007 Marseille

ACCREDITATIONS

For any accreditation request, please fill the accréditation form online on our website : www.fidmarseille.org

Accreditation informations
Luc Douzon  
accreditations@fidmarseille.org

Given the growing success of the festival and the costs thereby involved, an accreditation fee of 40 euros per personn is requested giving access to all films of the programme, both in and out competition, to the round table discussions and the video library.

cliquez ici pour vous désabonner.

FIDMARSEILLE 14 allée léon gambetta 13001 marseille tel / fax : +33 (0)4 95 04 44 90 / 91 - web : www.fidmarseille.org