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© [fdc-video title="La Nostra Vita by Daniele Luchetti - Extract 2" image_amazon_url="media_video_encoded/0001/48/00002/633ba63602a22062b289d5f1998d8a7fc28d5542.flv.png" mp4_url="media_video_encoded/0001/48/633ba63602a22062b289d5f1998d8a7fc28d5542.mp4" webm_url="media_video_encoded/0001/48/633ba63602a22062b289d5f1998d8a7fc28d5542.mp4"] [fdc-video title="Vincere by Marco Bellocchio - Trailer" image_amazon_url="media_video_encoded/0001/41/00002/7f33ecf4ba4e967be19a33af00ba24dec81aee46.flv.png" mp4_url="media_video_encoded/0001/41/7f33ecf4ba4e967be19a33af00ba24dec81aee46.mp4" webm_url="media_video_encoded/0001/41/7f33ecf4ba4e967be19a33af00ba24dec81aee46.mp4"] <p style="text-align: right;"><strong>BY LORENZO CODELLI*</strong></p> <p> </p> <p> </p> <p style="text-align: justify;"><br><strong>The absence of Italian films at the 2000 Festival was interpreted as a sign both of a decline in production and of the public’s lack of interest at the international level. Since the turn of the new millennium, three memorable events have rewarded the efforts made to restore the image of <span>transalpine cinema, while nonetheless failing to pull it fully out of its crisis.</span></strong><br><br> Firstly, the award of the 2001 Palme d’Or to <i>La stanza del figlio </i>(<i>The Son’s Room</i>), a sophisticated psychoanalytical exorcism directed by and also starring <strong>Nanni Moretti</strong>, who abandoned his characteristic comical style for the occasion. Then, the Un Certain Regard Award in 2003 for the film, <i>La Meglio Gioventù</i> (<i>The Best of Youth</i>), a pre- and post-May-1968 saga directed by <strong>Marco Tullio Giordana</strong>. Finally, in 2008, while the Jury’s Grand Prix was awarded to <strong><i>Gomorra</i></strong> (also known as <strong><i>Gomorra</i>h</strong>) directed by <strong>Matteo Garrone</strong>, the Jury Prize went to <i>Il Divo</i>, directed by <strong>Paolo Sorrentino</strong> - an explosive political dyptic of a kind not seen since the joint Palme was awarded to Rosi and Petri all that time ago.<br><br>  </p> <table width="600" cellspacing="1"><tbody> <tr> <td><img height="136" width="200" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/Moretti2_W.jpg"></td> <td><img height="136" width="200" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/MarcoTullioGiordana.jpg" alt=""></td> <td><img height="136" width="183" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/Sorrentino2_W.jpg" alt=""></td> </tr> <tr> <td style="text-align: center;"> <p><span style="font-size: x-small;">Nanni Moretti,</span></p> <p><span style="font-size: x-small;">2001</span></p> </td> <td style="text-align: center;"> <p><span style="font-size: x-small;"> Marco Tullio Giordana,</span></p> <p><span style="font-size: x-small;">2003</span></p> </td> <td style="text-align: center;"> <span style="font-size: x-small;">Paolo Sorrentino and </span><span style="font-size: x-small;">Matteo Garrone,<br> 2008</span> </td> </tr> </tbody></table> <p style="text-align: justify;"><br><br> As for Ermanno Olmi and <strong>Marco Bellocchio</strong>, key protagonists of the renaissance that took place in the 1960s, they have updated their creative form: the former with his ode to pacificism, <i>Il Mestiere delle Armi </i>(<i>The Profession of Arms)</i> and the semi-sacrilegious apologue, <i>Centochiodi</i> (<i>One Hundred Nails</i>); the latter with his hyper-sacrilegious fable,<i> </i><strong><i>L'ora di religione: il sorriso di mia madre</i> </strong>(<strong><i>My Mother’s Smile</i></strong>) and <strong><i>Vincere</i></strong>, an epic about the reincarnation of dictatorships.<br><br>  </p> <table width="610" cellspacing="0" cellpadding="0" border="0"><tbody><tr> <td bgcolor="#000000"> <div style="width: 420px; height: 335px;" id="blogvision"><object height="335" width="420"> <param value="http://www.allocine.fr/blogvision/18674186" name="movie"> <param value="true" name="allowFullScreen"> <param value="always" name="allowScriptAccess"> <embed height="335" width="420" allowscriptaccess="always" allowfullscreen="true" type="application/x-shockwave-flash" src="http://www.allocine.fr/blogvision/18674186"></embed></object></div> </td> <td bgcolor="#000000"><img height="335" width="180" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/Bellocchio_W.jpg" alt=""></td> </tr></tbody></table> <p style="text-align: justify;"><span style="font-size: x-small;"><em>My Mother´s </em></span><em><span style="font-size: x-small;">Smile</span></em><span style="font-size: x-small;">, Marco Bellocchio, in Competition 2001</span></p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <table cellspacing="5" cellpadding="0" border="0" align="left"><tbody> <tr> <td><img height="173" width="120" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/Sabina%20Guzzanti_Web.jpg"></td> </tr> <tr> <td><span style="font-size: x-small;">Sabina Guzzanti</span></td> </tr> </tbody></table> <table cellspacing="5" cellpadding="0" border="0" align="right"><tbody> <tr> <td><img height="173" width="120" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/Comencini_Web.jpg"></td> </tr> <tr> <td><span style="font-size: x-small;">Francesca Comencini</span></td> </tr> </tbody></table> <p style="text-align: justify;">The “counter-informative documentarism” dear to neorealism would reach its peak with <i>Carlo Giuliani, ragazzo</i> (<i>Carlo Giuliani, Boy</i>), directed by <strong>Francesca Comencini</strong>, and <strong><i>Draquila - L'Italia che trema </i>(<i>Draquila – Italy Trembles</i>), directed by Sabina Guzzanti</strong>. In<i> Il caimano </i>(<i>The Caiman</i>)Nanni Moretti pieces together an uncompromising satirical puzzle focusing on the all-powerful tycoon and politician using antonomasia. Paolo Sorrentino, disciple of the prolific Neapolitan school formed by Mario Martone, Antonio Capuano and others was present three times over at the Festival having skilfully shifted from a Tarantinoesque thriller (<i>Le Conseguenze dell'amore</i> - also known as <i>The Consequences of Love</i>), to a grotesque fable (<strong><i>L'Amico di famiglia</i> </strong>- also known as <strong><i>The Family Friend</i></strong>), and then to political satire (<i>Il Divo</i>). In <strong><i>La nostra vita </i>(<i>Our Life</i>)</strong><i>,</i> Daniele Luchetti - in the tradition of Rosi’s <i>Le mani sulla città </i>(<i>Hands over the City</i>) - attacks the corruption that is still rife in the construction industry in particular and more generally in our everyday lives. The film offers a slither of truth to light up what are dark times indeed.</p> <p style="text-align: justify;"> </p> <table width="610" cellspacing="1" cellpadding="0" border="0" align="center"><tbody><tr> <td><img height="200" width="150" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/Draquila4.jpg" alt=""></td> <td><img height="200" width="150" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/Draquila2.jpg" alt=""></td> <td><img height="200" width="150" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/Draquila5.jpg" alt=""></td> <td style="text-align: center;"><img height="200" width="150" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/Draquila3.jpg" alt=""></td> <td style="text-align: center;"> </td> </tr></tbody></table> <p style="text-align: center;"><span style="font-size: x-small;">Adverti</span><span style="font-size: x-small;">s</span><span style="font-size: x-small;">ing Campaign for the film<em> Draquila, Italy </em></span><em><span style="font-size: x-small;">tremble</span><span style="font-size: x-small;">s</span><span style="font-size: x-small;"> </span></em><span style="font-size: x-small;">directed by Sabina Guzzanti. Created by Charlie Hebd. </span></p> <p style="text-align: center;"> </p> <p> </p> <table width="610" cellspacing="5" cellpadding="5" style=""><tbody><tr> <td> <div style="background-color: rgb(239, 233, 233); background-image: none; background-repeat: repeat; background-attachment: scroll; background-position: 0% 0%; -moz-background-size: auto auto; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial; text-align: justify;"> <p style="text-align: center;"><strong><em><br></em><span style="font-size: large;">FOCUS <br></span></strong><strong> <div><b>The Best of Youth?</b></div> </strong></p> <p style="text-align: left;"><strong><em><br><br></em></strong><strong>For Marco Tullio Giordana, “<em><span>La Meglio Gioventù</span></em><span> (<em>The Best of Youth</em>) ends like a relay race. Nicola succeeds in passing the baton on to the next generation. In contrast, others fail to do so, or maybe don’t even have a baton to pass, so they stop earlier on, short of breath. That’s what this film is all about. There isn’t any internal ideological discourse; we aren’t talking about the Italian left. We’re talking about Italy as a whole or perhaps the West. The feeling of being the last few remnants of an entire civilization. We no longer believe in collective redemption, but there is a clear appeal to individual conscience, to the choices that each of us knows we have to make". In a sociocultural context in which it would henceforth be almost impossible to pass the baton, this sweeping historical epic - which was, like <i>Padre Padrone</i> (<b><i>Father and Master</i></b>) and<i> L'albero degli zoccoli (The Tree of Wooden Clogs),</i> originally created for the small screen - paints a portrait of three generations through the prism of their aspirations, contradictions and fears. With long-lasting appeal for present and future generations, <i>The Best of Youth</i> draws upon certain narrative techniques from Visconti, Rossellini, Pasolini and Antonioni, while also referring to the great traditions of painting, literature and opera. The film is a game of mirrors which has moved cinema audiences around the world. Its merits include the discovery of a new group of very likeable actors and actresses: Maya Sansa, Jasmine Trinca, Sonia Bergamasco, Luigi Lo Cascio, Alessio Boni, Fabrizio Gifuni and Riccardo Scamarcio (the latter is being hailed by teenagers as a reincarnation of Rudi Valentino).</span></strong></p> <p style="text-align: left;"> </p> <table width="600" cellspacing="1" cellpadding="0" border="0"><tbody> <tr> <td><img height="186" width="150" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/Alessio-Boni.jpg"></td> <td><img height="186" width="150" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/Maya_Sansa.jpg" alt=""></td> <td><img height="186" width="150" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/medium_scamarcio.jpg"></td> <td><img height="186" width="150" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE3/Yasmine-Trinca.jpg" alt=""></td> </tr> <tr> <td style="text-align: center;"><span style="font-size: x-small;"> Alessio Boni</span></td> <td style="text-align: center;"><span style="font-size: x-small;">Maya Sansa</span></td> <td style="text-align: center;"> <strong> </strong><span style="font-size: x-small;">Riccardo Scamarcio</span> </td> <td style="text-align: center;"><span style="font-size: x-small;">Yasmine Trinca</span></td> </tr> </tbody></table> <p style="text-align: left;"><strong><br></strong></p> <div style="width: 600px; height: 480px;" id="blogvision"><object height="480" width="600"> <param value="http://www.allocine.fr/blogvision/18353659" name="movie"> <param value="true" name="allowFullScreen"> <param value="always" name="allowScriptAccess"> <embed height="480" width="600" allowscriptaccess="always" allowfullscreen="true" type="application/x-shockwave-flash" src="http://www.allocine.fr/blogvision/18353659"></embed></object></div> </div> <p> </p> </td> </tr></tbody></table> <p> </p> <p> </p> <p style="text-align: justify;">Italian cinema is becoming increasingly decentralised, spreading to Turin, Naples, Palermo, Cagliari, Bari, Bologna and Trieste, thanks to the financial incentives offered by local institutions as well as the determination of a number of directors not to abandon their linguistic and ethnic roots.<br> Despite encountering numerous difficulties and weak support from the authorities, a new wave of professionals has been able to start out in the industry. These brave, independent producers do not look down on either adaptations of bestsellers or comedies of manner - two genres which continue to draw crowds at the box-office. They include: Angelo Barbagallo, Roberto Cicutto, Francesca Cima, Carlo Degli Esposti, Nicola Giuliano, Domenico Procacci, and Riccardo Tozzi. Among the most interesting screenwriters to have emerged over the past decade, it is worth mentioning Giorgio Diritti (<i>L’Uomo che verrà - The Man Who Will Come</i>), Gianni Di Gregorio (<i>Pranzo di ferragosto</i> <i>- </i> <i>Mid-August Lunch</i>), Matteo Garrone (<i>Primo amore - First Love</i>), Vincenzo Marra (<i>L’Udienza è Aperta - The Session Is Open</i>), Andrea Molaioli (<i>La Ragazza del lago - The Girl by the Lake</i>) and<strong> Paolo Sorrentino</strong> (<i>L’Uomo in più - One Man Up</i>).</p> <p> </p> <p> </p> <div style="width: 600px; height: 470px; text-align: center;" id="blogvision"> <object height="470" width="600"> <param value="http://www.allocine.fr/blogvision/18816139" name="movie"> <param value="true" name="allowFullScreen"> <param value="always" name="allowScriptAccess"> <embed height="470" width="600" allowscriptaccess="always" allowfullscreen="true" type="application/x-shockwave-flash" src="http://www.allocine.fr/blogvision/18816139"></embed></object><em><span style="font-size: x-small;">Il Divo </span></em><span style="font-size: x-small;">directed by Paolo Sorrentino, in Competition, 2008</span> </div> <p> </p> <p><br><a href="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/File/Filmographie%20Pays/Italian%20Cinema%20at%20Cannes%202000-2010.pdf" target="_blank" rel="noopener">> DOWNLOAD THE PDF VERSION</a></p> <p> </p> <p><span style="font-size: smaller;">* Lorenzo Codelli is a journalist and historian. He contribute</span><span style="font-size: smaller;">s to the</span><span style="font-size: smaller;"> Festival de Cannes, the magazine, <em>Positif</em>, the International Film Guide and other publications.<br><br><em>The Festival de Cannes would like to thank the authors for contributing for free.</em></span></p>
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© <p><img height="184" align="left" width="275" alt="" src="http://cdn-media.festival-cannes.com/assets/Image/Communiques%202011/michel-gondry1_Web.jpg" style="margin-right: 10px;">Film director Michel Gondry is to head up the short film and Cinéfondation jury of the 64<sup>th</sup> Festival de Cannes, following in the footsteps of Atom Egoyan, Hou Hsiao Hsien, Martin Scorsese and John Boorman.<br><br> With his seven feature films, several shorts and seventy-odd music videos, Michel Gondry, who is also a musician, has created an incredibly original body of work coloured with dreamscape qualities and Utopian ideals. A master craftsman, a modern day Méliès, he is a cinemagician who constantly reinvents the technical effects and enchantments of the medium of film.<br><br> In 2001, his first feature, <em>Human Nature</em> was selected for the Festival de Cannes. He was back in 2008 with the <em>Tokyo!</em> triptych at Un Certain Regard, and presented out of competition the documentary <em>The Thorn in the Heart</em> in 2009.<br> The Academy Award winning screenplay in 2004, <em>Eternal Sunshine of the Spotless Mind</em> was followed in 2006 by <em>The Science of Sleep</em> and <em>Be Kind, Rewind</em> in 2008. <em>The Green Hornet</em>, on general release in France since January 2011, has been his biggest box office hit thus far.<br> At the Centre Pompidou in Paris, Michel Gondry has just opening his Amateur Film Factory (Usine de films amateurs) as part of the Nouveau Festival. It is part creative studio think-tank and part DIY laboratory – a space offering anyone the chance to make a short film in three hours.<br><br> This gifted illusionist will, alongside his fellow jury members, award the three Cinéfondation prizes on Friday 20th May, and then the Palme d’Or for the best short film at the Closing Ceremony on May 22<sup>nd</sup> 2011.<br><br><br></p>
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© <p style="text-align: right;"><strong>BY SAMIR FARID *</strong></p> <p style="text-align: justify;"><strong><img height="267" width="200" align="left" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/cesfillesla_tanahi%20rached.jpg" style="margin-right: 10px;" />From the first season of the Festival in 1946 until 2004, 22 Egyptian feature films have been screened. Only one feature film was screened out of competition during the 2006 season (“These Girls” by Tahani Rached). </strong><br /> <br /> Among these 22 films, 14 took part in competitions between 1946 and 1997, three were presented on the Un Certain Regard programme, which is selected by the Festival´s official management,  between 1987 and 2004, and five films, which were selected by the French Film Association, were screened as part of the Directors’ Fortnight programme between 1973 and 1990.<br /> <br /> The 14 feature films that were screened are a good illustration of the Egyptian school of cinematography (1933-1963) in its illustrious beginnings after the Second World War, and then in its heyday in the 1950s with the screening of two films at the Festival seasons of 1946, 1952 and 1954. However, the break in relations between Egypt and France after the Suez crisis resulted in the absence of Egyptian films in Festival screenings between 1957 and 1963.<br /> <br /> In 1946, the Festival screened “Donya” by the pioneer of Egyptian cinema Mohammed Karim (1896-1972). Another Egyptian director, Youssef Wahbi (1898-1982), was appointed a member of the jury. In 1949, “Al bayt al kabir” by Ahmed Kamel Morsi (1909-1987) represented the generation of pioneers, whereas “The Adventures of Antar and Abla” by Salah Abu Seif (1915-1996) represented the second generation. In 1952, the Festival screened “A Night of Love”, directed by Ahmed Badrakhan (1909-1969), from the generation of pioneers and “<strong>Son of the Nile</strong>” <strong>directed</strong> <strong>by</strong> <strong>Youssef Chahine</strong> (1926-2008), from the third generation.</p> <p><img height="438" width="600" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/cannes52-NileBoy.jpg" alt="" /></p> <p style="text-align: center;"><span style="font-size: smaller;"> Faten Hamama, Y. Chahine, Jacques Pascal, Cannes, 1952</span></p> <table width="200" cellspacing="10" cellpadding="0" border="0"> <tbody> <tr> <td><img height="219" width="300" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/cannes52-NileBoy-film3.jpg" /></td> <td><img height="221" width="265" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/cannes52-NileBoy-film2.jpg" /></td> </tr> <tr> <td colspan="2" style="text-align: center;"><span style="font-size: smaller;"> <em>Son of the Nile</em> directed directed by Youssef Chahine</span></td> </tr> </tbody> </table> <p style="text-align: justify;"><br /> Egyptian cinema reached its heyday during the 1950s, in particular in the years 1954, 1955 and 1956, when the four masterpieces of this school were screened: “The Monster” by Salah Abu Seif, “<strong>Struggle in the Valley</strong>”, <strong>directed by Youssef Chahine in 1954</strong>, “Life or Death” by Kamal Sheikh (1918-2004) in 1955, and “<strong>The Leech</strong>” <strong>by Abu Seif in 1956</strong>.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <p style="text-align: center;"><img height="350" width="500" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/ABU-SAYf-OK.jpg" alt="" /></p> <table width="200" cellspacing="10" cellpadding="0" border="0"> <tbody> <tr> <td><img height="219" width="300" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/y-chahine-omar-sharif-blazingsun54.jpg" /></td> <td><img height="219" width="300" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/2comediens-blazing%20sun.jpg" /></td> </tr> <tr> <td><span style="font-size: smaller;"> Cannes, 1954. Centre: Youssef Chahine and Omar Sharif</span></td> <td style="text-align: center;"><span style="font-size: smaller;">Struggle in the Valley directed by Youssef Chahine</span></td> </tr> </tbody> </table> <p style="text-align: justify;"><br /> <br /> These films represent a new trend in the Egyptian school of cinema, comparable to that of neorealism in Italy. In “The Monster”, Abu Seif based his film on the true story of the emergence and arrest of a gang of criminals in Upper Egypt and in “Struggle in the Valley”, the first innocent character in Egyptian film is executed<span>. “Life or Death” is the first film shot in the streets of Cairo, whereas “The Leech” reveals some unspoken taboos regarding sexual relations, although the film ends on a conservative note.</span><br /> <br /> When Egyptian films once again took part in the Festival in 1964, the Egyptian school had already come to an end, and a new page had been turned with the screening of “Last Night” by Kamal El Sheikh produced in 1964, a classic work par excellence, and a sign that neorealism had attained its high point in Egyptian cinema.</p> <div style="width: 600px; height: 470px;" id="blogvision"><object height="470" width="600"> <param value="http://www.allocine.fr/blogvision/18805951" name="movie" /> <param value="true" name="allowFullScreen" /> <param value="always" name="allowScriptAccess" /> <embed height="470" width="600" allowscriptaccess="always" allowfullscreen="true" type="application/x-shockwave-flash" src="http://www.allocine.fr/blogvision/18805951"></embed></object></div> <p style="text-align: center;"><span style="font-size: smaller;">"<em>Adieu Bonaparte</em>" directed by Youssef Chahine</span></p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><br /> Once again, from 1971 to 1984, Egyptian films experienced a rupture with the Festival de Cannes, with the exception of “<strong>The Sparrow</strong>” <strong>by Youssef Chahine</strong>, presented in the Directors’ Fortnight in 1973, at a time when it was banned in Egypt (where it was screened finally in 1975). This time the rupture was not the result of broken diplomatic ties between Egypt and France, as was the case between 1957 and 1963, but because Egyptian cinema was no longer following the enormous progress that this art form was then undergoing all over the world. Its backwardness was due to nationalisation and the disappearance of this brilliant school in 1963. Although the 1970s saw significant attempts to return to the freedom that characterised the old school and to catch up on the progress made in the film industry, the return to the Festival did not take place until 1985 with “<strong>Adieu Bonaparte</strong>”,<strong> directed by Youssef Chahine</strong>.</p> <p><img height="491" width="600" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/lemoineau-chahine.jpg" alt="" /></p> <p style="text-align: center;"><span style="font-size: smaller;"><em>“The Sparrow” </em>directed by Youssef Chahine</span></p> <p><iframe height="480" frameborder="0" width="600" allowfullscreen="" src="http://www.youtube.com/embed/_rtQ0FL-JH0" title="YouTube video player"></iframe></p> <p style="text-align: center;"><span style="font-size: smaller;"><em>“Destiny”</em> directed by Youssef Chahine</span></p> <p style="text-align: justify;"><br /> <img height="243" width="230" align="left" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/youssefChahine-1997_palmehonneur.jpg" style="margin-right: 10px;" />The two decades between 1985 and 2004 are considered Youssef Chahine’s finest period, c<strong>rowned by the Commemorative Golden Jubilee of the Festival in 1997</strong>. During this period, among the 22 films presented at the Festival de Cannes, 10 Egyptian films were screened. Seven of them were directed by Youssef Chahine, including “Adieu Bonaparte”, “<strong>Destiny</strong>”<strong> in 1997</strong>, and two films in the Un Certain Regard category: “The Other” in 1999 and “<strong>Alexandria…New York</strong>” <strong>in 2004</strong>. In addition to “The Sparrow”, two other films were presented in the Directors’ Fortnight: “The Sixth Day” in 1987 and “Alexandria, Again and Forever” in 1990. All these films were coproduced by Egypt and France, with the exception of “The Sparrow”,<span> which was coproduced with Algeria. Through these films, Youssef Chahine won his freedom via coproduction. He developed his own artistic universe and addressed the great issues of his era, be it in Egypt or in the world at large. He became the greatest symbol of Egyptian cinema and one of the greatest filmmakers worldwide.</span></p> <p style="text-align: center;"><br /> <img height="95" width="200" align="middle" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Chahine_Signature-OK.jpg" /></p> <p style="text-align: center;"><span style="font-size: smaller;">Youssef Chahine</span></p> <table width="200" cellspacing="10" cellpadding="0" border="0"> <tbody> <tr> <td><img height="221" width="300" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/ledestin-photofilm.jpg" alt="" /></td> <td><img height="219" width="300" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/ychahine-tournage-Alexandria-NY.jpg" alt="" /></td> </tr> <tr> <td><em><span style="font-size: smaller;">Destiny </span></em><span style="font-size: smaller;">directed by Youssef Chahine</span></td> <td style="text-align: center;"><em> <span style="font-size: smaller;">Alexandria New York</span></em><span style="font-size: smaller;"> directed by Youssef Chahine</span></td> </tr> </tbody> </table> <p><br /> <iframe height="480" frameborder="0" width="600" title="YouTube video player" src="http://www.youtube.com/embed/puYLcBtiyP0" allowfullscreen=""></iframe></p> <p style="text-align: center;"><em><span style="font-size: smaller;">Alexandria…New York</span></em><span style="font-size: smaller;"> directed by Youssef Chahine</span></p> <p style="text-align: justify;">The three other films presented during these two decades were “The Return of a Citizen” by <strong>Mohammed Khan</strong> in Un Certain Regard in 1987, “Love on the Pyramids Plateau” by Atef El-Tayeb (1947-1995) in 1985, and “Summer Flights“ by <strong>Yousry Nasrallah</strong> in 1988, at the Directors’ Fortnight. These three films are the masterworks of neorealism in Egyptian cinema of the 1980s, which resisted the extremist Islamic current that has in the past attempted to “veil” Egyptian cinema and continues to try to do so to this day.<strong><br /> </strong></p> <p><img height="260" width="610" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/2realisateurs-fintexte.jpg" /></p> <p style="text-align: center;"><span style="font-size: larger;"><strong><a href="http://www.festival-cannes.fr/en/article/57981.html">READ >>> AN INTRODUCTION TO EGYPTIAN CINEMA</a></strong></span></p> <p style="text-align: left;"> </p> <p><a href="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/File/Filmographie%20Pays/Egyptian%20Films%20at%20the%20Festival%20de%20Cannes.pdf" target="_blank" rel="noopener">> DOWNLOAD THE PDF VERSION</a></p> <p style="text-align: left;"><span style="font-size: smaller;"><br /> </span><strong><span style="font-size: smaller;">* Samir Farid is a journalist and film historian</span><span style="font-size: smaller;"><br /> </span></strong></p> <p style="text-align: left;"> </p> <p style="text-align: left;"> </p> <p style="text-align: left;"><strong> </strong></p> <p style="text-align: left;"><strong><em><span style="font-size: smaller;">The Festival de Cannes would like to thank the author</span></em></strong><strong><em><span style="font-size: smaller;">s</span></em></strong><strong><em><span style="font-size: smaller;"> for contributing for free</span></em>.</strong></p> <p style="text-align: left;"> </p> <p style="text-align: left;"> </p> <p style="text-align: left;"> </p>
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© <p style="text-align: right;"><strong>BY SAMIR FARID *</strong></p> <p style="text-align: right;"> </p> <p style="text-align: right;"> </p> <p style="text-align: justify;"><strong><img height="169" width="230" align="left" alt="" style="margin-right: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Intro/cinmatographelumire.jpg" />The earliest projections using a “Lumière” cinematograph in Egypt took place on the 15 November 1896, at the Toussoun Exchange in Alexandria, then in Cairo on 28th November, that is, less than one year after the first projection in Paris, on 28 December 1895. Egypt’s first “Lumière cinematograph” cinema opened its doors in Alexandria in 1897. By 1926 - that is, by the end of the silent cinema era - 86 cinemas were operating in Egypt. The family of <strong><span>Mohamed Ali </span></strong>had reigned in Eygpt since 1805. Their reign ended with the “revolution” of the military in 1952 and the declaration of the Republic in 1953.</strong></p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <p style="text-align: center;"><img height="300" width="400" align="middle" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Intro/le_caire1.jpg" /></p> <p style="text-align: center;"><span style="font-size: smaller;">City of Cairo<br /> </span></p> <p style="text-align: justify;"><br /> <br /> With the advent of the “talkies”, the number of cinemas increased. By 1958, there were 395 of them. However, their number began to decline when television was introduced in 1960, followed by the public-sector cinema industry. In 1965, only 297 cinemas remained open, and by 1995, there were just 141. This decline was not only due to competition from television and the distribution of films on video cassette. Nor was it entirely thanks to other modern technical media. There were other contributing factors including, above all, the deterioration of services available in public-sector cinemas (cinemas had been either nationalised or expropriated) and the lack of any new cinemas being opened (for fear of being subjected to the same fate). A final cause of the decline was the act that was passed in 1973, which gave the Ministry of Culture the power to intervene in cinema programming.<br /> <br /> Thanks to various laws and measures implemented to encourage investment in the creation of cinemas, their number has increased again, especially in shopping centres. There were 200 cinemas in 2001 and 400 in 2009, for a population of 77 million (or 80 million if you include expatriate Eygptians).</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <table width="200" cellspacing="5" cellpadding="0" border="0"> <tbody> <tr> <td><img height="286" width="200" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Intro/Affiche-ciel-denfer.jpg" alt="" /></td> <td><img height="286" width="200" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Intro/Affiche-moineau.jpg" alt="" /></td> <td><img height="286" width="200" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Intro/Affiche-Lautre.jpg" alt="" /></td> </tr> <tr> <td><span style="font-size: smaller;">Struggle in the Valley by Y Chahine, 1954</span></td> <td><span style="font-size: smaller;">The Sparrow by Y Chahine, 1972</span></td> <td><span style="font-size: smaller;">The Other by Y Chahine, 1999</span></td> </tr> </tbody> </table> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><br /> In 2009, 120 films – mainly Hollywood productions – were screened in Egypt. 39 were Egyptian films and a few were from Europe and India. The box-office revenue reached 55 million dollars. Egyptian films accounted for 80% of the market share.<br /> <br /> The film market in Egypt is one of only three markets in the world where domestically produced films hold the greatest market share, thanks to laws and measures protecting national production. The major American film companies in Hollywood, which hold the greatest share of the international market both within and outside the United States, are opposed to these laws and measures, which they consider to be protectionist measures that contravene treaties on the free circulation of goods between nations, and that violate laws and measures relating to free trade.<br /> <br /> In 1897, the Lumière company sent the cameraman Promio to Egypt, where he filmed 36 short films, of which 18 have been found. These French films were the first films made in Egypt. The first Egyptian film, a short film entitled “<em>The Visit of the Khedive Abbas Helmi to the Scientific Institute of the Sidi Aboul Abbas Mosque </em>”, dates from 1907. It was produced by the company Aziz and Doris (Aziz Bandarli and Emberto Malafassi, known as Dorès) and screened on the 20<sup>th</sup> of June, 1907. This is why, during the celebration in 2007 of the centenary of cinema, the<strong> Library of Alexandria</strong> made the 20<sup>th</sup> of June “Egyptian Cinema Day”.</p> <p style="text-align: justify;"> </p> <table width="200" cellspacing="6" cellpadding="0" border="0"> <tbody> <tr> <td><img height="206" width="275" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Intro/Phare_Alexandrie.jpg" /></td> <td><img height="206" width="325" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Intro/BibliothequeAlexandrie.jpg" /></td> </tr> <tr> <td><span style="font-size: smaller;">Lighthou</span><span style="font-size: smaller;">s</span><span style="font-size: smaller;">e of Alexandria</span></td> <td><span style="font-size: smaller;">Library of Alexandria (reconstruction)</span></td> </tr> </tbody> </table> <p style="text-align: justify;"><br /> <br /> In 2009, the number of Egyptian short films reached 3,000. They include fiction films, documentaries, animation films and student productions belonging to one or other of the three preceding generations. Mohamed Bayoumi (1894-1963) was one of the pioneers of the Egyptian documentary, although he also made fiction films and is considered as the first Egyptian film maker to work in cinema. We should also mention Saad Nadim (1920-1980), Salah El Touhami (1922-1997) and Abdel Kader Telemsani (1924-2003), and notable pioneers of animation films include the Frankel brothers, Antoine Sélim, who died in 1998, and Ahmed El Matini (1934-1996).<br /> <br /> It was in 1927 that silent feature-length fiction films began to be made in Egypt and in 1932, talkies appeared. According to a filmography by the author of the present overview, 3,124 films were screened between 1932 and 2009. Given the volume of the production (4,000 films made, including the silent films and the ones that were not screened), and the influence of Egyptian cinema on national and Arabic-speaking audiences, Egypt is in 10<sup>th</sup> position worldwide and in first place on the African continent, in the Arab world and the Middle East. Between 1933 and 1963 – a period in which more than 1,000 fiction films were produced, sharing a number of common specific traits, particularities, and characteristic features – a fully-fledged “Egyptian school of film” existed.<br /> <br /> <img height="369" width="280" align="left" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Intro/egypte_carte-3.jpg" style="margin-right: 10px;" alt="" />A number of reasons explain why in <strong>Egypt</strong>, more than in any other Arab, African or Muslim country (or at least with a Muslim majority), the cinema industry experienced such development during the first half of the 20<sup>th</sup> century. The most important reason relates to the development of the dramatic arts: in the majority, film audiences are the same as those who used to go to the theatre. Myriam Sammate was the first Egyptian to go on stage in 1907 and in 1915, Mounira El Mahdiyya was the first Muslim stage actress. The Fine Arts Faculty was created in 1908 and the Egyptians accepted seeing their lives represented in the theatre, and then on screen. There is no drama without men and women, or without human flaws that create discord between them. If Egyptian audiences could accept seeing corrupt officials in high places, adulterous spouses, etc., it is because they found the strength and the courage to be confronted with the negative aspects of their society, in particular during the rise of nationalism under the reign of the <em>Khediv</em> Abbas Helmi II, at the very beginning of the 20<sup>th</sup> century. Under the slogan: “Egypt for the Egyptians!” a whole series of events unfurled: the great popular revolution of 1919, the Egyptian conquest of political independence in 1922 and finally the Constitution of 1923, the first of the modern constitutions to be adopted by Arab and Muslim states.<br /> <br /> The creation in 1913 of the “association of the friends of the theatre”, which would later become the “friends of the theatre and the cinema”, is one of the results of this vast movement. In 1923, the government created the Institute of Arab Music, and in 1930, the Institute of Dramatic Arts, which was closed in 1931, after only one brief year of instruction, under the pretext that the interaction of male and female students was of an embarrassingly promiscuous nature. In 1933, the government presented awards with monetary prizes for the best films screened in 1932. Barely five years separated this initiative from the first international film competition (the American Oscars in 1927) and it came just one year after the first international film festival in Venice, in 1932.<br /> <br /> In 1943, the Institute of Dramatic Arts once again became a department of the Higher Institute of Dramatic Arts. The creation of the actors’ union and the union of film professionals dates from the same year. Two years later, in 1945, the musicians’ union was created. In 2009, these unions counted 50,000 professional members. A Chamber of Commerce for the film industry was created in 1947, as a branch of the Egyptian Federation of Industries. In 2009, 300 companies were registered. The year 1958 saw the creation of the first Institute of Cinematographic arts.</p> <p style="text-align: justify;"> </p> <p style="text-align: center;"><img height="89" width="400" align="middle" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Intro/Logo-studio-masrOK.jpg" /></p> <p style="text-align: center;"> </p> <p style="text-align: justify;"><br /> Until its nationalisation in 1961, the <strong>Misr Studio</strong> produced 57 films between 1936 and 1956, and 125 films between 1936 and 1960, according to the writer of this article. Among its most important productions, the weekly publication between 1939 and 1960 of “Cinematographic Egypt” must be mentioned. Its photographer was Hassan Mourad (1903-1970). After nationalisation, the weekly was taken over by the television company and then by the National Bureau of Information. Other great studios followed the creation of the Misr Studio: Nassibane in 1937, Jalal in 1944, Al Ahram in 1945 and Nahhas in 1948. With the exception of the first of these which was closed, these studios were still in existence in 2009, side by side with those of the Media Production City, belonging to the television company. As for industrial film laboratories, only two remain today: the Misr laboratory and the one belonging to the Film Institute. The Ministry of Culture developed this latter one. It is now called “Cinema City” and it is directed by the “Media Production City”.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <table width="200" cellspacing="5" cellpadding="0" border="0"> <tbody> <tr> <td><img height="286" width="200" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Intro/Affiche-Alexandria-NY.jpg" alt="" /></td> <td><img height="286" width="200" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Intro/Affiche-leDestin.jpg" alt="" /></td> <td><img height="286" width="200" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/EGYPTE/Intro/decoupage-planche-destin.jpg" alt="" /></td> </tr> <tr> <td><span style="font-size: smaller;">Alexandria-New York directed by Y Chahine, 2004</span></td> <td style="text-align: center;"><span style="font-size: smaller;">Destiny directed by Y Chahine, 1997</span></td> <td><span style="font-size: smaller;">Cutting from a </span><span style="font-size: smaller;">s</span><span style="font-size: smaller;">cene, Destiny<br /> </span></td> </tr> </tbody> </table> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <table width="600" cellspacing="1" align="center"> <tbody> <tr> <td> <div style="background-color: rgb(234, 228, 228); background-image: none; background-repeat: repeat; background-attachment: scroll; background-position: 0% 0%; -moz-background-size: auto auto; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;"> <p style="text-align: left;"><strong> <br /> </strong></p> <p style="text-align: left;"><strong>Here are some more key date</strong><strong>s</strong><strong>:</strong><br /> <br /> • 1911: adoption of the first law on cinema in Egypt;<br /> • 1923: publication of the first periodical review on film (“Animated Images”, Mohamed Tawfik was the owner and Editor in chief);<br /> • 1924: publication of the first book on film “The Dawn of Cinema”, written by the director and researcher Mahmoud Khalil Rachid (1894-1980);<br /> • 1925: creation of the very first large production company, the Misr Corporation for dramatic arts and film. It belonged to the Misr Bank, which had been founded in the wake of the 1919 revolution by Talaat Harb (1867-1941). In 1935, the Misr Corporation for dramatic arts and film inaugurated the first full film studio modelled on Hollywood studios. The Misr Studio was the largest cinematographic studio in Egypt, the Arab world, Africa and the Middle East, and it remains so today, although it was sorely tried after its nationalisation by the central bureaucratic administration.</p> <p style="text-align: left;"> </p> </div> </td> </tr> </tbody> </table> <p style="text-align: left;"> </p> <p style="text-align: left;"> </p> <p style="text-align: center;"><a href="http://www.festival-cannes.fr/en/article/57980.html"><span style="font-size: larger;"><strong>READ >>> EGYPTIAN FILMS AT THE FESTIVAL DE CANNES </strong></span></a><span style="font-size: larger;"><strong><br /> </strong></span></p> <p style="text-align: left;"> </p> <p style="text-align: left;"><a href="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/File/Filmographie%20Pays/Introduction%20to%20Egyptian%20Cinema.pdf" target="_blank" rel="noopener">> DOWNLOAD THE PDF VERSION</a></p> <p style="text-align: left;"> </p> <p style="text-align: left;"><span style="font-size: smaller;"><strong>* Samir Farid is a </strong></span><strong><span style="font-size: smaller;">journalist and film historian.</span></strong></p> <p style="text-align: left;"> </p> <p style="text-align: left;"> </p> <p style="text-align: left;"><em><span style="font-size: smaller;"><strong>The Festival de Cannes would like to thank the author</strong></span></em><em><span style="font-size: smaller;"><strong>s </strong></span></em><em><span style="font-size: smaller;"><strong> for contributing for free.<br /> </strong></span></em></p> <p style="text-align: left;"> </p>
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© <table width="294" cellspacing="1" cellpadding="0" border="0" align="left" style=""> <tbody> <tr> <td><img height="200" width="139" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE2/Dolcevita_AFF_Web.jpg" /></td> <td><img height="200" width="150" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE2/L'avventura_AFF_Web.jpg" /></td> </tr> </tbody> </table> <p style="text-align: right;"><strong>BY LORENZO CODELLI*</strong></p> <p style="text-align: justify;"><strong><br /> <br /> <div>During the closing ceremony at the 1960 Festival de Cannes, the presentation of the Palme d’Or to Fellini for <i>La Dolce vita </i>and the Jury Prize to Antonioni pour <i>L’Avventura</i> (<i>The Adventure</i>) were greeted by loud whistling. Georges Simenon, the President of the Jury, had appreciated the stylistic and thematic innovations of both works and would go on to strike up a brotherly relationship with Fellini. Both films marked the transition from a period of <b>slow economic recovery</b> to one of <b>sudden</b> economic boom, denouncing the disappearance of traditional moral values along the way.</div> </strong></p> <p style="text-align: justify;"><br />  </p> <div>During the golden age of Italian cinema in the 1960s, the Festival honoured masterpieces such as <strong><i>Il Gattopardo</i> </strong>(<strong><i>The Leopard</i></strong>), <strong>directed by Visconti</strong> (Palme d’Or), <i>Signore & signori</i> (<i>The Birds, the Bees and the Italians</i>), directed by Germi (Grand Prix), and <strong><i>Blow up</i>, directed by Antonioni </strong>(Grand Prix), as well as the exceptional performance of <strong>Sophia Loren </strong>in <strong><i>La Ciociara </i></strong>(<strong><i>Two Women</i></strong>), directed by De Sica (an Award for Best Actress which would be a prelude to an Oscar for the actress). It also brought into the limelight Valerio Zurlini’s lyricism (<i>La Ragazza con la valigia</i> - <i>Girl with a Suitcase</i>), Pier Paolo Pasolini’s experimentalism (<i>Uccellacci e uccellini</i> - <i>The Hawks and the Sparrows</i>), Marco Ferreri’s irony (<i>L’ape regina</i> - <i>The Conjugal Bed</i>), Francesco Rosi’s disillusionment (<i>Il Momento della verità</i> - <i>The Moment of Truth</i>), Elio Petri’s fierceness (<i>A ciascuno il suo </i>- <i>We Still Kill the Old Way</i>) and Ermanno Olmi’s mysticism (<i>I Fidanzati </i>- <i>The Fiances</i>).</div> <p><br />  </p> <table width="600" cellspacing="1" cellpadding="0" border="0"> <tbody> <tr> <td><img height="256" width="185" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE2/Le-guepard_1963_AFP_Web.jpg" /></td> <td><img height="256" width="192" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE2/LE%20GUEPARD.jpg" alt="" /></td> <td><img height="256" width="200" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE2/Antonioni_Blowup_1967_AFP_Web.jpg" /></td> </tr> <tr> <td style="text-align: center;"><span style="font-size: x-small;">B. Lancaster, C. Cardinale<br /> <em>The Leopard</em>, 1963<span> © AFP</span></span></td> <td style="text-align: center;"><span style="font-size: x-small;"> Po</span><span style="font-size: x-small;">s</span><span style="font-size: x-small;">ter for the film,<br /> <em>The Leopard</em>, 1963</span></td> <td style="text-align: center;"><span style="font-size: x-small;">M. Vitti, M. Antonioni, V. Redgrave<br /> <em>Blow Up, </em>1967<span> © AFP</span></span></td> </tr> </tbody> </table> <p style="text-align: justify;"><br /> <object height="362" width="600"> <param name="movie" value="http://www.youtube.com/v/ltfb4XQF_cg?fs=1&hl=fr_FR&rel=0&color1=0x3a3a3a&color2=0x999999" /> <param name="allowFullScreen" value="true" /> <param name="allowscriptaccess" value="always" /> <embed height="362" width="600" src="http://www.youtube.com/v/ltfb4XQF_cg?fs=1&hl=fr_FR&rel=0&color1=0x3a3a3a&color2=0x999999" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true"></embed></object></p> <p style="text-align: left;"><span style="font-size: x-small;"><em>La Ciociara (Two Women),</em> Vittorio De Sica, 1960</span><br /> <br />  </p> <table width="610" cellspacing="5" cellpadding="0" align="center"> <tbody> <tr> <td bordercolor="2"> <div style="background-color: rgb(239, 233, 233); background-image: none; background-repeat: repeat; background-attachment: scroll; background-position: 0% 0%; -moz-background-size: auto auto; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial; text-align: justify;"> <p style="text-align: center;"><span style="font-size: large;"><strong>FOCUS<br /> <b>The “before the revolution” generation</b></strong></span></p> <p style="text-align: left;"><strong><br /> <br /> <div>Thanks to the support of nonconformist producers such as Franco Cristaldi, Angelo Rizzoli, Mario Cecchi Gori, Goffredo Lombardo, Alfredo Bini and Moris Ergas, a wave of young talent was able to assert itself in the first half of the 1960s: Ermanno Olmi, Valerio Zurlini, Marco Ferreri, Marco Bellocchio, Pier Paolo Pasolini, Bernardo Bertolucci, Elio Petri, Franco Rossi, Ettore Scola, Ugo Gregoretti, Luciano Salce, Tinto Brass, Vittorio De Seta, Paolo and Vittorio Taviani, Florestano Vancini, and so on. Their generational revolt, which was aesthetic and political as well, was frequently in antithesis of the principles espoused by Visconti, Fellini, Antonioni, Germi and De Sica. Because of this sons-versus-fathers rebellion, as President of the Jury in 1969, Luchino Visconti decided to snub Marco Ferreri’s <i>Dillinger è morto</i><span> (<i>Dillinger is Dead</i>), a desperate ‘harakiri’ using ultramodern language. In parallel, during the same decade, a remarkable group of busy craftsmen emerged who would bring new blood - often literally – to popular genres, from horror films to westerns, “sword-and-sandal” epics and erotic films: Mario Bava, Sergio Leone, Sergio Sollima, Sergio Corbucci, Antonio Margheriti, Pasquale Festa Campanile, Damiano Damiani, Salvatore Samperi, Duccio Tessari, Franco Giraldi, and several others.</span></div> <br /> <br /> <br /> </strong></p> <table width="200" cellspacing="1" cellpadding="0" border="0"> <tbody> <tr> <td><img height="133" width="205" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE2/mille_et_une_nuits_sexe_pasolini.jpg" alt="" /></td> <td><img height="133" width="200" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE2/Grande%20bouffe_photo.jpg" alt="" /></td> <td><img height="133" width="200" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE2/Prima%20della.jpg" alt="" /></td> </tr> <tr> <td> <p style="text-align: center;"><span style="font-size: x-small;"> <em>Arabian Nigh</em></span><em><span style="font-size: x-small;">t</span><span style="font-size: x-small;">s</span><span style="font-size: x-small;">, </span></em></p> <p style="text-align: center;"><span style="font-size: x-small;">Pier Paolo Pasolini, 1974<br /> </span></p> </td> <td style="text-align: center;"> <p><em><span style="font-size: x-small;">The Grande Bouffe</span></em></p> <p><span style="font-size: x-small;">Marco Ferreri, 1973</span></p> </td> <td style="text-align: center;"> <p><em><span style="font-size: x-small;">Before the Revolution<br /> </span></em></p> <p><span style="font-size: x-small;">Bernaldo Bertollucci, 1967</span></p> </td> </tr> </tbody> </table> <p style="text-align: justify;"><strong><br /> </strong></p> </div> </td> </tr> </tbody> </table> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><br /> <img height="200" width="145" align="left" alt="" style="margin-right: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE2/Gassman_Web.jpg" /><br />  </p> <div>In the 1970s, baptised the “Years of Lead” due to increasing terrorism and the threat of a military coup, the <i>commedia all’italiana </i>(Italian-style comedy), which served as a hilarious antidote to the ideological clashes going on at that time, made Festival audiences laugh loudly: <i>Dramma della gelosia</i> (<i>The Pizza Triangle</i>), directed by Ettore Scola (Best Actor Award went to its versatile protagonist, Marcello Mastroianni), <i>Per grazia ricevuta</i> (<i>Between Miracles</i>), by the brilliant comic and first-time director, Nino Manfredi (Best First Work Award), <i>La grande bouffe</i> (<i>The Grande Bouffe</i>), directed by Ferreri (FIPRESCI award), <i>Vogliamo I Colonelli </i> (<i>We Want the Colonels</i>), directed by Mario Monicelli, <i>Profumo di donna</i> (<i>Scent of a Woman</i>), directed by Dino Risi (Best Actor award went to the irresistible <strong>Vittorio Gassman</strong>), <strong><i>Brutti, sporchi e cattivi</i> </strong>(<strong><i>Ugly, Dirty and Bad</i></strong>),<strong> directed by Ettore Scola </strong>(<strong>Best Director Award</strong>), <i>L'ingorgo - Una storia impossibile</i>; <i>Black Out in Autostrada</i> - Traffic Jam) directed by Luigi Comencini, and so on.</div> <p><br /> <br /> <span style="font-size: x-small;">Ann Margret, Vittorio </span><span style="font-size: x-small;">Gassman<br /> 1975 © AFP</span></p> <p style="text-align: right;"><object height="350" width="100%"> <param value="http://www.allocine.fr/blogvision/18896253" name="movie" /> <param value="true" name="allowFullScreen" /> <param value="always" name="allowScriptAccess" /> <embed height="350" width="100%" allowscriptaccess="always" allowfullscreen="true" type="application/x-shockwave-flash" src="http://www.allocine.fr/blogvision/18896253"></embed></object></p> <p><span style="font-size: x-small;">Ugly, Dirty and Bad, Ettore Scol</span>a, 1976</p> <p style="text-align: justify;"><br />  </p> <table align="right"> <tbody> <tr> <td> </td> <td><img height="166" width="250" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE2/000_ARP1584542.jpg" alt="" /></td> </tr> <tr> <td> </td> <td> <p style="text-align: right;"><span style="font-size: x-small;">Fabio Traversa, Moretti, Paolo Zaccagnini, Lina Sastri</span></p> <p style="text-align: right;"><span style="font-size: x-small;"><em>Ecce Bombo</em>, Cannes 1978 © AFP<br /> <br /> <br /> </span></p> </td> </tr> </tbody> </table> <p style="text-align: justify;">The 1972 Grand Prix was awarded jointly to two very lucid counter-inquiries: <i>Il Caso Mattei </i>(<i>The Mattei Affair</i>), directed by Francesco Rosi and <i>La classe operaia va in paradiso</i> (<i>The Working Class Goes to Heaven</i>), directed by Elio Petri. This important event marked the return of social and political commitment, some twenty years after the end of the neorealist movement. And it was with great pride that Roberto Rossellini, President of the Jury in 1977, awarded the Palme d’Or to <i>Padre Padrone </i>(<i>Father and Master) </i>directed by Paolo and Vittorio Taviani, two of his protégés, who, like their mentor, had decided to turn their attention to “pauperistic” television.<br /> The arrival of <strong>Nanni Moretti</strong> on the scene in 1978 with<strong> <i>Ecce bombo</i> </strong>signalled the beginning of an era of autarchic screenwriter-actors that would leave a permanent mark on the film scene, from Maurizio Nichetti to Francesco Nuti, Adriano Celentano, Carlo Verdone, Massimo Troisi and Roberto Benigni.<br /> <br /> In the 1980s and 1990s, Italian cinema faced a general shortage of resources and ideas. I remember that <strong><i>Once Upon a Time in America</i> directed by Sergio Leone</strong> was awaited eagerly at Cannes after taking several years to shoot, backed by an astronomical budget and ambitions, the likes of which have not been seen since.</p> <table width="610" cellspacing="0" cellpadding="0" border="0"> <tbody> <tr> <td bgcolor="#000000"><iframe height="390" frameborder="0" width="480" title="YouTube video player" src="http://www.youtube.com/embed/Vj6v1jyqAq8" allowfullscreen=""></iframe> </td> <td bgcolor="#000000"><img height="182" width="120" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE2/Once%20upon%20a%20time.jpg" alt="" /></td> </tr> </tbody> </table> <p><br /> <br /> At the 1987 Festival, Fellini made a comeback with <i>Intervista,</i> a subdued, but very brilliant autobiography which tackled the crisis of the film industry massacred by TV, and made clear that the golden era of <i>la dolce vita </i>was indeed a thing of the past<i>.</i> At the same Festival, Mastroianni, who appeared as himself in <i>Intervista</i>, received the Award for Best Actor for <i>Dark Eyes</i> directed by Nikita Mikhalkov.<br /> The rising original filmmakers were rather few in number and did not really form a homogenous group: <strong>Giuseppe Tornatore</strong> (<strong><i>Cinema Paradiso</i></strong>, <strong>Special Grand Prix</strong>), Daniele Luchetti (<i>Domani accadrà –It's Happening Tomorrow</i>), Michele Placido (<i>Pummarò –Tomato</i>), Gabriele Salvatores (Turnè - <i>Strada blues</i>), Pupi Avati (<i>Magnificat</i>), Francesca Archibugi (<i>Il grande cocomero –The Great Pumpkin</i>), Mario Martone (<i>L'amore molesto –Nasty Love</i>), Mimmo Calopresti (<i>La Seconda volta -The Second Time</i>), Peter Del Monte (<i>Compagna di viaggio – Travelling Companion</i>) and Gianni Amelio (<i>Il Ladro di bambini –The Stolen Children</i>, Jury Grand Prix).<br /> <br /> <br /> <iframe height="368" frameborder="0" width="600" allowfullscreen="" src="http://www.youtube.com/embed/XOBTnw7ByTI" title="YouTube video player"></iframe></p> <p style="text-align: left;"><span style="font-size: x-small;"> <em>Cinema Paradiso</em>, Giuseppe Tornatore, 1989</span><br />  </p> <table width="610" cellspacing="5" cellpadding="5" style=""> <tbody> <tr> <td> <div style="background-color: rgb(239, 233, 233); background-image: none; background-repeat: repeat; background-attachment: scroll; background-position: 0% 0%; -moz-background-size: auto auto; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial; text-align: justify;"> <p style="text-align: center;"><strong><em><br /> </em><span style="font-size: large;">FOCUS <br /> <b>When television saved cinema</b></span></strong></p> <p style="text-align: left;"><strong><em><br /> <br /> </em>“<i>The relationship I’ve developed with RAI has been beneficial each time I’ve experienced difficulties securing the necessary funding to make my films. Without the unfailing support of television, the odds are that I wouldn’t have been able to survive; I wouldn’t have been able to continue making a particular type of film. In the end, I probably would have changed career! Television deserves credit for understanding not only that it had to join forces with cinema, but also that it had to help ensure the survival of a type of cinema that was under serious threat. That’s how a number of highly valuable works came to be made, which benefited both cinema and television”,</i> admitted Ermanno Olmi. The award of the 1978 Palme d’Or to Olmi’s astonishing <i>L'albero degli zoccoli </i>(<i>The Tree of Wooden Clogs</i>), one year after it was awarded to another television production, <i>Padre Padrone</i> (<i>Father and Master</i>), directed by the Taviani brothers, marked the start of a new era, which would, unfortunately, be short-lived. Federico Fellini, Gianni Amelio, Nelo Risi, Luigi Comencini, Bernardo Bertolucci and Liliana Cavani are just some of the directors who would make non-conventional, often disturbing works for television. From the 1980s onwards, RAI and its competitor, Mediaset, would invest more and more regularly in films produced for wide commercial release.<br /> <br /> </strong></p> <table width="610" cellspacing="0" cellpadding="0" border="0"> <tbody> <tr> <td bgcolor="#000000"><object height="385" width="480"> <param value="http://www.youtube.com/v/Hxdt2b2LfEk?fs=1&hl=fr_FR&rel=0" name="movie" /> <param value="true" name="allowFullScreen" /> <param value="always" name="allowscriptaccess" /> <embed height="385" width="480" allowfullscreen="true" allowscriptaccess="always" type="application/x-shockwave-flash" src="http://www.youtube.com/v/Hxdt2b2LfEk?fs=1&hl=fr_FR&rel=0"></embed></object></td> <td bgcolor="#000000"><img height="160" width="120" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE2/L'arbre%20aux%20sabots_AFF.jpg" alt="" /></td> <td bgcolor="#000000"> </td> </tr> </tbody> </table> <p style="text-align: center;"> </p> </div> </td> </tr> </tbody> </table> <p style="text-align: center;"><strong><br /> </strong> <span style="font-weight: bold;">AVAILABLE </span><strong>FROM 1</strong><strong>s</strong><strong>t MARCH: "ITALIAN FILM</strong><strong>S</strong><strong> AT CANNES 2000-2010" (3/3).</strong></p> <p><strong><br /> <a href="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/File/Filmographie%20Pays/Italian%20Cinema%20at%20Cannes%201960-1999.pdf" target="_blank" rel="noopener">> DOWNLOAD THE PDF VERSION</a><br /> </strong><span style="font-size: smaller;"><strong><br /> </strong>* Lorenzo Codelli is a journalist and historian. He al</span><span style="font-size: smaller;">so contribute</span><span style="font-size: smaller;">s</span><span style="font-size: smaller;"> to the Festival de Cannes, the magazine "Positif", the "International Film Guide" and other publications.<br /> <br /> <em>The Festival de Cannes would like to thank the author</em></span><span style="font-size: smaller;"><em>s</em></span><span style="font-size: smaller;"><em> for contributing for free.</em></span><strong><br /> </strong></p>
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© <p><br /> <img alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/Ouverture/CITATIONS/Tombe-les-filles_w.jpg" style="float:left; height:235px; margin-right:10px; width:300px" /></p> <p>Allan : <strong>What are you doing Saturday night?</strong><br /> La fille du musée : <strong>Committing suicide.</strong><br /> Allan : <strong>What about Friday night?</strong></p> <p><em>Play It Again, Sam (1972)</em></p> <p><img alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/Ouverture/CITATIONS/Woody-et_les_robots_Web.jpg" style="float:right; height:328px; width:220px" /></p> <table align="right" style="height:84px; width:300px"> <tbody> <tr> <td style="text-align:left">Not only is there no God, but try finding a plumber on Sunday!<br /> Woody Allen, My philosophy (1966)</td> </tr> </tbody> </table> <p>“My brain?! That's my second favorite organ!”<br /> <em>Sleeper </em>(1973)</p> <table align="left" border="0" cellpadding="0" cellspacing="0" style="width:497px"> <tbody> <tr> <td style="text-align:left"><em><strong>I can't listen to that much Wagner. I start getting the urge to conquer Poland.</strong></em><br /> <em>Manhattan Murder Mystery</em> (1993)</td> </tr> </tbody> </table> <p style="text-align:justify"><img alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/Ouverture/CITATIONS/Guerre-et-amour_w.jpg" style="float:right; height:258px; margin-left:10px; width:400px" /></p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify">“To love is to suffer. To avoid suffering, one must not love. But then, one suffers from not loving. Therefore, to love is to suffer; not to love is to suffer; to suffer is to suffer. To be happy is to love. To be happy, then, is to suffer, but suffering makes one unhappy. Therefore, to be happy, one must love or love to suffer or suffer from too much happiness.”<br /> <em>Love and Death</em> (1975)</p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <table align="left" border="0" cellpadding="0" cellspacing="5" style="width:350px"> <tbody> <tr> <td style="text-align:center"> <p><img alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/Ouverture/CITATIONS/Annie_hall_Web.jpg" style="float:left; height:211px; width:300px" /></p> </td> </tr> </tbody> </table> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify">Alvy Singer [adressing the camera]<br /> <strong>Two elderly women are at a Catskill mountain resort, and one of 'em says, "Boy, the food at this place is really terrible." The other one says, "Yeah, I know; and such small portions." Well, that's essentially how I feel about life.</strong><br /> <em>Annie Hall</em> (1977)</p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:center"> </p> <p style="text-align:center">"To you I'm an atheist; to God, I'm the Loyal Opposition."<br /> <em>Stardust Memories</em> (1980)</p> <p style="text-align:center"><img alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/Ouverture/CITATIONS/christophel_emories_1980_09.jpg" style="height:332px; width:500px" /></p> <p style="text-align:center"> </p> <p style="text-align:center"> </p> <p style="text-align:justify"> </p> <table align="left" border="0" cellpadding="0" cellspacing="0" style="width:250px"> <tbody> <tr> <td> <p style="text-align:right">"Until you've been kissed on a rainy Parisian afternoon - you've never been kissed." <br /> <em><strong>Husbands and wives</strong></em><strong> (1992)</strong></p> </td> </tr> </tbody> </table> <p style="text-align:justify"> </p> <p style="text-align:right"> </p> <p style="text-align:right"> </p> <p style="text-align:right"> </p> <p style="text-align:right"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> <strong>                                 Bisexuality immediately doubles your chances for a date on Saturday night.</strong><br /> <img alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/Ouverture/CITATIONS/Meurtre-mysterieux_Web.jpg" style="float:right; height:202px; width:300px" /><em>                                  Manhattan Murder Mystery</em> (1993)</p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> <img alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/Ouverture/CITATIONS/Harry_Web.jpg" style="float:left; height:334px; width:250px" /></p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"><strong>Doris : </strong>You have no values. With you its all nihilism, cynicism, sarcasm, and orgasm..<br /> <strong>Harry Block </strong>: Hey, in France I could run for office with that slogan, and win!</p> <p style="text-align:justify"><em>Deconstructing Harry </em>(1997)</p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <table border="0" cellpadding="0" cellspacing="0" style="width:610px"> <tbody> <tr> <td> <p><strong>The most beautiful words in the English language aren't "I love you" but "it's benign."</strong><br /> <em>Deconstructing Harry </em>(1997)</p> </td> </tr> </tbody> </table> <p style="text-align:justify"> <em><img alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/Ouverture/CITATIONS/MatchPoint__webjpg.jpg" style="float:right; height:227px; margin-left:10px; width:350px" /></em></p> <p style="text-align:justify"> <br />  </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:justify">Christopher « Chris » Wilton : <strong>There are moments in a match when the ball hits the top of the net, and for a split second, it can either go forward or fall back. With a little luck, it goes forward, and you win. Or maybe it doesn't, and you lose...</strong><br /> <em>Match Point </em>(2005)</p> <p style="text-align:center"> </p> <p style="text-align:center"> </p> <p style="text-align:center"> </p> <p style="text-align:center"> </p> <p style="text-align:center"> </p> <p style="text-align:center"> <br /> <br /> “I am not afraid of death,</p> <p style="text-align:center">I just don't want to be there when it happens.”<br /> <img alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/Ouverture/CITATIONS/w-allen-cannes2008-foule.jpg" style="height:334px; width:500px" /></p> <p style="text-align:center"> </p> <p style="text-align:right"> <img alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/Ouverture/CITATIONS/signatureAllen_Web.jpg" style="height:110px; width:200px" /></p> <p style="text-align:justify"> </p> <p style="text-align:justify"> </p> <p style="text-align:left">Pictures © Christophe L.</p>
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© <p style="text-align: center;"><img height="400" width="600" src="http://cdn-media.festival-cannes.com/assets/Image/Ouverture/Midnight-in-Paris.jpg" alt=""></p> <p style="text-align: center;"><span style="font-size: smaller;">Photographer - Roger Arpajou © 2011 Mediapro, Versátil, & Gravier Productions</span><br><br><br><span style="font-size: larger;"><br></span></p> <p style="text-align: justify;"><span style="font-size: larger;"><strong><em>Midnight in Paris</em>, the new film by Woody Allen will open the Festival de Cannes on May 11<sup>th</sup> in the LumièreTheatre, in the presence of the Jury presided by Robert De Niro.</strong></span><br><br> The romcom, which was shot last year in the French capital, brings together a broad international cast, including Owen Wilson, Rachel McAdams and Marion Cotillard, as well as Kathy Bates, Adrien Brody, Carla Bruni-Sarkozy, Gad Elmaleh and Léa Seydoux.<br> Following London (<em>Match Point</em>) and Barcelona (<em>Vicky Cristina Barcelona</em>), it’s the turn of Paris to be honoured by the lens of the New York film director most appreciated by European audiences.<br><br> "<em>Midnight in Pari</em><em>s</em> is a wonderful love letter to Paris", declared Festival director Thierry Frémaux. "It’s a film in which Woody Allen takes a deeper look at the issues raised in his last films: our relationship with history, art, pleasure and life. His 41st feature reveals once again his inspiration."<br><br> Produced by Médiapro (Spain) and Gravier Productions (New York), and distributed by Mars Films in France, the film is to be released in France the same day it is screened at Cannes. French audiences will thus be able to enjoy it in 400 theatres throughout the country. For this occasion, the Festival de Cannes wishes, with the consent of its partner Canal+ and the support of the national federation of French theaters, to make the Opening Ceremony of the Festival available to any theatre requesting it, so that their audiences can experience live the entire programme of the Opening Night of the Festival.<br> In this way, the Festival de Cannes underlines the strong ties that unite it with the theatres and their audiences, and draws attention to the films in the Official selection.<br><strong><br> The 64<sup>th</sup> Festival de Cannes is to take place Wednesday May 11th to Sunday 22nd May 2011.</strong><br><br><br><br><iframe height="349" frameborder="0" width="560" title="YouTube video player" src="http://www.youtube.com/embed/LApVrMdxdjk" allowfullscreen=""></iframe>  </p>
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© <p style="text-align: right;"><strong>BY YOKICHI </strong><strong>NAKAGAWA</strong><strong>*<br /> <br /> </strong></p> <p style="text-align: justify;"> </p> <p style="text-align: center;"><img height="225" width="300" align="left" style="margin-right: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/kabuki-erable.jpg" alt="" /></p> <p style="text-align: justify;"><strong>The importation of the Lumière brothers’ cinematograph in 1897 marked the first dawn of cinema in Japan. The first moving-picture camera imported into the country was a Gaumont camera that was used on several occasions to film fashionable geishas in the traditional restaurants of Shimbashi, which was a great success with audiences. <br /> </strong>The film made from these shots of the geishas is considered to be the first film made for entertainment in Japan. In 1899, a photographic engineer named <strong>Tsunekichi Shibata</strong> made what is thought to be the first Japanese cinematographic production, a film of purely theatrical content that showcased a kabuki play named <strong><i>Maple Viewing</i></strong><i> </i>(<strong><i>Momijigari</i></strong>). With the importation of French equipment, France’s major influence on Japanese cinema was established from the very beginning.  </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <p style="text-align: center;"><object height="362" width="480"> <param allowfullscreen="" value="http://www.dailymotion.com/swf/video/x7iew7?width=480 <param name=" name="movie" /> <param value="always" name="allowScriptAccess" /> <embed height="362" width="480" allowscriptaccess="always" true="" src="http://www.dailymotion.com/swf/video/x7iew7?width=480&allowfullscreen=" type="application/x-shockwave-flash"></embed></object></p> <p style="text-align: center;"><span style="font-size: smaller;"><em>A page of madne</em></span><span style="font-size: smaller;">s</span><span style="font-size: smaller;">s by</span><span style="font-size: smaller;"> Kinugasa Teinosuke, 1926 </span><br /> <em><br /> </em></p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">At the outset, the main trend in Japanese cinematography was <i>jidaigeki,</i> or cloak and dagger drama. Shortly after, contemporary drama made its appearance. The history of Japanese cinema places the trilogy <i>A Diary of Chūji’s Travels </i>(<i>Chūji tabi nikki)</i>, made in 1927 by Daisuke Itō, at the top of the list of <i>jidaigeki</i> films. For contemporary drama, priority is given to <strong><i>A Page of Madness</i></strong><i> </i>(<strong><i>Kurutta Ippeiji</i></strong><i>)</i>, <strong>which was made in 1926 by Teinosuke Kinugasa</strong>. With the advent of the 1930s, the brilliant Sadao Yamanaka emerged on the cinematographic scene. Sadly, he was called up for military service and died of illness at the age of 29 on the front in northern China. Only three of his works have survived: <i>The Million Ryō Pot (Hyakuman ryō no tsubo</i>, 1935), <strong><i>Kōchiyama Sōshun</i></strong> (<strong><i>Kōchiyama Sōshun</i></strong>, 1936) and his posthumous work <i>Humanity and Paper Balloons</i> (<i>Ninjo kamifusen</i>, 1937). Sadao Yamanaka’s works are particularly precious as an example of the style of pre-war Japanese cinema.</p> <p style="text-align: left;"> </p> <p style="text-align: center;"><img height="277" width="400" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/Kochiyama-SoShun-1936.jpg" alt="" /><br /> <span style="font-size: smaller;">Kōchiyama Sōshun by </span><span style="font-size: smaller;">Yamanaka Sadao</span></p> <p style="text-align: justify;"><br /> <br /> Japan lost the war on 15 August 1945. Exhausted and impoverished, the whole Japanese population experienced an extremely difficult existence. However the public, craving a diversion, streamed into the cinemas. Many films from the West were distributed and Japanese audiences were particularly fascinated by the artistic quality of French cinema.<br />  </p> <p><iframe height="480" frameborder="0" width="600" allowfullscreen="" src="http://www.youtube.com/embed/T9YbmF0rics" type="text/html" class="youtube-player" title="YouTube video player"></iframe></p> <p style="text-align: center;"><span style="font-size: smaller;"><em>Tokyo </em></span><em><span style="font-size: smaller;">Story </span></em><span style="font-size: smaller;">by Yasujirô Ozu</span><br />  </p> <p style="text-align: center;"> </p> <p><iframe height="480" frameborder="0" width="600" allowfullscreen="" src="http://www.youtube.com/embed/MFb2bNERDzw" type="text/html" class="youtube-player" title="YouTube video player"></iframe></p> <p style="text-align: center;"><span style="font-size: smaller;"><em> </em></span><em><span style="font-size: smaller;">Ugets</span><span style="font-size: smaller;"><em>u</em> </span></em><span style="font-size: smaller;">by Kenji Mizoguchi</span></p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><br /> The golden age of Japanese cinema was the 1950s, particularly the first half of the decade, when a large number of films were produced that have taken their place in the annals of film history: first and foremost, the masterpieces by Teinosuke Kinugasa, Yasujirō Ozu, Akira Kurosawa, Kenji Mizoguchi, Keisuke Kinoshita and Mikio Naruse. Kaneto Shindō, a great director from the 1950s who is now 98 years old, just finished his most recent work, <i>Ichimai no hagaki</i> (which could be translated as <i>A Postcard</i>) in October 2010, on an anti-war theme.</p> <p style="text-align: justify;"> </p> <table width="400" cellspacing="5" cellpadding="1" border="0" align="center" style=""> <tbody> <tr> <td style="text-align: center;"><img height="250" width="179" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/Imamura%20Shohei-1987-ok.jpg" /></td> <td><img height="250" width="179" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/kaneto-shindo.jpg" /></td> <td><img height="250" width="179" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/oshima%20Nagisa-1986-ok.jpg" /></td> </tr> <tr> <td style="text-align: center;"><span style="font-size: smaller;"><em>Shōhei </em></span><span style="font-size: smaller;"><em>Imamura </em></span><span style="font-size: smaller;"><em>in 1987</em></span></td> <td style="text-align: center;"><span style="font-size: smaller;"><em>Kaneto Shindo</em></span></td> <td style="text-align: center;"><span style="font-size: smaller;"><em>Nagisa</em></span><span style="font-size: smaller;"><em> </em></span><span style="font-size: smaller;"><em>Ōshima </em></span><span style="font-size: smaller;"><em>in 1986</em></span></td> </tr> </tbody> </table> <p style="text-align: justify;"><br /> <br /> In 1953, the television channel NHK broadcast its first programmes and the cinemas soon noticed their attendance numbers dropping. The start of the 1960s marked the arrival of new directors who were not satisfied with Japanese film production to date. They created a trend called Shōchiku Nouvelle Vague (from the name of a Japanese cinematographic production company). Nagisa Ōshima’s <i>Cruel Story of Youth</i> (<i>Seishun zankoku monogatari</i>, 1960) became a real societal phenomenon. Japan also owes its close ties with the Festival de Cannes to Nagisa Ōshima, Shōhei Imamura, twice winner of the Palme d’Or and, of course, to <strong>Akira Kurosawa</strong>, who also won the Palme d’Or for <strong><i>Kagemusha </i></strong>in 1980.</p> <div style="width: 600px; height: 479px; text-align: center;" id="blogvision"><object height="479" width="600"> <param value="http://www.allocine.fr/blogvision/18672132" name="movie" /> <param value="true" name="allowFullScreen" /> <param value="always" name="allowScriptAccess" /> <embed height="479" width="600" allowscriptaccess="always" allowfullscreen="true" type="application/x-shockwave-flash" src="http://www.allocine.fr/blogvision/18672132"></embed></object></div> <p style="text-align: center;"><em> </em><span style="font-size: smaller;"><em>Kagemusha </em>by </span><span style="font-size: smaller;">Akira </span><span style="font-size: smaller;">Kurosawa <br /> </span></p> <table width="600" cellspacing="1" align="center"> <tbody> <tr> <td> <div style="background-color: rgb(234, 228, 228); background-image: none; background-repeat: repeat; background-attachment: scroll; background-position: 0% 0%; -moz-background-size: auto auto; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;"> <p style="text-align: center;"><strong> </strong></p> <p style="text-align: center;"><strong><img height="127" width="185" align="left" style="margin-right: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/Takeshi-kitano.jpg" alt="" /></strong><span style="font-size: larger;"><strong>THE FESTIVAL DE CANNES AND ME</strong><strong> <br /> BY </strong></span><span style="font-size: larger;"><strong>TAKESHI </strong></span><span style="font-size: larger;"><strong>KITANO <br /> </strong></span></p> <p style="text-align: left;"> </p> <p style="text-align: left;"><br /> The Festival that left the most profound impression on me was the 52<sup>nd</sup> Festival de Cannes in 1999, the year that <strong><i>Kikujiro </i></strong>(<strong><i>Kikujir</i><i>ō no natsu</i></strong>) was screened in competition. I remember the audience’s enthusiastic applause, which<img height="180" width="150" align="right" style="margin-left: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/takeshi-kitano-ete-de-kikujiro.jpg" alt="" /><span>seemed like it would never stop, and the acclamations after the official screening as if it were just yesterday. To this very day, that applause remains in my memory as an unequalled experience, a real storm. During the official screenings at the Festival de Cannes, one of the greatest fears of directors is the sound of the seats clapping shut, as spectators rise to leave. Mentally, this noise hits us as if we were prisoners hearing our death sentence</span><img height="200" width="140" align="left" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/kikujiro_1999_kikujiro-no-natsu.jpg" style="margin-right: 10px;" alt="" />. Throughout the screening, as our eyes are glued to the screen, our ears are tuned to the sounds of the seats, like a submarine sonar. During the screening of <strong><i>Kikujiro</i></strong>, this feeling of tension was suspended and it was only when the credits began to roll that I suddenly realised I had not heard the sound of the seats. When the audience began to cry out “bravo!” and applaud. This precious experience stimulated me and I continue making films today because of it. Film festivals help filmmakers to mature.</p> <p style="text-align: left;"> </p> <p style="text-align: left;"> </p> <p style="text-align: left;"> </p> <p style="text-align: left;"> </p> <p style="text-align: left;"> </p> <p style="text-align: left;"> </p> <iframe height="373" frameborder="0" width="610" title="YouTube video player" class="youtube-player" type="text/html" src="http://www.youtube.com/embed/Ip9OI7ockW8" allowfullscreen=""></iframe> <p style="text-align: center;"><span style="font-size: smaller;"> An extract from<em> Kikujiro</em></span></p> <p style="text-align: left;"> </p> <p style="text-align: left;">I also had another valuable experience at the Festival de Cannes. It was in 2007, for the 60<sup>th</sup> anniversary of the event, when I took part in a project called <strong><i>To Each His Own Cinema</i> </strong>which put me in contact with numerous talented directors from all over the world. Having the opportunity to participate in this project was a great honour for me, but the most precious moment was the rehearsal for the opening ceremony, where even as I was speaking, I could see the silhouettes of all these masters before me. It was an amazing moment. I still think even today that I should have filmed it for audiences to enjoy. </p> <p style="text-align: left;"> </p> <p style="text-align: justify;"> </p> <p style="text-align: center;"><a href="http://www.festival-cannes.fr.krypton.wcube.fr/fr/archives/ficheFilm/id/4427023/year/2007.html"><img height="275" width="500" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/Kitano-chacunsoncinema2.jpg" /><br /> </a></p> <p style="text-align: center;"><span style="font-size: smaller;"><em>One Fine Day by Takeshi Kitano - "To Each Hi</em></span><span style="font-size: smaller;"><em>s</em></span><span style="font-size: smaller;"><em> Own Cinema".</em></span></p> <p style="text-align: center;"> </p> <p style="text-align: center;"> </p> <p><img height="106" width="280" align="middle" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/Kitano_signatureOK.jpg" /></p> <p style="text-align: left;">Takeshi Kitano</p> <p style="text-align: left;"> </p> <p style="text-align: center;"><br />  </p> </div> </td> </tr> </tbody> </table> <p> <br /> <br /> <br />  </p> <h3 class="fck-title-2" style="text-align: right;"><strong><span style="font-size: larger;">Japan at Cannes</span></strong></h3> <p class="fck-paragraph-1"><br />  </p> <p class="fck-paragraph-1" style="text-align: justify;">Japanese cinema is constantly renewing itself, as the work of director Takeshi Kitano demonstrates particularly well. In his wake, an increasing number of young Japanese directors have been drawn to Cannes since 2000, and the works of art and experimentation they produce are primarily focused on garnering awards abroad rather than at home in Japan. As a result, we have seen the directors Hirokazu Koreeda and Naomi Kawase in Cannes, as well as Masahiro Kobayashi, who is better known in Cannes than in his home country and who presented <strong><i>Bashing</i> </strong>(<strong><i>Bashingu</i></strong>) in the Official Competition in 2005.</p> <p class="fck-paragraph-1" style="text-align: justify;"> </p> <p class="fck-paragraph-1" style="text-align: center;"> <img height="335" width="500" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/masahiroKobayashi-bashingOK.jpg" alt="" /></p> <p class="fck-paragraph-1" style="text-align: center;"><span style="font-size: smaller;"><em> Nene Otsuka, Masahiro Kobayashi and Fusako Urabe in 2005 at Cannes for Bashing</em></span></p> <p class="fck-paragraph-1"> </p> <p class="fck-paragraph-1" style="text-align: center;"><img height="260" width="610" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/2realisateursjaponais.jpg" /></p> <p class="fck-paragraph-1" style="text-align: justify;"><br /> <br /> Due to the poor distribution of Western films in Japan, the works awarded the Palme d’Or at the Festival de Cannes are not adequately presented. While films like <i>The Class</i> from last June, <i>Uncle Boonmee</i>, <strong><i>The White Ribbon</i> </strong>(Palme d’Or 2009), <i>Of Gods and Men</i> (Grand Prix 2010) and <img height="211" width="150" align="right" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/rubanblanc_japon.jpg" style="margin-left: 10px;" alt="" /><em>Certified Copy </em>have been released, the film <i>Poetry</i> has still not been released to date. In a country where art and experimentation in cinema do not have much support, it is common for films to be released only 12 or 18 months after their presentation at the Festival de Cannes.<br /> <br /> <br /> <strong><b>A film industry confronted with various problems</b></strong><br /> <br /> The situation of Japanese cinema is rather unique. In Japan, there is no public organisation similar to the French <i>Centre National du Cinéma</i> (CNC), and the management of cultural policy is relatively outdated.<br /> <br /> In 2004, the CNC signed a memorandum of cooperation with Japan that only sets out a certain number of issues on which common efforts must be undertaken. <br /> <br /> Today, the main question that preoccupies the world of Japanese cinematography is the absence of a public film school. Moreover, directors do not receive any royalties because, ever since the pre-war period, these rights have been relinquished to production companies. The system governing the legal copyrighting of films also remains inadequate. Moreover, the activity of cinemas for artistic and experimental film is very underdeveloped.<br /> <br /> <b>The current situation in Japanese cinema</b><br /> <br /> Cinema became the ultimate form of entertainment in Japan as early as the pre-war years and particularly between 1945 and 1958, the year it attained its zenith with 1.12 billion spectators. Subsequently, with the advent of television, this number diminished significantly. The most recent statistics indicate 162.2 million spectators per year. On average, the Japanese go to the cinema 1.3 times per year, which is approximately three times less that the French or South Koreans. Annual sales in 2010 were approximately ¥220 billion (€2.42 billion), which positions Japan as a major film market, placed just behind the USA.<br /> <br /> This contradictory situation is primarily due to the cost of a cinema ticket: in Tokyo and even in Osaka, a ticket can cost up to ¥1,800 full price, ¥1,500 for students and ¥1,000 for people over the age of 60. This price makes up financially for the reduced attendance. On average, a cinema ticket costs €6.14 in France, €5.1 in Korea, $7.50 dollars in the US, and Japan is the exception with a high cost of ¥1,217 (or €11.06). One can thus argue that the Japanese film industry is supported by the high price of tickets.</p> <p> <strong><br /> </strong></p> <table width="600" cellspacing="1" align="center"> <tbody> <tr> <td> <div style="background-color: rgb(234, 228, 228); background-image: none; background-repeat: repeat; background-attachment: scroll; background-position: 0% 0%; -moz-background-size: auto auto; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;"> <p style="text-align: left;"><strong> <br /> </strong></p> <p style="text-align: center;"><strong><img height="154" width="120" align="left" alt="" style="margin-right: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/Koji-Yakusho.jpg" /><span style="font-size: larger;">A RESPECT FOR THE CINEMA<br /> BY </span></strong><strong><span style="font-size: larger;">KOJI </span></strong><strong><span style="font-size: larger;">YAKUSHO </span><br /> <br /> </strong><em><strong><br /> </strong></em></p> <p style="text-align: left;">I believe that the audiences who come to see films at the Festival de Cannes have a true passion for film, and it is in Cannes that I first understood how many people love the cinema. I had the clear impression that the entire Festival held the director Shōhei Imamura in high esteem. In Japan, I had not sensed this feeling of respect for actors and directors.<br /> <br /> As I was extremely stressed, I hardly remember going up the red carpet. Of course, I remember a few fleeting impressions, but unfortunately, as Shōhei Imamura had difficulty walking, we were unable to go up together. I remember being very impressed seeing him with his cane in the company of the President Gilles Jacob, as I glanced at the entrance of the Palais des Festivals while I climbed the stairs. I was moved that a film shot in such a small city as Sawara, in Japan, could be received in such a lively place as an international film festival. And when I heard the soundtrack to <strong><i>The Eel</i></strong>, I felt even greater joy. My heart began to beat very fast.<br /> <br /> <object height="485" width="610"> <param value="http://www.youtube.com/v/8HdVs0mN9ZY?fs=1&hl=fr_FR" name="movie" /> <param value="true" name="allowFullScreen" /> <param value="always" name="allowscriptaccess" /> <embed height="485" width="610" allowfullscreen="true" allowscriptaccess="always" type="application/x-shockwave-flash" src="http://www.youtube.com/v/8HdVs0mN9ZY?fs=1&hl=fr_FR"></embed></object></p> <p style="text-align: center;"><span style="font-size: smaller;"><em> The Eel by </em></span><span style="font-size: smaller;">Shōhei</span><span style="font-size: smaller;"> Imamura <br /> </span></p> <p style="text-align: left;"> </p> <p style="text-align: left;">For the awards ceremony, Mr Imamura was obliged to return to Japan and I got up on stage in the company of director Abbas Kiarostami, Palme d’Or ex-aequo: I have the photo that was taken of the two of us on display at my home. I was in a state of complete panic on the day of the awards ceremony. I had thought I would visit Paris and spend a night there before returning home, when the producer called me in. And when I ascended the red carpet, Gilles Jacob whispered to me: “I don’t think you will be disappointed”. And yet, I still did not expect the Palme d’Or. The award was presented by Catherine Deneuve.</p> <p style="text-align: justify;"> </p> <p style="text-align: center;"> </p> <p style="text-align: center;"><img height="240" width="300" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/JAPON/yakusho-Koji-deneuve-kiarostamiOK.jpg" /><br /> <span style="font-size: smaller;"><em>Kōji </em></span><span style="font-size: smaller;"><em>Yakusho, Catherine Deneuve, Abbas Kiarostami</em></span></p> <p style="text-align: left;"> </p> <p style="text-align: left;">I was moved that a film produced in Japan, this little island in the Far East, would be seen by so many European spectators and I could feel the profound respect that their applause showed for the film in my whole body. I thought its director was a real star.<br /> I had not made many films until then, but it was this Festival de Cannes that helped me decide I wanted to devote myself to it full time.</p> <p style="text-align: left;"> </p> </div> </td> </tr> </tbody> </table> <p style="text-align: left;"> </p> <p style="text-align: left;"><a target="_blank" href="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/File/Filmographie%20Pays/Japanese%20Cinema%20and%20the%20Festival%20de%20Cannes.pdf" rel="noopener">> DOWNLOAD THE PDF VERSION</a></p> <p style="text-align: left;"><span style="font-size: smaller;"><br /> </span><strong><span style="font-size: smaller;">* Yokichi Nakagawa i</span><em><span style="font-size: smaller;">s</span></em><span style="font-size: smaller;"> a film critic and hi</span><em><span style="font-size: smaller;">s</span></em><span style="font-size: smaller;">torian</span></strong><span style="font-size: smaller;"><br /> </span></p> <p style="text-align: left;"> </p> <div><strong><span style="font-size: smaller;"><i>The Festival de Cannes would like to thank all the writers for contributing for free</i>.</span></strong></div>
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© [fdc-video title="Extrait 3 : "I wish I knew" de JIA Zhangke" image_amazon_url="media_video_encoded/0001/48/00002/c579a59b7a95a17c0d4be3c87fb7fddc1526813b.flv.png" mp4_url="media_video_encoded/0001/48/c579a59b7a95a17c0d4be3c87fb7fddc1526813b.mp4" webm_url="media_video_encoded/0001/48/c579a59b7a95a17c0d4be3c87fb7fddc1526813b.mp4"] <p style="text-align: right;"><strong>BY CHARLES TESSON *</strong></p> <p style="text-align: justify;"> </p> <table width="180" cellspacing="5" cellpadding="0" border="0" align="left"><tbody><tr><td><img height="241" width="180" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/mao%20fonda%20repu.jpg" alt=""></td> </tr></tbody></table><p><strong><span><br> The first season of the Festival de Cannes took place in 1946, in the aftermath of the Second World War. Following victory over Japan, with which it had been at war since 1937, China was now in the throes of civil war between the Kuomintang’s Nationalist troops led by CHIANG Kai-Shek and the Communist forces, which took power in 1949, leading to the creation of the People’s Republic of China. As much as Taiwan rejoiced in the pull-out of the Japanese, the arrival of the Nationalists, followed by their exile after the defeat in 1949 cast a shadow over their destiny. The provisional government of the Republic of China, born on the continent in 1911, set up its headquarters in Taiwan and decreed martial law, which was lifted in 1986. The British colony of Hong Kong, on the other hand, was later to be victim of the Japanese occupation, before regaining its former status, which it held until 1997.</span></strong></p> <p style="text-align: justify;"><strong><br><br><br></strong></p> <table cellspacing="5" cellpadding="0" border="0" align="right"><tbody><tr><td width="115"><img height="167" width="115" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/Zhang%20Sichuan.jpg" alt=""></td> <td width="250"><img height="167" width="250" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/Mingxing%20film%20foundation.jpg" alt=""></td> </tr><tr><td style="text-align: center;"><span style="font-size: smaller;">Zhang Sichuan</span></td> <td style="text-align: center;"><span style="font-size: smaller;">Office</span><span style="font-size: smaller;">s</span><span style="font-size: smaller;"> of the Mingxing Films Company</span></td> </tr></tbody></table><p style="text-align: justify;"> <br>  </p> <p style="text-align: justify;"><br><br><br><span>Cinema arrived very early in China, with films by the Lumière brothers screened in Shanghai as early as 1896, followed by films made by Edison the following year, but it was not until 1913 that the first feature film, entitled <i>The Difficult Couple, </i>was shot by <strong>ZHANG Sichuan</strong>. 1922 saw the <strong>creation of Mingxing</strong>, the largest film production company of the period, along with Tianyi (founded by the Shaw brothers, and later operating in Hong Kong). After the wave of realistic dramas, sword-fighting films came into fashion as the dominant genre in the 1920s. From 1930, with the founding of Lianhua (the “United China Film Company”), the occupation of Manchuria in 1931 and the bombing of Shanghai in 1932, entertainment films were set aside in favour of a progressive cinema that was engaged with reality.<br><br></span></p> <table width="120" cellspacing="3" cellpadding="0" border="0" align="left"><tbody><tr><td style="text-align: justify;"><img height="149" width="100" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/hu-die.jpg" alt=""></td> </tr><tr><td style="text-align: justify;"><span style="font-size: smaller;">Hu Die</span></td> </tr><tr><td style="text-align: justify;"><img height="150" width="100" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/Ruan%20Lingyu.jpg" alt=""></td> </tr><tr><td style="text-align: justify;"><span style="font-size: smaller;">Ruan Lingyu</span></td> </tr></tbody></table><p style="text-align: justify;"><br><span>This first golden age (1931-1937) saw the emergence of female stars (<strong>HU Die, RUAN Lingyu</strong>) and a second generation of talented film makers: SUN Yu, CHENG Bugao, CAI Chusheng, YUAN Muzhi, WU Yonggang. The war against the Japanese (1937-1945) ruptured this dynamic, with some film makers remaining in Shanghai, some finding refuge in Hong Kong and others joining the Long March. Although it was a troubled time, the period of civil war (1945-1949) gave birth to beautiful films such as <strong><i>Spring in a Small Town</i></strong><i> </i>(FEI Mu, 1948) and <strong><i>Crows and Sparrows</i></strong><i> </i>(ZHENG Junli, 1949).</span><br><br><span>The 3</span><sup><span>rd </span></sup><span>generation of film makers began with the birth of the People’s Republic (SHUI Hua, LING Zifeng, SANG Hu, XIE Jin, XIE Tieli), making Beijing the new centre for cinema. While Japanese and Indian films were being celebrated in Cannes at that time, Communist China was not represented at all. The 1960s were the years of the sacrificed generation (the 4</span><sup><span>th</span></sup><span>), because their careers were interrupted by the Cultural Revolution. When Chinese cinema resumed normal activity in the second half of the 1970s, Cannes was forging new ties with China. This began with the screening in 1979 (</span><span>Un Certain Regard</span><span>) of <i>Threshold of Spring</i> by SHIE Tieli, which had been made in 1963, before the Cultural Revolution, the later <i>The True Story of Ah Q </i>(1982) by CEN Fan, a former actor and director of opera films in the 1950s, <i>The <span>Herdsman </span></i>or <i>Mu Ma Ren</i> (UCR, 1983) by the Shanghai director XIE Jin, author of <i>Stage Sisters</i> (1965), as well as <strong><em>A Girl from Hunan</em></strong><em><strong> </strong></em>or <em><strong>Xiangnu Xiaoxiao </strong></em>(</span><span>UCR</span><span>, 1987) by XIE Fei, a 4</span><sup><span>th</span></sup><span> generation director.</span><br><br>  </p> <table cellspacing="0" cellpadding="0" border="0"><tbody><tr><td><img height="228" width="300" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/printemps3fq0.jpg"></td> <td><img height="228" width="371" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/Corbeaux%20et%20moineaux.jpg"></td> </tr><tr><td style="text-align: center;"><span style="font-size: smaller;"><span><i>Spring in a Small Town</i></span><span><em>, </em>FEI M</span></span><span style="font-size: smaller;">u</span></td> <td style="text-align: center;"><span style="font-size: smaller;"> </span><span style="font-size: smaller;"><em>Crow</em><strong><em>s</em></strong><span><em> and </em></span><span><i>S</i></span><span><em>parrow</em></span><strong><em>s</em></strong><span>, ZHENG Junli</span></span></td> </tr><tr><td><img height="275" width="297" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/Ah%20Q.jpg"></td> <td style="text-align: center;"><img height="275" width="367" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/La%20jeune%20fille%20Xiao_1.jpg"></td> </tr><tr><td style="text-align: center;"><span style="font-size: smaller;"><span><i>The True Story of Ah Q, </i></span><span>CE</span></span><span style="font-size: smaller;">N Fan</span></td> <td style="text-align: center;"><span style="font-size: smaller;"><span><i>A Girl from Hunan </i>or<i> Xiangnu Xiaoxiao</i></span><span><em>, </em>XIE Fei</span></span><span style="font-size: smaller;"> </span></td> </tr></tbody></table><p style="text-align: justify;"><br><br><span>The early 1980s ushered in the 5</span><sup><span>th </span></sup><span>generation of Chinese cinema, with <i>Yellow Earth </i><span>by CHEN Kaige (1984) and <i>Red Sorghum</i> by ZHANG Yimou (winner in 1987 of the Golden Bear in Berlin). ZHANG Yimou was invited to Cannes with <i>Ju Dou </i>(1990), commencing a long relationship that would be renewed with <i>To Live </i>(1994), and with three more films prior to <strong><i>House of Flying Daggers </i></strong>(HC, 2004). CHEN Kaige was in Cannes with his fourth film, <i>Life on a String </i>(1991), and then with <strong><i>Farewell My Concubine</i></strong><i> </i>(1993), which received the Palme d’Or.</span></span><br><br><br><iframe height="510" frameborder="0" width="640" allowfullscreen="" src="http://www.youtube.com/embed/Cz1HTXOspGg" type="text/html" class="youtube-player" title="YouTube video player"></iframe><br><br><br><br><iframe height="390" frameborder="0" width="640" title="YouTube video player" class="youtube-player" type="text/html" src="http://www.youtube.com/embed/cC-_SLiRnJE" allowfullscreen=""></iframe><br><br><br><br><span>The events in Tiananmen Square in 1989 gave a new generation of film makers (the 6</span><sup><span>th</span></sup><span>) an acute awareness of the limits of any opening up to democracy. This generation was represented in Cannes by ZHANG Yuan (<i>East Palace</i>, <i>West Palace</i>,<i> </i></span><span>UCR</span><span>, 1997), and then by the WANG Xiaoshuai’s third film, <i>So Close to Paradise </i>(</span><span>UCR</span><span>, 1999); three other films of his have been selected (<i>Drifters</i>, <i>Shanghai Dreams</i>, <i>Chongqing Blues</i>). JIA Zhangke (<i>Xiao Wu, Artisan Pickpocket</i>, 1988, <i>Platform</i>, 2000), was invited to Cannes with <i>Unknown Pleasures </i>(2002), and later with <i>24 City </i>(2008) and his documentary on the history of Shanghai (<i>I Wish I knew</i>, </span><span>UCR</span><span>, 2010). If Chinese cinema has become a standard fare in Cannes (LOU Ye, with this third film <i>Purple Butterfly </i>in 2003, and then with <i>Summer Palace </i>in 2006 and <i>Spring Fever</i>, in 2010), the festival has also screened films that are unique and unforgettable, like <strong><i>Devils on the Doorstep</i></strong><i> </i>(2000) by the actor-director JIANG Wen, a film that brought him reprisals in his own country, and <i>Petition </i>(Special Screening, 2000), ZHAO Liang’s fascinating documentary, a very rich genre (see also WANG Bing), and the most adept genre for expressing the current Chinese reality today.</span><br><br><br><br><iframe height="345" frameborder="0" width="640" allowfullscreen="" src="http://www.youtube.com/embed/MJZ4m0kpAxc" type="text/html" class="youtube-player" title="YouTube video player"></iframe> <br><br><u><strong><br><br><br></strong></u></p> <h3 style="text-align: right;" class="fck-title-2"><span style="font-size: larger;"><strong>HONG KONG</strong></span><strong><br></strong></h3> <p style="text-align: justify;"><br><br><img height="300" width="199" align="right" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/l-imp%C3%A9ratrice-wu-affiche_262832_29830.jpg" style="margin-left: 10px;"><span>In the early 1930s, the production companies in Shanghai, motivated by the success of the first “talkie” in Cantonese (<i>White Golden Dragon</i>, TANG Xiaodan, 1932), opened subsidiaries in Hong Kong (Daguan, Nayang) to produce films in the local language. After 1937, a number of film makers from Shanghai came to work there, fleeing the Sino-Japanese war, before being caught up in it once again. From 1945, the local film industry was developing with productions in Cantonese (Kung-fu, Cantonese opera, musical films, melodramas) and in Mandarin, thanks to Shanghai film makers like LI Pinqian and ZHU Shilin, the latter an auteur of memorable dramas of social realism. This cinema, which was not widely exported, remains quite unknown today.</span><br><span>The arrival of the big studios like Cathay and Shaw (with the Shao brothers from the Tianyi production company) inspired new ambitions in the industry, with sword-fighting films, imperial Court dramas, and filmed Chinese operas. Cannes was tuned into the work of the unjustly forgotten first star director from the Shaw studios, LI Han-Hsiang, screening his films <i>The Enchanting Shadow</i>, (<i>Qingnü youhun</i>, 1960), a historic drama (<i>The Magnificent Concubine</i>, <i>Yang Kwei Fei</i>,<i> </i>1962) and <strong><i>Empress Wu Tse Tien</i></strong><i> </i>(1963). The Shaw studios produced sword-fighting films in Mandarin (in the 1960s, and then subsequently kung-fu films inspired by Shaolin) and the rival studio, Golden Harvest, launched the revival of serious kung-fu films in Cantonese with Bruce Lee and accompanied by kung-fu comedy with Jackie Chan.</span></p> <p style="text-align: justify;"><br><span>If, within the new generation of the 1980s, the Festival de Cannes overlooked TSUI Hark, belatedly present with <i>Triangle</i> (HC in 2007, co-directed by Ringo LAM and Johnnie TO), it made a hit with the screening of the fourth</span><sup><span> </span></sup><span>film of Ann HUI, <i>Boat People </i>(HC, 1983) followed by <i>Song of Exile </i>(</span><span>UCR</span><span>, 1990). On the other hand, for Cannes, WONG Kar-Wai is the film maker of Hong Kong, ever since <i>Happy Together </i>(1997, his fifth film), winner of the award for Best Director, and then <i>In<span> the Mood for Love </span></i>(2000) and <strong><i>2046 </i></strong>(2006).</span><br><br><br><img height="223" width="600" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/christophel_113614.jpg"><br><iframe height="367" frameborder="0" width="600" allowfullscreen="" src="http://www.youtube.com/embed/R_oTpuUjtX8" type="text/html" class="youtube-player" title="YouTube video player"></iframe>. <br><br><br><br><span>The cinema of Johnnie TO benefitted from the renewed interest in the Hong Kong detective film genre, made famous by the films of John WOO. Although Johnnie TO’s recent work has been more commercial, he has taken a more stylised turn and received acclaim in Cannes with <i>Breaking news </i>(HC 2004), <i>Election </i>(2005), <i>Election 2 </i>(HC, 2006) and <i>Vengeance </i>(2009). This recognition is not surprising, as he has come to represent, on the international scene, (along with several others, including WONG Kar-Wai, TSUI Hark, and John WOO, who is now back in China) <i>the </i>cinema of Hong Kong.</span></p> <p style="text-align: justify;"> <br>  </p> <h3 style="text-align: right;" class="fck-title-2"><br><span style="font-size: larger;"><strong>TAIWAN</strong></span></h3> <p style="text-align: justify;"> <br>  </p> <table width="250" cellspacing="5" cellpadding="0" border="0" align="left"><tbody><tr><td><img height="175" width="250" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/Sandwich.jpg"></td> </tr><tr><td style="text-align: center;"><span style="font-size: smaller;"><span><i>The Sandwich Man</i></span>, 1983</span></td> </tr></tbody></table><p style="text-align: justify;"> </p> <p><span>From a factual point of view, it is incorrect to say that Taiwanese cinema was born with the new cinema (the two decisive omnibus films of which are  <i>In Our Time</i>, 1982 and <strong><i>The Sandwich Man</i></strong><i> </i>in 1983), even if, in light of its history, the statement may be understandable. After the Japanese occupation, Taiwan was subjected to the occupation of the Kuomintang Nationalists, who imposed the production of propaganda films in Mandarin. When LI Han-Hsiang and King HU, his former assistant and now director, left the Shaw studios to withdraw to the island, the quality of film production was greatly enhanced. These historical productions, focusing on Imperial China, were divorced from the present-day reality (an orientation to which the government did not object). This was the breach in which the New Cinema was to settle itself, in its preoccupation with the unique history of Taiwan over the previous century. After having shown its support for LI Han-Hsiang when he was working in Hong Kong, Cannes presented King HU’s masterpiece, <strong><i>Touch of Zen</i></strong><i> </i>(1975), a sword-fighting film, a genre that was unknown at that time outside China. This seminal work, would be imitated often (<strong>ZHANG Yimou</strong>) but never equalled. Indeed, <strong><i>Crouching Tiger, Hidden Dragon</i></strong><i> </i>(Ang LEE, HC, 2000) was not the first sword-fighting film to be screened at Cannes.</span></p> <table width="600" cellspacing="5" cellpadding="0" border="0" align="center"><tbody><tr><td><img height="180" width="310" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/touch-of-zen-1969-03-g.jpg" alt=""><img height="180" width="280" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/Tigre%20et%20dragon.jpg"></td> </tr></tbody></table><table cellspacing="5" cellpadding="0" border="0" align="center" style="width: 679px; height: 40px;"><tbody><tr></tr><tr><td style="text-align: center;">                   <em><span style="font-size: smaller;">Touch of Zen</span></em><span style="font-size: smaller;">, King HU, 1975</span></td> <td style="text-align: center;"><em><span style="font-size: smaller;">Crouching Tiger, Hidden Dragon</span></em><span style="font-size: smaller;">, Ang LEE, 2000</span></td> </tr></tbody></table><p style="text-align: justify;"><br><br><span>While the New Cinema was present at several festivals (in Europe: Pesaro, les Trois Continents) that screened the films of HOU Hsiao-hsien (<i>The Boys from Fengkuei</i>, 1983, <i>A</i><i> Summer at Grandpa’s</i>, 1984, <i>A</i><i> Time to Live, a Time to Die</i>, 1985, <i>Dust in the Wind</i>, 1986) and those of Edward Yang, albeit in a less prolific manner (<i>Taipei Story</i>, 1985), the Festival de Cannes invited HOU Hsiao-hsien to screen<i> The Puppetmaster </i>(1993), the director having been honoured with a Lion d’or in Venice for <i>A City of Sadness </i>(1989). This was the start of a wonderful and loyal relationship with Cannes that was to be extended with <i>Good Men, Good Women </i>(1995), <i>Goodbye South, Goodbye </i>(1996), <strong><i>Flowers of Shanghai </i></strong>(1998), <i>Millennium Mambo </i>(2001), <i>Three Times </i>(2005) and <i>The Flight of the Red Balloon </i>(CR, 2007). For his part, TSAI Ming-Liang, noticed for his films <i>Rebels of the Neon God </i>(1992), <i>Vive l’amour </i>(1994) and <i>The River </i>(1997) entered the Competition in Cannes with <i>The Hole </i>(1995) and then with <i>What Time is it there? </i>(2001) and <i>Face </i>(2009). It was thanks to the Festival de Cannes that Edward Yang obtained international acclaim for<strong> <i>Yi Yi</i></strong><i> </i>(2000), winning the Best Director’s award, although the Festival de Cannes had already screened <i>A Confucian Confusion</i> in 1994<i>. </i>He died of cancer at the age of 59 in 2007, and one can only regret that <i>That day, on the Beach </i>(1983) and even more so his masterpiece, <i>A Brighter Summer Day </i>(1991), a film of four hours duration, did not receive such attention in their time.</span><br><br><br><br><iframe height="367" frameborder="0" width="600" title="YouTube video player" class="youtube-player" type="text/html" src="http://www.youtube.com/embed/ua1XmCoDfic" allowfullscreen=""></iframe></p> <p style="text-align: justify;"> <br>  </p> <table width="220" cellspacing="5" cellpadding="0" border="0" align="right"><tbody><tr><td><img height="315" width="220" align="right" style="margin-left: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/Haishanghua.jpg" alt=""></td> </tr><tr><td><span style="font-size: smaller;"><span><strong><i>Flowers of Shanghai</i></strong></span>, Hou Hsiao Hsien, 1998</span></td> </tr></tbody></table><p style="text-align: justify;"><span>The revelation of Chinese cinema since the beginning of the 1980s (a new generation in Hong Kong, the New Cinema in Taiwan, the 5</span><sup><span>th</span></sup><span> generation in China) has been the great event of these recent years. By delving into a pictorial tradition that stretches back over a millennium, the cinema of King HU, through its art of movement (playing on what is clear and what is out of focus), his sense of editing and rhythm in combat scenes, has ties with calligraphy and reconstitutes the ideogram, with its combination of thick and thin strokes. These figures that fluctuate on a blank background form a ballet that we also find in the films of <strong>WONG Kar-Wai</strong>, where calligraphy becomes choreography, a suite of mannered vanities in a dizzying eddy, but also in the works of <strong>Johnnie TO</strong>, whose hieratic silhouettes are drawn into another, more infernal round. China has a particular attachment to ancestral values (Confucianism), an art of detachment (Taoism), that one can feel in its painting and in its poetry but that is expressed in film in the work of <strong>HOU Hsiao-hsien </strong>through his singular manner of keeping distance, of bringing emotion to the surface by maintaining distance from faces, while at the same time telling stories according to a logic (“detour and access”) that breaks with traditional narrative style. If China is haunted by its recent history (<i>Farewell My Concubine</i>) and its current transformations (<strong>JIA Zhangke</strong>), it is undoubtedly <strong>Edward YANG</strong> with <i>Yi Yi </i>who has best succeeded in achieving this balance between present reality, marked by the influence of America in daily life (urban architecture, for example) and the traces of the Japanese occupation on the island, and the past reality, more diffuse, that springs out through the painting of emotions, so typical of the Chinese cinematic tradition (<i>Spring in a Small Town</i>, FEI Mu). The expression of emotion remains the most complex channel in Chinese cinema, its most mysterious aspect, whereas calligraphy, through its poetic abstraction, is its most accomplished visible aspect, astonishing in its virtuosity.</span><br><br><br><img height="453" width="610" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/CHINE/Cannes_r%C3%A9als1.jpg" alt=""><br><br><br><br><span>[All the films mentioned are in Competition, unless otherwise indicated: UCR for <i>Un Certain Regard</i>, HC for Out of Competition and SS for Special Screening]</span><br>  </p> <p style="text-align: justify;"><a href="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/File/Filmographie%20Pays/Chinese%20Cinema%20and%20the%20Festival%20de%20Cannes.pdf" target="_blank" rel="noopener">> DOWNLOAD THE PDF VERSION</a></p> <p style="text-align: justify;"><span style="font-size: smaller;"><br></span><span style="font-size: smaller;"><strong>* Charles Tesson is</strong></span><strong><span style="font-size: smaller;"> a film critic and</span></strong><strong><span style="font-size: smaller;"> historian</span></strong><span style="font-size: smaller;"><br></span></p> <p> </p> <div><strong><span style="font-size: smaller;"><i>The Festival de Cannes would like to thank all the writers for contributing for free</i>.</span></strong></div> <p><strong> <span style="font-size: smaller;">Photo credit</span><span style="font-size: smaller;">s </span><span style="font-size: smaller;">Christophe L.</span></strong></p>
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© <p style="text-align: right;"><strong>BY JOEL CHAPRON</strong> *<br /> <br /> <img height="200" width="129" align="left" alt="" style="margin-right: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/symbole-russie.jpg" /></p> <p style="text-align: justify;"><strong><i>“Crown an American, and you have sold yourself to the US; crown a Russian, and you are a Communist”,</i> Cocteau used to say, and he knew what he was talking about, having served twice as President of the Jury and once as Honorary President of the Festival de Cannes. Of all countries, the Soviet Union was the one to experience the most political turmoil over its presence – and absences – at the Festival. Over the first twenty-five years, when countries submitted their own films, relations changed according to the political reversals in the two countries, with the Festival serving as a major issue in these relations.</strong></p> <p style="text-align: justify;"><br /> Solicited via diplomatic channels like all the other countries, the Soviet Union was invited to the first Festival de Cannes in <img height="197" width="130" align="right" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/Affiche_1939_JG-DomergueOK.jpg" style="margin-left: 10px;" />1939. For obvious political reasons, France coveted the participation of the USSR, hoping to make them an ally. On 13 August 1939, Vyacheslav Molotov, Chairman of the Council of People’s Commissars, signed a secret note addressed to the Politburo in which he named “<i>Comrade Kormilitsin, Chief of the USSR’s commercial delegation in France, as a member of the jury at the Festival de Cannes and Comrade Polonski, director of Mosfilm studios, as the representative of Soviet cinematography”.</i> Two days later, the Politburo approved the decision and the USSR, responding to the special privileges that France extended to them concerning the number of films presented, selected four feature films and four short films. However, on 23<sup>rd</sup> August, this same Molotov signed the Nazi-Soviet non-aggression pact with Joachim von Ribbentrop, Hitler’s representative. French hopes were dashed, war was declared and the Festival was cancelled – Kormilitsin was never to serve on the jury.</p> <p style="text-align: justify;">In September 1946, in preparation for the first Festival that actually took place, France made it a priority to invite the victorious nations, including, of course, the USSR. During this Festival, the Soviet delegation became famous for its receptions, where guests could help themselves to as much caviar and vodka as they liked (a tradition that was maintained until Perestroika), but where they had to wear a little red flag with the slogan “Art in the service of peace” in their buttonholes. Nevertheless, in light of the technical problems that occurred during the screening of their films (and for other reasons as well), the Soviets claimed they were the victims of sabotage and began a long series of paranoid protests that the Festival would have to deal with over the next four decades.  <span>In 1949, the Party’s Central Committee decided</span><img height="207" width="280" align="left" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/nikola%C3%AF-Tcherkassov-ds-alexandre_nevski-de-Eisenstein.jpg" style="margin-right: 10px;" alt="" /> that the USSR would not participate in the Festival on the grounds that they were discriminated against by the rule that set a quota for the number of films to be presented by each country in proportion to that country’s annual production, which of course reserved the lion’s share for America. The Soviets did not return to the Festival until two years later, after Stalin himself gave his approval. The Soviets sent seven films to the Festival, accompanied by the director Vsevolod Pudovkin and the actor <strong>Nikolai Cherkasov</strong>, who had become famous in his roles as Alexander Nevsky and Ivan the Terrible in films directed by Eisenstein. However, the Soviet-Chinese documentary <i>The New China</i>, by Sergei Gerasimov, was withdrawn from the competition by the Festival itself under pressure from the French government, who did not want to <i>“offend national sentiment” </i>(as is provided for by one of the Festival’s regulations) of other countries that only recognised Formosa (Taiwan) and not Maoist China. The offended Soviets boycotted the 1952 and 1953 Festival seasons, to return in 1954, after the death of Stalin (with 120 kilos of caviar in their baggage for their famous reception!). In turn, they lodged a complaint against a Swedish film for “<i>offence to national sentiment</i>”.</p> <p style="text-align: justify;"><br /> In 1955, Soviet films won five awards in all (for the first time, a Soviet filmmaker, Sergei Yutkevitch, was on the jury). However, 1958 was the banner year. In the midst of the political “thaw”, <strong>Mikhail Kalatozov </strong>won the Palme d’Or – the only one in the history of Russian cinema to date – with <strong><i>Letjat Zuravli</i> (<i>The Cranes are Flying</i>).</strong></p> <p style="text-align: justify;"> </p> <table width="610" cellspacing="0" cellpadding="0" border="0"> <tbody> <tr> <td bgcolor="#000000"><object height="385" width="480"> <param value="http://www.youtube.com/v/TTxKVQfNWQI?fs=1&hl=fr_FR" name="movie" /> <param value="true" name="allowFullScreen" /> <param value="always" name="allowscriptaccess" /> <embed height="385" width="480" allowfullscreen="true" allowscriptaccess="always" type="application/x-shockwave-flash" src="http://www.youtube.com/v/TTxKVQfNWQI?fs=1&hl=fr_FR"></embed></object></td> <td bgcolor="#000000"><img hspace="10" height="179" width="140" vspace="1" border="1" align="top" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/quand_passent_les_cigognes.jpg" /></td> </tr> </tbody> </table> <p style="text-align: justify;">This beautiful and moving film, a testimony to the Soviet revival, presents the fateful turns of an unhappy love affair in the dramatic context of the war. The film introduced two extraordinary actors, Tatiana Samoilova and Alexei Batalov, as well as a virtuoso of cinematography, Sergei Urussevski. With the advent of the 1960s, the Festival was still under the yoke of French politics – Gaullist politics this time around. It snubbed both Soviet and American cinematography, giving precedence to European films which, as a result, carried off most of the awards. Nevertheless, the Soviet films selected over the years by the Central Committee to represent the country did receive all kinds of Special Jury awards: “Best Lyric Film” (1955), <img height="220" width="175" align="right" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/le-41eme-tchoukhrai.jpg" style="margin-left: 10px;" />“Best Original Screenplay, Human Quality and Novelistic Grandeur” (<strong><i>The Forty-First</i> by G. Chukhrai, 1957</strong>), “Best Participation” (1960), “Best Depiction of a Revolutionary Epic” (1963), but also, fortunately, “Best Director” (1956, 1961 and 1966). Whenever they did not receive any awards (1964), vehement protests appeared in the Soviet press, to which the French government responded through diplomatic channels to calm things down. In 1966, Robert Favre Le Bret, the general delegate at the time, travelled to the USSR and subsequently the State Cinematography Committee and the Union of Soviet Filmmakers revealed, in a secret letter to the Central Committee, that he had given them to understand that David Lean’s <i>Doctor Zhivago</i> would open the Festival. Both of these Soviet institutions felt, therefore, that participation was not advisable. However, they finally declared that the embassy of the USSR in Paris <i>“had taken steps to ensure that this film would not open the Festival”</i> (in June, de Gaulle had to go to Moscow and this visit led to the signing of an agreement on Franco-Soviet cinematographic coo<img height="239" width="170" align="left" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/Guerre-et-paix-Bondartchouk.jpg" style="margin-right: 10px;" />peration in July of 1967). As a result, Soviet films were able to participate. In 1967, journalists asked the Soviet delegation in attendance at <strong>Sergei Bondarchuk</strong>’s press conference for <strong><i>War and Peace</i></strong> why Tarkovsky’s <i><span>Andrei Roublev</span></i> was not at the Festival, to which the Director of Mosfilm responded that the film was not ready – which was not true. It was sold to France in 1969 and presented at the Festival that same year by the company that bought it (Out of Competition and without the approval of the Soviet Committee of Cinematography). It won the FIPRESCI Critics’ Award (which the authorities urged Tarkovsky to refuse, as the President of the French Critics’ Union was considered to be Zionist; the Central Committee issued a severe reprimand to the Ministry of Cinema for the error committed).</p> <p style="text-align: justify;"><br /> 1968 marked a major shift in mentality and by the end of the sixties, the Festival enjoyed greater freedom. This hardly pleased the Soviets, who balked at submitting films to the new section created in 1969, the Directors’ Fortnight. Before Perestroika, the only hard-won screenings of Soviet films in the Directors’ Fortnight were <em><img height="150" width="200" align="right" style="margin-left: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/cinq-soirees-mikhalkov.jpg" alt="" /></em><i>There Once was a Singing Blackbird</i>, by losseliani (who came under escort) in 1974, <strong>Mikhalkov</strong>’s <strong><i>Five Evenings</i></strong> in 1979 and, in 1985, <i>Gouloubye Gory (The Blue Mountains)</i> by Chenguelaia – who was not informed in advance of the selection by the Soviet ministry, only learning of it three months later – as well as a short film by Parazhanov, <i>Return to Life</i>, which the Directors’ Fortnight screened secretly in 1980. In 1970, the USSR was absent from the Festival but returned in 1971 with a film that was initially refused by the Festival before being later accepted. The same scenario took place in 1976, but the Festival upheld its decision. In fact, since 1972, it is the Festival that chooses the films, not the country from which they originate (even if, as in 1975, diplomatic pressures may win the day). Relations immediately soured as a result and the USSR balked at handing over the films that the General Delegates requested. So was it based on a misunderstanding that <strong>Tarkovsky </strong>won the Special Jury Grand Prix for <strong><i>Solaris</i></strong>, screened in his presence in 1972? In fact, the interpreter for the Soviet jury member, who had emigrated to France long before, did not understand everything that Mark Donskoy said!</p> <p style="text-align: justify;"> </p> <table width="610" cellspacing="0" cellpadding="0" border="0"> <tbody> <tr> <td bgcolor="#000000"><object height="385" width="480"> <param value="http://www.youtube.com/v/2Won_z8gIh0?fs=1&hl=fr_FR" name="movie" /> <param value="true" name="allowFullScreen" /> <param value="always" name="allowscriptaccess" /> <embed height="385" width="480" allowfullscreen="true" allowscriptaccess="always" type="application/x-shockwave-flash" src="http://www.youtube.com/v/2Won_z8gIh0?fs=1&hl=fr_FR"></embed></object></td> <td bgcolor="#000000"><img hspace="10" height="187" width="140" vspace="1" border="1" align="top" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/solaris.jpg" alt="" /></td> </tr> </tbody> </table> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <div>Two years later, Maurice Bessy told Tarkovsky in Moscow that he was willing to take <i>The Mirror</i> unseen, but he was finally able to view it and immediately wanted it. He was told that it was not ready and they promised it to him for the next year. He then renewed his request, but to no avail. In February 1975, the cultural advisor at the USSR embassy said in an interview with the French Ministry of Foreign Affairs that the “<i>Soviet cinematographic circles refused </i>(…) <i>to accept the idea that Tarkovsky was the only filmmaker of international stature and emphasised that </i>[his]<i> government would renounce their participation in the Festival if the organisers did not accept the selection of Sergei Bondarchuk’s film </i>They fought for their Country<i>”. </i>The Festival gave in and selected Bondarchuk (nevertheless, the Soviets, aware of the value of Tarkovsky, sold it for a fortune in 1977 to an unexpected duo: Gaumont and Antenne 2). The following year, when the Festival refused to give in to the same kind of blackmail, the Soviets accused the Festival of an <i>“ideological boycott”</i>! In 1974 and 1975, Soviet filmmakers distinguished themselves in the animation genre with a Grand Prix and a Special Jury Award, both attributed to Fyodor Khitruk in the short film category.</div> <p style="text-align: justify;"><img height="187" width="250" align="right" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/partition-piano-mecanique-photo.jpg" style="margin-left: 10px;" /><br /> Mikhalkov came to Cannes for the first time in 1977 with <strong><i>An Unfinished Piece for Player Piano</i></strong>, but Out of Competition. During his first trip to the USSR, Gilles Jacob, to whom Maurice Bessy, General Delegate since 1972, was handing over the responsibility for selection, wanted to see Iosseliani’s <i>Pastorale</i>, but the Cinematography Committee did not allow him to do so. Gilles Jacob had to ply his course between two opposing positions. On the one hand, Robert Favre Le Bret, who had become President of the Festival, had developed affinities with the USSR. On the other hand, Maurice Bessy held a very firm position regarding this country that demanded a greater presence for its films in Cannes but which the Minister for Cinema considered as “<i>not very significant</i>”. In 1979, the Soviets refused to send <strong><i>Stalker </i></strong>to Cannes on the pretext that <i>“the film is too good and </i>[that they] <i>are saving it for the Moscow Festival”</i> – where of course, it was never screened! But the next year, Gilles Jacob <img height="181" width="190" align="right" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/Stalker-tarkovski.jpg" style="margin-left: 10px;" />obtained a copy illegally through subterfuge, which he screened without announcing it as a “surprise programme”. The Soviets were up in arms, but the screening took place and the film received the Prize of the Ecumenical Jury. In 1983, Tarkovsky was in Cannes with <i>Nostalghia</i> and Bondarchuk was on the jury, and even though the latter spent his time denigrating the former’s film, it carried off three awards. Backstage, Tarkovsky bumped into Andrei Konchalovsky, his old friend and co-screenwriter of <i>Andrei Roublev</i>, with whom he had broken off relations. Bondarchuk and Tarkovsky found themselves in competition against one another three years later. Tarkovsky, weakened by illness, did not come to Cannes, but he was awarded another three prizes, while Bondarchuk received nothing.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <p><iframe height="487" frameborder="0" width="610" title="YouTube video player" class="youtube-player" type="text/html" src="http://www.youtube.com/embed/VEnYT-kFuGc"></iframe></p> <p style="text-align: center;"><span style="font-size: smaller;"><em>Nostalghia </em>directed by Andrei Tarkovski</span></p> <p><object height="482" width="610"> <param name="movie" value="http://www.youtube.com/v/KWgxbkAUuzw?fs=1&hl=fr_FR" /> <param name="allowFullScreen" value="true" /> <param name="allowscriptaccess" value="always" /> <embed height="482" width="610" src="http://www.youtube.com/v/KWgxbkAUuzw?fs=1&hl=fr_FR" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true"></embed></object></p> <p style="text-align: center;"><span style="font-size: smaller;"><em> Repentance </em>directed by Tenguiz Abouladzé</span></p> <p style="text-align: center;"> </p> <p style="text-align: justify;">Perestroika went on to change everything. Henceforth, the Festival was able to deal directly with the filmmakers themselves. The USSR was represented in competition, in 1987, by a key film of the new era that was coming into its own, <strong><i>Repentance</i> by Tenguiz Abouladzé</strong> (<img height="103" width="146" align="left" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/yeux-noirs-1986.jpg" style="margin-right: 10px;" alt="" />who had won the Palme d’Or for Short Films in 1956, the year of de-Stalinisation) and also, via Italy, by <strong>Mikhalkov’s <i>Black Eyes (Oci ciornie)</i></strong>. Yves Montand, President of the Jury, and Elem Klimov, a juror in the vanguard of Perestroika, were at odds over these two films (Montand was not convinced by the Communists’ “repentance”). <i>Repentance</i> was to leave with the Jury’s Special Grand Prix and <i>Black Eyes</i> with the award for Best Actor for Marcello Mastroianni. Ironically, Mikhalkov’s brother, Andrei Konchalovsky, was also in competition with an American film, <i>Shy People</i>, for which Barbara Hershey won the award for Best Actress. Finally, that same year, <strong>Nana Dzhordzhadze received the Caméra d’Or.</strong></p> <p style="text-align: center;"><img height="240" width="300" align="middle" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/robinsonnade-mongrandpereanglais-photo-film.jpg" alt="" /><br /> <span style="font-size: smaller;"><em>Robinsonnade, my Engli</em></span><span style="font-size: smaller;"><em>s</em></span><span style="font-size: smaller;"><em>h grandfather</em> directed by Nana Djordjadzé</span><em> </em></p> <p style="text-align: justify;"><br /> In 1990, this same prize was awarded to Vitali Kanevski, a 55-year old director who was presenting his first film. He arrived in Cannes as a hitchhiker, picked up by the sailors of a ship of the Soviet fleet anchored offshore. 1990 was also the year that the world discovered a new society in <strong>Pavel Lounguine</strong>’s <strong><i>Taxi Blues</i></strong>, where the old and new Soviet worlds confronted each other. The following year, the famous bad-boy director, Rustam Khamdamov, came to the competition with <i>Anna Karamazoff</i>, co-produced by French director Serge Silberman, with <strong>Jeanne Moreau</strong> in the lead role. Between Khamdamov and the French, who did not recognise the script they had agreed on in the film, sparks were flying even before the Festival opened. Silberman demanded an explanatory introduction; Khamdamov complied, but, at the press screening, his assistant placed his hand in front of the projector to prevent its being viewed. That evening, Jeanne Moreau was squirming in her seat; Silberman confiscated the film, saying he would never show it again (and, in fact, even after his death, it remains inaccessible).</p> <p style="text-align: right;"><img height="200" width="140" align="left" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/TaxiBlues_1990_m.jpg" alt="" /><img height="181" width="300" align="middle" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/Jeanne-Moreau.jpg" alt="" /></p> <p style="text-align: right;"> </p> <p style="text-align: justify;"><img height="118" width="251" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/RUSSIE/SignatureLounguineOK.jpg" alt="" />Pavel Lounguine's signature</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><br /> Since the start of the 1990s, the scandals, intrigues and political blackmail related to Russian cinema have become a thing of the past. Russian cinematography has acquired its right to be treated like any other, which, in the eyes of some Russians, may sound like a step backwards. From that time, there were years in which no Soviet films were screened in competition (1995, 1996, 1997, 2004, 2005, 2006, 2008, 2009). Sometimes, the coveted Palme d’Or eluded the grasp of a hopeful contender: <strong>Mikhalkov </strong>left disappointed, in spite of his Grand Prix for <i>Burnt by the Sun</i> in 1994, and then he stammered on with <i>Soleil Trompeur 2</i> in 2010). In a rare occurrence, a director in competition did not attend the Festival : this was the case of Sokurov in 2007, although he was the Russian director the most often selected in competition for twelve years. Five films out of the seven selected are his. Henceforth, in its selections and its non-selections, the Festival de Cannes has reflected the current state of Russian <i>auteur</i> cinema.</p> <p><br />  </p> <h4 style="text-align: center;" class="fck-title-3"><a href="http://www.festival-cannes.fr/en/article/57958.html"><strong>READ >>> THE HISTORY OF RUSSIAN CINEMA<br /> </strong></a></h4> <p><a href="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/File/Filmographie%20Pays/Cannes%20and%20Russia%20-%20A%20love-hate%20relationship.pdf" target="_blank" rel="noopener">> DOWNLOAD THE PDF VERSION</a></p> <p><span style="font-size: smaller;"><strong>* Joel Chapron work</strong></span><span style="font-size: smaller;"><strong>s a</strong></span><span style="font-size: smaller;"><strong>s</strong></span><span style="font-size: smaller;"><strong> a Russian interpreter and </strong></span><span style="font-size: smaller;"><strong>foreign correspondant at the Festival de Cannes. He i</strong></span><span style="font-size: smaller;"><strong>s in charge of</strong></span><span style="font-size: smaller;"><strong> Central and Ea</strong></span><span style="font-size: smaller;"><strong>stern </strong></span><span style="font-size: smaller;"><strong>European countrie</strong></span><span style="font-size: smaller;"><strong>s</strong></span><span style="font-size: smaller;"><strong> at Unifrance, A</strong></span><span style="font-size: smaller;"><strong>s</strong></span><span style="font-size: smaller;"><strong>sociate Lecturer </strong></span><span style="font-size: smaller;"><strong>at the Univer</strong></span><span style="font-size: smaller;"><strong>sity of </strong></span><span style="font-size: smaller;"><strong>Avignon, author of numerou</strong></span><span style="font-size: smaller;"><strong>s</strong></span><span style="font-size: smaller;"><strong> articles on Ea</strong></span><span style="font-size: smaller;"><strong>stern European </strong></span><span style="font-size: smaller;"><strong>cinema and editor of the new edition of the Dictionary of Film (Larousse).</strong></span></p> <p><em><span style="font-size: smaller;"><strong>The Festival de Cannes would like to thank all the writer</strong></span></em><em><span style="font-size: smaller;"><strong>s</strong></span></em><em><span style="font-size: smaller;"><strong> for their free contribution</strong></span></em><em><span style="font-size: smaller;"><strong>s</strong></span></em>.</p>
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© [fdc-video title="Carlos Diegues' Interview (in French)" image_amazon_url="media_video_encoded/0001/42/00002/0f66fd13692834b38823896694d53d7d061b596c.flv.png" mp4_url="media_video_encoded/0001/42/0f66fd13692834b38823896694d53d7d061b596c.mp4" webm_url="media_video_encoded/0001/42/0f66fd13692834b38823896694d53d7d061b596c.mp4"] <p style="text-align: right;"><strong>BY PAULO PARANAGUA*</strong></p> <p style="text-align: justify;"><br><br><strong>Since the arrival of Edison and the Lumière brothers’ invention in Rio de Janeiro, film has served as an expression of the triangular relationship which Brazilian culture has constantly maintained with Europe and the United States. During the so-called “<i>belle époque</i>” – the early years of the twentieth century – all eyes were focused on the latest trends coming out of Paris and the <i>Film d’Art</i>, as well as on Italian divas.</strong><br><br><img height="182" width="160" align="right" style="margin-left: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/Mauro.jpg" alt="">The First World War slowed this transatlantic flow and favoured the introduction of the Hollywood Majors. Brazil’s most important film director during the first half of the century, the self-taught <strong>Humberto Mauro </strong>from rural Minas Gerais, assimilated the new visual language by deconstructing films by King Vidor and Henry King. A complex personality to whom the Festival de Cannes paid tribute in 1982, Mauro was both a “modern film director” with an interest in technology and electronics, and a conservative attached to the rural and patriarchal world threatened by rapid urbanisation.</p> <p style="text-align: justify;"><br><br> Upon leaving his native province to move to Rio de Janeiro, the country's capital at that time, Mauro drew on a mix of influences and often borrowed from European cinema. His masterpiece, <strong><i>Ganga Bruta</i></strong> (1933), <img height="239" width="160" align="right" style="margin-left: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/Ganga-Bruta_Web.jpg" alt="">is a brilliant and intense hybrid film lying somewhere between silent cinema and a babbling talkie. Mauro would continue to find inspiration for his work in Europe while at the head of the National Institute of Educational Cinema (INCE). The European debate on the relationship between cinema and education, and the activities of the <i>Instituto Luce </i>in Italy did not escape INCE, which itself promoted the production of high-quality documentaries. While at INCE, Mauro filmed the series, “<i>Brasilianas</i>”, focusing on popular songs and folk melodies, in which he gave free rein to his lyricism.<br><br> By the end of the silent era, the local market was dominated by Hollywood films, but that did not stop the European avant-garde from projecting their aura onto a filmmaking elite. Two Hungarians living in Brazil, Rodolpho Rex Lustig and Adalberto Kemeny, emulated Walther Ruttmann in their documentary, <i>Sao Paulo</i><i>, A Symphonia da Metropole </i>(<i>Sao Paulo, A Metropoloitan Symphony, </i>1929). <strong>Mario Peixoto</strong>, writer and director of the truly unique work, <strong><i>Limite</i></strong> (<strong><i>Limit</i></strong>) (1930), which is considered the pinnacle of Latin American silent cinema, employed bold experimental techniques. Despite being disparaged by Glauber Rocha, who had not even seen it, <i>Limite</i> is, along with Mauro, representative of the immense hopes placed by these Brazilians in cinema as the key to revealing inner landscapes and the vast horizons of their time.</p> <p style="text-align: justify;"><strong><span style="font-size: medium;"><br><br></span></strong></p> <table width="610" cellspacing="0" cellpadding="0" border="0"><tbody><tr> <td bgcolor="#000000"><object height="385" width="480"> <param name="movie" value="http://www.youtube.com/v/rUgs-SLScZQ?fs=1&hl=fr_FR&rel=0&color1=0x3a3a3a&color2=0x999999"> <param name="allowFullScreen" value="true"> <param name="allowscriptaccess" value="always"> <embed height="385" width="480" src="http://www.youtube.com/v/rUgs-SLScZQ?fs=1&hl=fr_FR&rel=0&color1=0x3a3a3a&color2=0x999999" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true"></embed></object></td> <td bgcolor="#000000"><img height="385" width="130" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/Limite_montage.jpg" alt=""></td> </tr></tbody></table> <p style="text-align: justify;"><br><br> The talking-picture revolution coincided with the rise of cultural nationalism and the golden age of populism, embodied by the figure of Getulio Vargas (Head of State from 1930 to 1945, and then again from 1950 to 1954). During this period, musical comedies borrowed their melodies from carnival and their burlesque acting from variety shows. Local productions enjoyed unheard-of success with the general public, who voiced their satisfaction noisily in cinemas<img height="287" width="160" align="left" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/cartaz%20carnaval%20atlantida.jpg" style="margin-right: 10px;" alt="">. The actors <strong>Oscarito </strong>and Grande Othello became stars in their own right. These “<i>Chanchadas</i>”, which were looked down on by the elite for a long time, sometimes used allegory and parody to focus on the typically Brazilian habit of swinging between the United States and Europe, and between the new popular culture of the masses and traditional erudite culture. <strong><i>Carnaval Atlantida</i> </strong>(<strong>José Carlos Burle</strong>, <strong>1952</strong>) and <i>De Vento Em Popa</i> (Carlos Manga, 1957) are classics today, thanks to the rereading of history favoured by the late Paulo Emilio Salles Gomes, the soul of Brazilian Cinema in Sao Paulo.<br><br> After the Second World War, Europe was characterised by both classicism and renewal. Paradoxically, the first serious attempt ever made to adapt the Hollywood model to Brazil was inspired by the <span>Cinecittà.</span> Indeed, the great Vera Cruz Studios (1949-1954) were set <img height="198" width="180" align="right" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/Cavalcanti.jpg" style="margin-left: 10px;" alt="">up by a member of Sao Paolo’s new Italian-Brazilian <span>middle class:</span><strong> Alberto Cavalcanti</strong>. He arrived on this scene like the prodigal son, having agreed to work in his native country for the first time in a career that he began in France and developed in Great Britain, marked by innovation and tasteful eclecticism. Despite notching up local and even international successes, the Vera Cruz went into liquidation after only five years, crippled by the harsh economic reality of the film industry.<br> At around the same time, a challenge also came from Italy in the form of neorealism. This genre would come to dominate debates at film societies and in magazines, gaining more or less strong support from communists and Catholics alike, before being embodied by the figure of Nelson Pereira dos Santos: <i>Rio 40°</i> (1955) and <i>Rio Zona Norte</i> (<i>Rio, Northern Zone</i>, 1957) both directed by dos Santos, along with <i>O Grande Momento</i> (<i>The Grand Moment,</i> 1958) produced by dos Santos and directed by Roberto Santos in Sao Paulo. These films represented an alternative form of expression and production for the new generation.<br><br> Next, the French movements known as <i>Le Jeune Cinéma</i> (Young French Cinema) and <i>La Nouvelle Vague </i>(The New Wave) would in turn become known across the continents, prompting exceptionally fruitful dialogue among directors from diverse countries. And a similar relationship to the transatlantic triangle would come to exist with Japan: Japanese films went down a storm with Brazilian cinema-goers, who enjoyed the existence of a strong Japanese community in Sao Paulo. “<i>Cinema Novo</i>” thus interacted on an equal footing with formulas and techniques from the United States, Europe and elsewhere. This collective movement brought together figures as diverse as <strong>Glauber Rocha, Ruy Guerra, Joaquim Pedro de Andrade, Leon Hirszman, Carlos Diegues </strong>and<strong> Eduardo Coutinho</strong>.</p> <p style="text-align: center;"><br><br><br><img height="366" width="610" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/Nouvelle%20Vague.jpg" alt=""></p> <table cellspacing="1" style=""><tbody><tr> <td> <div style="background-color: rgb(239, 233, 233); background-image: none; background-repeat: repeat; background-attachment: scroll; background-position: 0% 0%; -moz-background-size: auto auto; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;"> </div> <table width="218" cellspacing="1" cellpadding="0" border="0" align="left" style=""><tbody> <tr> <td><strong><em><img height="140" width="210" align="left" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/Carlos-Diegues_Web.jpg" style="margin-right: 10px;" alt=""></em></strong></td> </tr> <tr> <td><span style="font-size: x-small;"><strong><em>Carlos Diegues</em></strong> © DR</span></td> </tr> </tbody></table> <div style="background-color: rgb(239, 233, 233); background-image: none; background-repeat: repeat; background-attachment: scroll; background-position: 0% 0%; -moz-background-size: auto auto; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial; text-align: center;"><strong><span style="font-size: larger;">MEMORIES OF CANNES BY CARLOS DIEGUES</span></strong></div> <div style="background-color: rgb(239, 233, 233); background-image: none; background-repeat: repeat; background-attachment: scroll; background-position: 0% 0%; -moz-background-size: auto auto; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial; text-align: left;"> <strong><em><span style="font-size: larger;"><br><br> "</span><i>Brazilian <span>Cinema Novo invented cinema for a country and a country for the cinema. When the movement instigated by my generation was born in the early 1960s, Brazil did not yet have an image of its own and was unaware of the ability film had to act as an audiovisual mirror. We gradually created this image as we developed modern Brazilian cinema.</span></i><br><br></em></strong> <strong><em><i>The 1964 Festival de Cannes played a decisive role in sparking international interest in this new cinema, which represented the first film-making movement to come out of what was then referred to as <span>the Third World. Two films stood out in the Official Selection: “Vidas Secas” (Barren Lives) by Nelson Pereira dos Santos and “Deus e o diabo na terra do sol” (Black God, White Devil), by Glauber Rocha. In that same year, my first film, “Ganga Zumba”, which was screened during the Semaine de la Critique, also attracted attention.</span></i><br><i>From that point onwards, thanks to Cannes and the French press, Brazilian Cinema Novo gained worldwide recognition as a leading example of the radical changes that the film industry was undergoing during that decade.</i><br><br><i>I was 23 years old back then and those days at Cannes were full of discovery, excitement and awe: I had the wonderful feeling of being welcomed into a universal family that I had never imagined belonging to one day. It wasn't just my first feature film: it was also my first trip to Europe, my first international festival and my first time wearing a dinner jacket (a hired one, of course!). And I was at Cannes! Yes, CANNES!</i><br><i>Me and my fellow Brazilians attending the Festival arrived at the old <span>Palais – at the foot of those marble stairs – surrounded by fans eagerly awaiting a glimpse of the stars for the gala for “Vidas Secas”, the first Brazilian film on the programme. However, I got held up for a reason I can’t remember now and had to climb the stairs all on my own. I had only just climbed the first few steps when Glauber Rocha noticed I wasn’t with the rest of the group. From the top of the already famous staircase, he started to shout down at me using my nickname: “Cacá! Cacá! Cacá!”</span></i> <br><i>Feeling somewhat embarrassed, I scaled the remaining empty stairs in what felt like a never-ending ascent amidst the loud and contagious laughter of the crowd below which, in turn, took hold of the solemn-looking officials in charge of guiding us through.</i> <br><i>Ever since that unfortunate experience, I’ve made sure I always sign using my Christian name, Carlos, as chosen by my parents, which my brothers and friends turned into an affectionate nickname when we were children. A nickname which, in France, still makes me squirm...!</i><span style="font-size: larger;">"</span></em></strong> </div> <div style="background-color: rgb(239, 233, 233); background-image: none; background-repeat: repeat; background-attachment: scroll; background-position: 0% 0%; -moz-background-size: auto auto; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial; text-align: right;"><strong><em><span style="font-size: larger;"><br><br><img height="67" width="200" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/Signature_Diegues.jpg" alt=""></span><br><br> Carlos Diegues, November 2010 </em></strong></div> </td> </tr></tbody></table> <p> </p> <p style="text-align: justify;">For the first time, the flow of influence changed direction, with Brazilians inspiring other directors in Latin America and beyond: after all, didn’t Miklos Jancso’s sequence shots and circular tracking come from <strong>Glauber Rocha</strong>? What did it matter anyway? Cinema had never been so cosmopolitan and open to external influences; images had never circulated so quickly, nor been so influential… At least, that was the panorama in the world of special screenings at film festivals, which started to sprout up all over the place, as if by magic. As for the general public, spectators were not on the same wavelength yet. In actual fact, the general public had fragmented and, from that point on, several types of audience would exist. Two factors explaining why this division was deeper than in other parts of the world were the profound inequalities existing in Brazilian society and the purely commercial nature of television.<br><br><img height="296" width="400" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/glauber-rocha_ok.jpg" alt=""><img height="296" width="200" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/Deus%20e%20o%20Diabo%20original1964.JPG" alt=""><br><span style="font-size: smaller;">Glauber Rocha, <i>Black God, White Devil</i>, In Competition, 1964</span><br><br><br><img height="237" width="160" align="right" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/pixote-poster02.jpg" style="margin-left: 10px;" alt="">There were pre- and post-“<i>Cinema Novo</i>” eras. Modernity shook things up, even though production methods still lagged behind. The Embrafilme period (1969-1990), named after the state-funded production and distribution company that was swamped with “<i>Cinema Novo”</i> directors at the height of the military regime was, without doubt, the most prolific period in Brazilian filmmaking history. In 1980, production reached record heights (103 feature films) and some Brazilian films even competed with American ones at the box office. <strong>Héctor Babenco</strong>’s <strong><i>Pixote</i> </strong>(1980) was sold to more than thirty countries. However, the “model” remained fragile since it was based on independent production supported by the State and it had to compete with a powerful television channel. While the number of cinemas fell, TV Globomade its way into everyone’s home. The “civilization of the image” prevailed. Audiovisual fiction shaped people’s behaviour and minds. The melodrama and “<i>Chanchada</i>” formerly employed by filmmakers would now become commonplace on the small screen. And all this to the detriment of cinema, which would soon become confined to audiences at shopping centres.<br><br><br> After all but disappearing, Brazilian cinema managed to rise from its ashes thanks to support often received from the United States or Europe. Another generation found a voice: <strong>Walter Salles </strong>and his brother, Joao Moreira Salles, or the documentary maker <strong>Fernando Meirelles</strong> and José Padilha. Some of these directors maintained a dialogue with the “<i>Cinema Novo</i>”, while others preferred to start afresh. Globalisation would henceforth be on everyone’s mind. With the Sundance Institute, the Cinéfondation or Ibermédia, a new triangular relationship would guarantee the continuity of Brazilian films into a new century marked by an unexpected rise in the number of cinemas.</p> <p> </p> <table width="610" cellspacing="0" align="right" style=""><tbody> <tr> <td bgcolor="#000000" style="text-align: center;"><img height="194" width="250" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/W_Salles_2008_2.jpg" alt=""></td> <td bgcolor="#000000" style="text-align: justify;"> </td> <td bgcolor="#000000" style="text-align: center;"><img height="176" width="250" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/F_-MEREILLES_2002.jpg" alt=""></td> </tr> <tr> <td style="text-align: center;"> <p><span style="font-size: smaller;">Walter Salles, J. Baldasserini</span><span style="font-size: smaller;"> <br><em>Linha de Passe</em>, 2008 © AFP </span></p> </td> <td bgcolor="#ffffff" style="text-align: justify;"> </td> <td style="text-align: center;"><span style="font-size: smaller;">Fernando Meirelles, R.R. Silvia, A. Rodrigues<br><em>City of God</em>, 2002 © AFP</span></td> </tr> <tr> <td bgcolor="#000000" style="text-align: center;"><img height="169" width="250" vspace="10" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/linhadepasse.jpg" alt=""></td> <td bgcolor="#000000" style="text-align: justify;"> </td> <td bgcolor="#000000" style="text-align: center;"><img height="167" width="250" vspace="10" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/Citededieu_photo.jpg" alt=""></td> </tr> </tbody></table> <p><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><strong><br></strong></p> <p> </p> <p> </p> <p> </p> <p> <br><br>  </p> <h3 style="text-align: right;" class="fck-title-2"> <strong><br></strong><span style="font-size: larger;"><strong>Brazil at Cannes</strong></span> </h3> <p style="text-align: justify;"><br><br> Vera Cruz Studios’ biggest box-office hit, <strong><i>O Cangaceiro</i></strong> (<strong><i>The Bandit</i></strong>) directed by Lima Barreto, was named the best adventure film at the Festival de Cannes in 1953. In 1962, <strong><i>O Pagador de Promessas</i></strong> (<strong><i>The Given Word</i></strong>) directed by Anselmo Duarte was awarded the Palme d’Or, probably one of the most controversial in the competition’s history. This work of transition between the old and the new did not go down very well with the “<i>Cinema Novo</i>” generation, even though the Croisette would come to serve as a platform for them to showcase their work.<br>  </p> <table width="610" cellspacing="0" cellpadding="0" border="0"><tbody><tr> <td bgcolor="#000000"><script type="text/javascript" src="http://www.ina.fr/fresques/CannesFr/pexport/petit/x6ml6mbbkmbbkmbkbmbbfmyimyimyimffmf6m/inline/"></script></td> <td bgcolor="#000000"><img hspace="10" height="207" width="140" vspace="1" border="1" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/La%20Parole%20donn%C3%A9e%20(O%20Pagador%20de%20Promessas)%20(1961)%2002.jpg"></td> </tr></tbody></table> <p style="text-align: justify;"><br><br> It would be there that, in 1963, <strong><i>Vidas Secas</i></strong> (<strong><i>Barren Lives</i></strong>) directed by Nelson Pereira dos Santos would charm the public and be awarded the OCIC prize. And it is there, too, that <strong>Glauber Rocha</strong> would present, <strong><i>Deus e o diabo na terra do sol</i> </strong>(<i>Black God, White Devil</i>, 1964) and <i>Terra em transe</i> (<i>Entranced Earth,</i> 1967), before going on to win the <strong>Best Director Award for <i>Antonio das Mortes</i></strong> (<strong><i>Antonio of the Dead</i></strong>) in 1969 followed by a special jury prize for the short film, <i>Di Cavalcanti</i>, in 1978. Subsequently, the cartoon, <i>Meouw</i> (Marcos Magalhaes, 1982), would also win the Best Short Film Award.</p> <p> </p> <table width="610" cellspacing="0" cellpadding="0" border="0"><tbody><tr> <td bgcolor="#000000"> <div style="width: 450px; height: 350px;" id="allocine_blog"><object height="350" width="450"> <param value="http://www.allocine.fr/blogvision/18635245" name="movie"> <param value="true" name="allowFullScreen"> <param value="always" name="allowScriptAccess"> <embed height="350" width="450" allowscriptaccess="always" allowfullscreen="true" type="application/x-shockwave-flash" src="http://www.allocine.fr/blogvision/18635245"></embed></object></div> </td> <td bgcolor="#000000"><img hspace="10" height="188" width="140" vspace="1" border="1" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/Antonio_AFF.jpg"></td> </tr></tbody></table> <p><br><br> The Critics’ Week and Directors’ Fortnight took up the torch thanks to leading lights as effective as Pierre Kast. Twenty years after <i>Vidas Secas</i>, Nelson Pereira dos Santos would be carried down the stairs of the old Palais by admirers of his FIPRESCI award-winning film, <i>Memorias do Carcere</i> (<i>Memories of Prison</i>, 1984).<br><br> In 1986, the young Fernanda Torres won the award for best female actress for <strong><i>Eu Sei Que Vou Te Amar</i></strong> (<strong><i>Love me Forever or Never</i></strong>) directed by <strong>Arnaldo Jabor</strong>. In so doing, she signalled the arrival of a new generation of directors on the scene.</p> <p> </p> <table cellspacing="1" cellpadding="0" border="0"><tbody> <tr> <td><img height="190" width="145" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/o_cangaceiro_AFF.jpg"></td> <td style="text-align: center;"><img height="190" width="290" alt="" style="margin-left: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/A_JABOR_1986_AFP_Web.jpg"></td> <td style="text-align: center;"><img height="190" width="155" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/BRESIL/vida-secas-3.jpg"></td> </tr> <tr> <td style="text-align: center;"><span style="font-size: x-small;"><em><strong><i>O Cangaceiro</i></strong> (<strong><i>The Bandit</i></strong>)</em>, L. Barreto,<br> In Competition, 1953 </span></td> <td style="text-align: center;"> <p><span style="font-size: x-small;">Arnaldo Jabor, Thales Pan Chacon, Lauro Escorel, <br> Fernanda Torres, <strong><i>Eu Sei Que Vou Te Amar</i></strong> (<strong><i>Love me Forever or Never</i></strong>), 1986 © AFP</span></p> </td> <td style="text-align: center;"> <p><span style="font-size: x-small;"><i>Vidas Secas</i> (<i>Barren Lives</i>) , N. Pereira dos Santos,</span><span style="font-size: x-small;"><br></span><span style="font-size: x-small;">In Competition, 1963</span></p> </td> </tr> </tbody></table> <p> </p> <p><span style="font-size: smaller;"><a href="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/File/Filmographie%20Pays/Brazilian%20Cinema%20and%20the%20Festival%20de%20Cannes.pdf" target="_blank" rel="noopener">> DOWNLOAD THE PDF VERSION</a><br><br></span><span style="font-size: smaller;"><strong>* Paulo Paranagua i<strong>s a journali</strong><strong>st and film hi</strong><strong>storian</strong>.</strong></span><span style="font-size: smaller;"><br><br></span></p> <p><span style="font-size: smaller;"><i>The Festival de Cannes would like to thank all the writers for their free contribution</i></span><span style="font-size: smaller;"><i>s</i></span><span style="font-size: smaller;">.</span></p>
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© <p style="text-align: right;"><strong><img height="206" width="300" align="left" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE1/RomaCittaAperta_photo.jpg" style="margin-right: 10px;" /></strong><strong>BY LORENZO CODELLI *<br /> </strong></p> <p style="text-align: right;"> </p> <p style="text-align: justify;"><strong>Italy emerged from the war ravaged by destruction and misery, yet fervently hoping that it could redeem itself both morally and materially. The emerging neorealist cinema movement was marked by these same characteristics. Its candid re-examination of the contradictions in Italian society was reflected in two innovative and highly influential works which featured in the Selection at the 1946 Festival:</strong><br /> <br /> <span style="font-size: smaller;"><br /> </span></p> <p style="text-align: justify;"><span style="font-size: smaller;">Anna Magnani in<span style="font-style: italic;"> </span><em>Rome, Open City<br /> </em></span></p> <p><strong> <p style="text-align: justify;"><span style="font-size: smaller;"><em><br /> </em></span></p> </strong></p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><strong><i>Roma, città aperta</i></strong> (<strong><i>Rome, Open City</i></strong>), directed by Roberto Rossellini, which won one of the Grand Prix, and<i> </i><strong><i>Il bandito</i></strong><span> (</span><strong><i>The Bandit</i></strong>), directed by Alberto Lattuada. As for the three other Italian feature films in competition that year, these reflected a strong tradition of popular genres: the sentimental musical, <i>Amanti in fuga</i> (<i>The Lovers</i>), directed by Giacomo Gentilomo, <strong><i>Le miserie del signor Travet</i></strong> (<strong><i>His Young Wife</i></strong>), a theatrical adaptation directed by the eclectic <strong>Mario Soldati</strong>, and <strong><i>Un giorno nella vita</i></strong><i> </i>(<strong><i>A Day in the Life</i>)</strong>, a religious drama by <strong>Alessandro Blasetti</strong>, the top director during the fascist regime. On the Croisette, Rossellini immediately received glowing reviews in the <i>Revue du cinéma</i> as well as praise from Georges Sadoul.</p> <table width="497" cellspacing="1" cellpadding="0" border="0" align="right" style=""> <tbody> <tr> <td><img height="278" width="185" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE1/1946-il-bandito-lattuada.jpg" alt="" /></td> <td><img height="269" width="190" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE1/Soldati-affiche-signor-travet.jpg" alt="" /></td> <td><img height="272" width="190" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE1/affiche-Blasetti-ungiorno-dellavita.jpg" alt="" /></td> </tr> </tbody> </table> <p style="text-align: justify;">The director, then in his forties, would lament in his later memoirs the lack of interest shown at the time by the Italian authorities and general public. Nevertheless, Rossellini’s appearance at Cannes would allow him to establish a base of hard core supporters in Paris who would follow him very faithfully for many years, to the point where the works of fascist propaganda that he had directed a few years earlier would be completely forgotten. The scriptwriters of <strong><i>Rome, Open City </i></strong>included Rossellini’s favourite protégé, Federico Fellini, who, at the age of 26, had already made a name for himself as a screenwriter and satirical artist.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <p><object height="482" width="610"> <param name="movie" value="http://www.youtube.com/v/-5MMIMKhJNs?fs=1&hl=fr_FR" /> <param name="allowFullScreen" value="true" /> <param name="allowscriptaccess" value="always" /> <embed height="482" width="610" src="http://www.youtube.com/v/-5MMIMKhJNs?fs=1&hl=fr_FR" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true"></embed></object></p> <p style="text-align: justify;">Also involved at Cannes was the 27-year-old Dino De Laurentiis, who had produced the film directed by Soldati as well as that directed by Lattuada for Lux Film. Among the short films to appear in 1946 was <i>Bambini in città</i> (<i>Children in cities</i>), an extraordinary report on hopeless childhood directed by the thirty-year-old Luigi Comencini.</p> <p style="text-align: justify;"><br /> <img height="250" width="175" align="left" alt="" margin-right="10px" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE1/affiche-RizAmer_web.jpg" />Over the course of the following years, this short film section of the Festival would serve to raise the profile of numerous screenwriters and directors with promising careers ahead of them. From the documentary maker, Luciano Emmer, to the influential critic, Gian Luigi Rondi, the future specialist of “sword-and-sandal” epics, Pietro Francisci, the film historian, Domenico Paolella, and the novice film director, Michelangelo Antonioni.</p> <p style="text-align: justify;"><br /> The rise of neorealism continued with films like <i>Il delitto di Giovanni Episcopo </i>(<i>Flesh Will Surrender</i>), directed by Lattuada, <strong><i>Riso amaro </i></strong>(<strong><i>Bitter Rice</i></strong>),<strong> an epic directed by Giuseppe De Santis</strong>, starring Silvana Mangano and produced by De Laurentiis, <i>Miracolo aMilano </i>(<i>Miracle in Milan</i>), directed by Vittorio De Sica and written by Cesare Zavattini (Grand Prix 1951), <i>Il Cammino della speranza</i> (<i>Path of Hope</i>), directed by<img height="227" width="170" align="right" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE1/-les-nuits-de-cabiria-Fellini.jpg" style="margin-left: 10px;" /> Pietro Germi with Fellini as co-scriptwriter, <i>Il Cristo proibito</i> (<i>Strange Deception</i>), by that polemical man of letters, Curzio Malaparte, and <i>Due soldi di speranza</i> (<i>Two Cents Worth of Hope</i>), directed by Renato Castellani. <br /> Indeed, the latter film was awarded the Grand Prix in 1952, while the Award for Best Screenplay that same year went to Piero Tellini for penning the brilliant original story for <i>Guardie e ladri </i>(<i>Cops and Robbers</i>), directed by Steno and Mario Monicelli. Both <i>Carosello Napoletano </i>(<i>Neapolitan Carousel</i>), a spectacular musical comedy directed by Ettore Giannini (assisted by Francesco Rosi), and <i>Il Segno di Venere</i> (<i>The Sign of Venus</i>),an acerbic comedy directed by Dino Risi and starring Sophia Loren, opened up new narrative pathways in the mid-1950s that were resolutely post-neorealist, and which would also be taken by Vittorio de Sica (<i>Il Tetto – The Roof</i>) and Pietro Germi (<i>Il ferroviere</i> <i>–The Railroad Man</i>). The 1957 Award, presented to the mesmerizing <strong>Giulietta Masina</strong> for her performance in <strong><i>Le notti di Cabiria</i></strong> (<strong><i>Nights of Cabiria</i></strong>), would be the first in a long series of Cannes trophies conquered by her husband, Federico. In 1958, the novelist and poet, Pier Paolo Pasolini, who was already experiencing a meteoric rise, won the Award for Best Original Screenplay for <strong><i>Giovani mariti</i></strong> (<strong><i>Young Husbands</i></strong>), <strong>directed by</strong> <strong>Mauro Bolognini</strong>.</p> <p style="text-align: justify;"> </p> <p style="text-align: center;"><img height="285" width="400" align="middle" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE1/photo_les_jeunes_maris_giovanni_mariti.jpg" alt="" /></p> <p style="text-align: center;"><span style="font-size: smaller;"><em> <strong><i>Giovani mariti</i></strong> (<strong><i>Young Husbands</i></strong>) </em>directed by Mauro Bolognini</span></p> <p><img height="120" width="170" align="left" margin-right="10px" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE1/Rosselini_Leaud---3.jpg" style="margin-right: 10px;" alt="" /></p> <p style="text-align: justify;"><br /> A photograph taken during the 1959 Festival – at which the Italian film producer, Carlo Ponti, was a member of the Jury – shows Rossellini and Jean-Pierre Léaud laughing together after handing over the Award for Best Director to François Truffaut, a protégé of Rossellini, for his film, <i>Les quatre cents coups </i>(<i>The 400 Blows</i>).</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><strong><br /> </strong></p> <table width="610" cellspacing="0" cellpadding="0" border="0"> <tbody> <tr> <td> <div style="background-color: rgb(234, 228, 228); background-image: none; background-repeat: repeat; background-attachment: scroll; background-position: 0% 0%; -moz-background-size: auto auto; -moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -moz-background-inline-policy: -moz-initial;"> <p style="text-align: center;"><strong><img height="120" width="120" align="left" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE1/cesare-zavattini.jpg" style="margin-right: 10px;" alt="" /></strong><span style="font-size: larger;"><strong><br /> </strong></span><span style="font-size: larger;"><strong>FOCUS ON<br /> Neorealism</strong></span><span style="font-size: larger;"><strong><br /> </strong></span></p> <p style="text-align: left;"> </p> <div><strong>Cesare Zavattini</strong>, an influential theorist and a key figure in the neorealist movement laid out his views in an article published in 1953 entitled, “Neorealism lives on”: “Neorealism cannot be limited to the war and post-war period: it has a hunger for reality. It craves to explore the times we are living in in a more direct and immediate way. That's why this movement is unable to content itself with the escapist subject matter that, working in the<strong> </strong>way does, the film industry serves up to us. That’s why, as was already demonstrated in <span>Paisà (Paisan), <strong>Ladri di biciclette</strong> (<strong>Bicycle Thieves</strong>) or La Terra trema (The Earth Will Tremble),</span> neorealism will continue to do everything it can to free itself from the fiction of entertainment.”</div> <p style="text-align: left;"> </p> <object height="482" width="610"> <param value="http://www.youtube.com/v/FZm7WuIVPtM?fs=1&hl=fr_FR" name="movie" /> <param value="true" name="allowFullScreen" /> <param value="always" name="allowscriptaccess" /> <embed height="482" width="610" allowfullscreen="true" allowscriptaccess="always" type="application/x-shockwave-flash" src="http://www.youtube.com/v/FZm7WuIVPtM?fs=1&hl=fr_FR"></embed></object> <p style="text-align: center;"><span style="font-size: smaller;"><em><strong>Ladri di biciclette</strong> (<strong>Bicycle Thieves</strong>) directed by Vittorio De Sica</em></span></p> <p style="text-align: left;"><br /> Nevertheless, in 1950, Zavattini’s colleague, the eminent screenwriter and leader of the movement, Sergio Amidei, had penned and personally produced the film, <i>Domenica d'agosto</i> (<i>Sunday in August</i>). This “escapist” comedy directed by Luciano Emmer deliberately toned down the focus on harsh reality. Therefore it wasn’t just Zavattini’s loathed cinema industry that contributed to steering the movement towards “the fiction of entertainment”. Indeed, Zavattini himself would go on to move towards light comedy and popular melodrama in his work with Vittorio De Sica in the 1950s and 1960s. And Federico Fellini, who had contributed to the effects in <i>Roma, città aperta </i>and<i>Paisà </i>would not hesitate to abandon neorealist topics and techniques almost contemptuously as soon as he became a director himself.<br /> Neorealist masterpieces to rediscover include: <i>Senza pietà </i>(<i>Without pity</i>), directed by Alberto Lattuada (1948); <i>La Terra trema</i> (<i>The Earth Will Tremble</i>), directed by Luchino Visconti (1950); the collective work, <i>Giorni di gloria </i>(<i>Days of Glory</i>, 1945); <i>In nome della legge</i> (<i>In the Name of the Law</i>), directed by Pietro Germi (1948); and <i>Sotto il sole di Roma </i>(<i>Under the Sun of Rome</i>), directed by Renato Castellani (1948).</p> <p><img height="274" width="198" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE1/Terretremble-visconti.jpg" alt="" /><img height="270" width="191" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE1/souslesoleil%20derome-castellani.jpg" alt="" /><img height="275" width="195" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/ITALIE1/in_nome_della_legge-pietro%20germi.jpg" alt="" /></p> </div> </td> </tr> </tbody> </table> <p><strong><br /> </strong></p> <p style="text-align: center;"><strong><br /> COMING ON 14 FEBRUARY, "ITALIAN CINEMA AT CANNES 1960-1999" (2/3).</strong></p> <p style="text-align: center;"> </p> <p style="text-align: left;"><a href="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/File/Filmographie%20Pays/Italian%20Cinema%20at%20Cannes%201946-1959.pdf" target="_blank" rel="noopener">> DOWNLOAD THE PDF VERSION </a></p> <p style="text-align: center;"> </p> <p style="text-align: left;"><span style="font-size: smaller;"><strong>* Lorenzo Codelli i</strong></span><span style="font-size: smaller;"><strong>s</strong></span><span style="font-size: smaller;"><strong> a journali</strong></span><span style="font-size: smaller;"><strong>s</strong></span><span style="font-size: smaller;"><strong>t and hi</strong></span><span style="font-size: smaller;"><strong>s</strong></span><span style="font-size: smaller;"><strong>torian who collaborate</strong></span><span style="font-size: smaller;"><strong>s</strong></span><span style="font-size: smaller;"><strong> </strong></span><span style="font-size: smaller;"><strong>with the Festival de Cannes. He al</strong></span><span style="font-size: smaller;"><strong>so </strong></span><span style="font-size: smaller;"><strong>contribute</strong></span><span style="font-size: smaller;"><strong>s to</strong></span><span style="font-size: smaller;"><strong> the magazine, <em>Positif</em>,  the <em>International Film Guide</em> and other publications.</strong></span></p> <p style="text-align: left;"> </p> <p style="text-align: left;"> </p> <div><em><span style="font-size: smaller;">The Festival de Cannes would like to thank all the writers for their </span></em><span style="font-size: smaller;"><i>free contribution</i></span><em><span style="font-size: smaller;">s.</span></em></div>
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© <p style="text-align: right;"><strong>BY LEE CHANG DONG*</strong></p> <table width="20" cellspacing="1" cellpadding="0" border="0" align="left"> <tbody> <tr> <td> <p><strong><img height="147" width="220" align="left" style="margin-right: 10px;" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/Lee-Chang-Dong.jpg" alt="" /></strong></p> </td> </tr> <tr> <td style="text-align: left;"><span style="font-size: smaller;">Lee Chang Dong © AFP</span></td> </tr> </tbody> </table> <p style="text-align: right;"><strong><br /> </strong></p> <p style="text-align: justify;"><strong><br /> A young Korean is led away from his village, bound by a rope pulled by a Japanese policeman. He used a sickle to beat the henchman of a sadistic landowner, who was terrorising the villagers, to death. This is how the ending of Na Un-gyu's film, <i>Arirang</i>, goes. Legend has it that when the film was released in 1926 during the Japanese occupation, its Korean spectators wept in cinemas and sang the folk song, “Arirang”, in chorus.<br /> </strong> <br />  <br />  </p> <table width="200" cellspacing="1" cellpadding="0" border="0" align="right"> <tbody> <tr> <td>  </td> <td><img height="243" width="170" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/220px-Arirang_1926_poster.jpg" alt="" /></td> <td><img height="244" width="190" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/220px-Imjaeobtneun_naleutbae.jpg" alt="" /></td> </tr> <tr> <td> </td> <td style="text-align: center;"><span style="font-size: smaller;"><em>Arirang</em>, 1926</span></td> <td style="text-align: center;"><span style="font-size: smaller;"><em>The Ownerless Ferryboat, 1932</em></span><em><strong><br /> </strong></em></td> </tr> </tbody> </table> <p style="text-align: justify;">This film, now generally considered to have marked the true start of Korean cinema, is highly representative of one of its main characteristics: it reflects the context and social reality of the time, while expressing the emotions and desires of its audience. In<i> <strong>The Ownerless Ferryboat</strong>, </i>another hero of the silent era, Lee Gyu-hwan, evoked the anger of a population suffering the atrocities of Japanese imperialism in this film about a boatman who kills a railway engineer. Subsequently, the first Korean talkie, <strong><i>Histoire de Chunhyang</i></strong> (1935), was an adaptation of a traditional story that also evoked contemporary suffering and sadness.</p> <p style="text-align: justify;"><br /> <br /> In the 1960s, following a period of mass destruction caused by the Korean war (1950-1953) that took place soon after the end of Japanese colonisation (1945), film directors like Shin Sang-ok, Yoo Hyon-mok, Kim Soo-yong, Kim Ki-young and Lee Man-hee brought about what came to be known as the “Renaissance” of Korean cinema. Their talent was demonstrated through a wide variety of styles ranging from art-house productions to mainstream films, all of which shared the common characteristics of reflecting social reality and speaking on behalf of the Korean people.<br /> <br /> This artistic tradition, which could be described as “realist”, was put on hold in the 1970s because of the strict censorship imposed by the dictatorial regime that reigned during this period. Under the regime’s watchful eye and controlling hand, the only productions authorised were melodramas and action films that avoided specific local settings, or works of propaganda that served the sole function of meeting the quota required to enable foreign films to be imported. Korean cinema inevitably plunged into a deep depression that it struggled to recover from, which affected both the industry itself, as well as artistic quality.</p> <p style="text-align: center;"><br /> <br /> <img height="333" width="500" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/Le%20reve_Bae%20Chan%20Ho.jpg" alt="" /><br /> <em><span style="font-size: smaller;">The Dream </span></em><span style="font-size: smaller;">directed by Bae Chang-ho, 1990</span><br />  </p> <p style="text-align: justify;"><br /> At the turn of the 1980s and then again towards the middle of that decade, <strong>Bae Chang-ho </strong>and Lee Jang-ho on the one hand, and Park Kwang-su and Jang Sun-woo on the other, used their own unique styles to capture reality on film once again and, in so doing, lifted national cinema out of its long-term lethargy. Joining them in their regeneration efforts, their older counterpart, <strong>Im Kwon-taek</strong>, produced a number of highly modern works which set him apart from his generation. <br />  <br />  </p> <table width="610" cellspacing="0" cellpadding="0" border="0"> <tbody> <tr> <td bgcolor="#000000"> <div id="allocine_blog" style="width: 450px; height: 350px;"><object height="350" width="450"> <param name="movie" value="http://www.allocine.fr/blogvision/18674036" /> <param name="allowFullScreen" value="true" /> <param name="allowScriptAccess" value="always" /> <embed height="350" width="450" src="http://www.allocine.fr/blogvision/18674036" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always"></embed></object></div> </td> <td bgcolor="#000000"><img height="200" width="150" align="right" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/IVRE%20DE%20FEMMES_AFFICHE.jpg" alt="" /></td> </tr> </tbody> </table> <p><span style="font-size: smaller;"><em>Chihwaseon</em>,</span><span style="font-size: smaller;"> Im Kwon-Taek, Award for Best Director, 2002.</span></p> <p><br />  </p> <div align="left">Then, in 1988, the country’s film industry reached a key turning point when American films began to be introduced directly by their distributors. Consequently, Korean films found themselves having to compete with Hollywood productions. The entire system started to totter, before completely collapsing around 1992. The fight for the “screen quota” turned out to be crucial to setting Korean cinema – by then in a critical situation – back on its feet. Acting on their own initiative, film directors campaigned for enforcement, or more precisely a revival, of a law that had become a dead letter. In so doing, they created the conditions that would enable Korean cinema to prosper towards the end of the 1990s. Imagination and new talent, both freed from censorship following the country’s democratisation, brought new energy to national cinema, which henceforth would bravely withstand the presence of American productions on the local market. Today, names like <strong>Kim Ki-duk</strong>, <strong>Hong Sang-soo</strong>, <strong>Park Chan-wook</strong> and <strong>Bong Joon-ho</strong> cross borders.</div> <p><br />  <br />  </p> <table width="200" cellspacing="1" cellpadding="0" border="0"> <tbody> <tr> <td bgcolor="#000000"> <img height="101" width="152" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/Kim-Ki%20Duk.jpg" alt="" /></td> <td bgcolor="#000000"> <img height="101" width="152" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/Bong-Joon-ho_2.jpg" alt="" /></td> <td bgcolor="#000000"> <img height="101" width="152" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/Hong-Sang-Soo.jpg" alt="" /></td> <td bgcolor="#000000"> <img height="101" width="152" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/Park-Chan-Wook.jpg" alt="" /></td> </tr> <tr> <td style="text-align: center;"><span style="font-size: smaller;">Kim Ki-duk</span></td> <td style="text-align: center;"><span style="font-size: smaller;">Bong Joon-ho</span></td> <td style="text-align: center;"><span style="font-size: smaller;">Hong Sang-soo </span></td> <td style="text-align: center;"><span style="font-size: smaller;">Park Chan-wook</span></td> </tr> <tr> <td bgcolor="#000000"> <img height="101" width="152" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/Soom.jpg" /></td> <td bgcolor="#000000"> <img height="101" width="152" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/Mother.jpg" /></td> <td bgcolor="#000000"> <img height="101" width="152" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/HAHAHA.jpg" /></td> <td bgcolor="#000000"> <img height="101" width="152" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/THIRST_Image%20film.jpg" alt="" /></td> </tr> <tr> <td style="text-align: center;"><span style="font-size: smaller;"><em>Breath</em>, In Competition 2007</span></td> <td style="text-align: center;"> <span style="font-size: smaller;"><em>Mother</em>, <span>Un Certain Regard 2009</span></span></td> <td style="text-align: center;"><em><span style="font-size: smaller;">HAHAHA</span></em><span style="font-size: smaller;">, Un Certain Regard Award 2010</span></td> <td style="text-align: center;"><span style="font-size: smaller;"><em>Thirst</em>, Jury Prize 2009</span></td> </tr> </tbody> </table> <p><br /> <br /> A key characteristic of today’s Korean cinema is its diversity. That said, Korean directors have continued to speak on behalf of their fellow citizens and to express their emotions and desires, regardless of the distinct genres and techniques they employ. Singing the songs the audience wants to sing: this is the spiritual legacy they have received from the past and which drives them in their work.</p> <p style="text-align: right;"><br /> <img height="116" width="180" alt="" src="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/Image/CINEMATOGRAPHIES/COREE/Lee%20Chang%20Dong_Bresil.jpg" /></p> <p style="text-align: left;"><br /> <br /> <object height="362" width="600"> <param value="http://www.youtube.com/v/hQC7VUH3fRI?fs=1&hl=fr_FR" name="movie" /> <param value="true" name="allowFullScreen" /> <param value="always" name="allowscriptaccess" /> <embed height="362" width="600" allowfullscreen="true" allowscriptaccess="always" type="application/x-shockwave-flash" src="http://www.youtube.com/v/hQC7VUH3fRI?fs=1&hl=fr_FR"></embed></object><br /> <span style="font-size: smaller;"><em>Poetry</em> directed </span><span style="font-size: smaller;">by Lee Chang Dong.<br /> </span></p> <p style="text-align: left;"> </p> <p style="text-align: left;"><a href="http://affif-sitepublic-media-prod.s3-website-eu-west-1.amazonaws.com/assets/File/Filmographie%20Pays/Korean%20Cinema%20-%20The%20successors%20of%20Arirang.pdf" target="_blank" rel="noopener"><span style="font-size: smaller;">> DOWNLOAD THE PDF VERSION</span></a></p> <p style="text-align: right;"><span style="font-size: smaller;"><br /> </span></p> <p style="text-align: left;"><span style="font-size: smaller;"><strong>* Lee Chang Dong is a screenwriter and film director. He received the Award for Best Screenplay for<em><span style="font-style: italic;"> </span>Poetry</em>, which was presented in Competition at Cannes in 2010.</strong></span><span style="font-size: smaller;"><br /> <br /> </span></p> <p style="text-align: left;"><em><span style="font-size: smaller;"><strong>The Festival de Cannes would like to thank all the writers for their free contribution</strong></span></em><em><span style="font-size: smaller;"><strong>s</strong></span></em>.</p>
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