We still remembers her adorable acceptance speech at the Critic’s Choice Awards in January. Saturday night, the young Jacob Tremblay, 9, Brie Larson partner in Room , was nominated for SAG Awards, the union of actors in Hollywood, in the category Best Actor in a Supporting Role. But this time he was beaten by one of his glorious predecessors, the British star Idris Elba for his role as warlord Beasts of No Nation .
As elegant as its predecessor!
Still, little Jacob did not come for nothing. It has in fact presented an award with Brie Larson. But above all he took the impressive concentration of stars per m2 to take some selfies. Starting with a certain Leonardo DiCaprio. You know, the one who plays a vengeful Trapper The Revenant Gonzales Inarritu Alejandro, rewarded with a SAG Saturday and favorite for the Oscar on 28 February.
” It happened! I finally met Leonardo DiCaprio, “commented Jacob beside the cliché. Question elegance, it already has nothing to envy to his eldest
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VIDEOS – Union actors awarded for the first time, the star of The Revenant his trophy for best actor. A good omen for the Oscars on 28 February. As a snub to the Academy Awards, the guild, who also awarded Spotlight , made great emphasis on diversity.
Nothing opposes his triumph at the Oscars on 28 February. Leonardo DiCaprio has crossed the final hurdle Saturday, the ultimate uncertainty that separated him from his future Oscar. The actors’ union has named the star of his trophy for Best Actor for his astonishing performance in The Revenant . As Oscar, DiCaprio was nominated numerous times for SAG awards but had never won anything. His most serious rivals appeared Bryan Cranston, biopic of the star on the Hollywood screenwriter Trumbo and Matt Damon ( Only on Mars ).
“I’m terribly excited because this statuette comes from you dear colleagues. Thank you from the bottom of my heart, “said the cheers Leonardo DiCaprio who had to eat raw liver and buffalo bathing in icy rivers for his role. Encouraging her peers to look at the history of cinema “because we rest on the shoulders of giants,” the artist of 41 years thanked the director Alejandro Inarritu for its “wild authenticity,” his enemy on the screen, Tom Hardy, and his parents for having “taken auditions after school” when he was 15.
Kate Winslet was one of the first to congratulate Leonardo DiCaprio. The two stars have turned in Titanic and Revolutionary Road Photo credit:. Vince Bucci / Vince Bucci / Invision / AP
For 11 years the SAG awards and Oscars on the same wavelength
The winners of SAG is an indicator extremely reliable actors who will be crowned at the Oscars a few weeks later. The actors are the professional branch the most affluent and most numerous Academy Awards. For 11 years the SAG and the Oscars have always been on the same wavelength in the best actor category.
The evening also cemented the favorite status Brie Larson, who walks away with the statuette for best actress for Room, where she plays a young mother who finds freedom after years of confinement in a small piece. She described as “inspiration” prodigy actor of nine, Jacob Tremblay, who plays his son and thanked “films have given him company when she was young and did not find its place.” The SAG also distinguished another rising star of cinema Swedish Alicia Vikander. With this award, the star of The Danish girl can finally get ahead of Kate Winslet ( Steve Jobs ) and Rooney Mara ( Carol ).
However, the SAG have the Oscars face their weaknesses by presenting the statuette for Best Supporting Actor Idris Elba in for Beast of No Nation Netflix. The British-Ghanaian origin shook Leone is one of the players from the forgotten minority Academy Award nominations, which retained only white actors. Realizing a feat, Idris Elba has even made a double by winning TV side a Best Actor trophy for Luther. The actor has also thumbed his nose at the Oscars by launching a clip of Beast of No Nation a resounding “welcome to television diversity”.
A lesson in diversity
The diversity was at the heart of this ceremony where the colors of players triumphed in television, Queen Latifah ( Bessie ), Viola Davis ( How to get away with murder ) through the team of The New Black is Orange , voted best comedy. “Look at this scene [bringing together multi-ethnic actresses], this is what we mean when we talk about diversity,” exclaimed Laura Prepon. The series on Netflix detained, “put on the center stage of the women who come in all the colors of the rainbow sky,” added Samira Wiley, “This is what people want to see (on screen) because they (themselves) like that, “she said.
Faced with Will Smith and his wife Jada Pinkett-Smith or producer Spike Lee who will boycott the Oscars February 28, Viola Davis has called on his side rather go see the film and played by blacks made: “The most important thing is not to think that the stories with black characters concern not everyone. ”
So many passionate speeches that almost makes you forget the winner of the most coveted statuette of the evening, one of the best distribution of film, awarded to Spotlight that recurs in the Oscar race. After a victory on two SAG is followed by a triumph at the Oscars. Mark Ruffalo and Michael Keaton will have paid tribute to victims of sexual abuse committed by priests, about the drama, and “all those who feel disenfranchised as in Flint, Michigan.”
This is usually a very good indicator of the Oscars. Saturday night, stood in Hollywood Screen Actors Guild Awards, given annually by the syndicate of cinema actors and American television. But this year the ceremony took the Oscar against foot-awarding prizes to many black actors.
While the prestigious ceremony is accused of being whiter than white, the SAG Awards, them, have not forgotten African-American comedians. Idris Elba (Best Supporting Actor for Beasts of No Nation and best actor in the series Luther ), Queen Latifah (Best Actress in a mini-series Bessie ), Viola Davis (Best Actress in a Drama Series for How to get away with murder ) and the team of The New Black is Orange , successively graced the stage at the Shrine Auditorium in Los Angeles.
Leonardo DiCaprio, on the way to Oscar
“Look at this scene together the multiethnic actresses of Orange is the New Black This is what we mean when we talk about diversity “, welcomed the actress Laura Prepon alias Alex Vause in the series from Netflix. Unlike Will Smith, Jada Pinkett-Smith and Spike Lee who will boycott the Oscars February 28, Viola Davis for his part, advised the public to go see the film and played by blacks made: “The most important is not to think that the stories with black characters do not affect everyone. “
Another big winner of the evening, Leonardo DiCaprio makes a step closer to the Oscar for his role in The Revenant , in which he played brilliantly the legendary trapper Hugh Glass. Ditto for Brie Larson, rewarded for his performance in Room , which is a favorite figure for the Oscar for best actress. Mark Ruffalo, Rachel McAdams and Michael Keaton, have meanwhile received the award for the best distribution for a movie to Spotlight . Oscar favorite, the film directed by Tom McCarthy tells the Boston Globe investigation to reveal the pedophilia scandal that has hit the Catholic Church.
Full Awards SAG Awards
Film
Best Actor : Leonardo DiCaprio, The Revenant
Best Actress : Brie Larson, Room
Best Actor in a Supporting Role : Idris Elba, Beasts of No Nation
Best Actress in a Supporting Role : Alicia Vikander, The Danish Girl
Better distribution Spotlight
Best stunt team in a movie Mad Max: Fury Road
Television
Best Actor in a Miniseries or a Movie : Idris Elba, Luther
Best Actress in a Miniseries or a Movie : Queen Latifah, Bessie
Best Actor in a Comedy Series : Jeffrey Tambor, Transparent
Best Actress in a Comedy Series : Uzo Aduba, Orange Is the New Black
Best Actor in a Drama Series : Kevin Spacey, House of Cards
Best Actress in a Drama Series : Viola Davis, Murder
Better distribution for a series dramatic Downton Abbey
Better distribution for a Comedy Series Orange Is the New Black
Best stunt team in a Drama Series Game of Thrones
an entire career for Price : Carol Burnett
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As the processions in times of Fashion Week, awards ceremonies are linked in Hollywood, the epicenter of season awards! A new ceremony took place there last night. Demi Moore and Kate Winslet were stars …
This is the Shrine Auditorium that took place this Saturday, January 30, the 22nd edition of the SAG (Screen Actors Guild) Awards. An appetizer to exactly one month and one day of the Oscars, that Demi Moore was privileged to taste. Ravishing in a black dress Zac Posen from 2003 (spring-summer collection), the 53 year-old actress gave one of the most coveted awards of the evening: one for Best Cast, won by the hero of the film Spotlight (released in France this Wednesday, January 27).
Kate Winslet have also been able to leave the Shrine Auditorium with a new trophy. Nominated for Best Supporting Actress for her performance in Steve Jobs (in theaters in France on February 3), Kate Winslet finally bow facing Alicia Vikander, Eddie Redmayne partner in The Danish Girl . Kate console with a mention in the lists of best dressed personalities of the SAG Awards, with a dark green dress Giorgio Armani.
Alicia exquisite Vikander by Louis Vuitton, Rooney duo Kate Mara dressed Valentino dresses, the lucky winner Brie Larson dressed by Versace Atelier, Julianne Moore and Rachel McAdams in Givenchy couture gowns and Elie Saab, the heroine of the series Orange Is The New Black Laverne Cox irresistible Workshop Prabal Gurung, Emilia Clarke crisp dress by Christian Dior … the arrival of guests from these 22 SAG Awards looked like a fashion show! A show in which Susan Sarandon and her daughter Eva Amurri also took part, and that the five stars of the movie Straight Outta Compton have certainly appreciated.
A total of 16 prizes including a Lifetime Achievement, were awarded during the ceremony.
Young-Turkish band he formed the four when they had 20 years with Jean-Luc Godard, François Truffaut and Claude Chabrol, it was by far the most secret. Jacques Rivette died Friday, January 29, at the age of 87, and the mystery that prevails in his grave is as wide as the one that continues to nimber his filmography. Thirty movies in total, made in half a century, from 1949 to 2009, between which run underground walkways, echoes of encrypted systems, which together constitute a great treasure hunt and a fertile breeding ground poetic.
Review the Cahiers du cinema from 1952, editor of the magazine from 1963 to 1965 Jacques Rivette also leaves great critical texts and, more broadly, a legacy that remains critical in apprehension of cinematic modernity
Read also:. “For Rivette films were made as plots”
From the very experimental Out 1 , improvised variation on The Story of Thirteen Balzac in eight episodes (12 h 40 in total!), the classicism of The Beautiful Troublemaker , the count of Suzanne Simonin, Religious Diderot to psychedelic pop Celine and Julie Go Boating , his work has had the most extravagant molts. His unit, real yet manifested on the surface by a loyalty to his actresses – Bulle Ogier, Juliet Berto, Jane Birkin, Geraldine Chaplin, Sandrine Bonnaire, Emmanuelle Béart, Jeanne Balibar … – and its writers – Jean Gruault, Suzanne Schiffman Pascal Bonitzer, Christine Laurent …
To be more hidden, she holds an ethic of staging. By observing its players more than the leader, leaving spinning scenes without cutting, avoiding close-ups – by refusing, in short, break up the space, time, bodies -, Jacques Rivette preserved the mystery of world and beings filming. The result of long films, sometimes very long, cyclic intrigues, he loved to cram coded messages, manipulation of all kinds, sometimes double trigger, conspiracies, often irrelevant, but could “ generate a reality “. This dialectic between true and false is also reflected in the report to the theater, which occupies a very important place in his cinema
See also:. A snorkeling in “Out 1″ Jacques Rivette
The New Wave
The spearhead of the New Wave, Jacques Rivette gave the kickoff in 1956 when his short -métrage The shepherd Coup , shot in 35 mm in the flat of Claude Chabrol, was released in theaters. Throughout the half century that followed, the filmmaker remained faithful to the spirit of freedom that characterized this movement, which resulted in him by a relentless pursuit of deregulation. Especially its filming, he exuded a form of disorder, discomfort, pushing his actors to improvise, inviting all employees to join the dance, hoping to cause the accident, operate the magic of chance.
Born in Rouen, 1 st in March 1928, Jacques Rivette out of adolescence when Europe comes out of the war and the horror of the camps became public. His relationship to the world, and cinema, and will forge under the sign of the loss of innocence, as evidenced by his most famous text, From abjection (published in 1961 Les Cahiers du cinema ) where he outlines an ethic of the modern artist, whose look was forever altered by the horror (and in which the question of the representation camp is obviously the critical point)
On a deliberately polemical tone, which contributed to its impact t. – the text continues even today ignite moviegoers debates – Rivette attacks the traveling operated by Gillo Pontecorvo in Kapo, at the time of the suicide of the remote interpreter Emmanuelle Riva: “The man who decides at that moment to do a tracking shot to reframe the dead body in cons-diving , taking care to include exactly the hand raised in a corner of the final framing, this man has rights that deep contempt. “ Continuing the reflection on the staging initiated by Luc Moullet (” morality is traveling affair ‘) and Jean-Luc Godard (“ tracking shots are a matter of morality “), he opposes the ” abjection “ and disqualified the correctness of the author’s point of view, which is also a relationship to the world.
With Truffaut, Chabrol and Godard, whom he met at the Cinémathèque on his arrival in Paris in 1949 and with whom he founded The film Gazette , Rivette laying the foundations of policy authors, and “hitchkoco-hawksisme” – doctrine that aimed to establish equal status between, on one side, Hitchcock and Hawks, at a time when they were considered in the pay-makers studios, Balzac and the other.
Financing Difficulty
Unlike his peers, he has already directed a short film, In around in Rouen in 1949. Between 1950 and 1954, he turns two, works as assistant on Jean Renoir Cancan , the light operates on short films Truffaut and Rohmer who embarked meantime. After The shepherd Coup , he began work on his first feature film, Paris belongs to us that long struggle to get funding. This difficulty, which will stick to the skin throughout his career, push him to invent devices to express more with less, explains Martine Marignac, producer of his last films. On Jeanne La Pucelle , “Jacques said he did not want to shoot battles but ” a battle of idea “ (…) (It) knows that is in an economic system outside the conventional system – which, anyway, is not interested” ( Jacques Rivette secret understood , by Helen Frappat, editing Cahiers du Cinema, 2001).
Like all movie titles Rivette, Paris belongs to us returns to a reference hidden, a sentence of Charles Peguy in this case, “ Paris belongs to no” . Paranoid survey designed, broke out between the paths of dozens of characters is constantly steals, this film puts in crisis the traditional relationship to the viewer. He, like Gilles Deleuze poses in Image The Time ( Editions de Minuit , 1994), no longer able to identify with these figures “floating” marginal that the characters are or finding their in a private Paris of his usual landmarks.
Putsch to “Cahiers du Cinema”
In Cahiers du cinema , the safety of its judgment, the rigor of his writing inspire respect. “I had the reputation of being the Saint-Just in time” , he concedes Serge Daney, in the documentary Jacques Rivette, the watcher, Claire Denis (performed as part of the series “Filmmakers of our time”). Desiring to switch the magazine in modernity, it runs from 1962 to Eric Rohmer, the editor, questioning his “fascination” (and that of any part of writing) for the beauty of classic American cinema, calling the contrary critics to place in a ratio of “understanding” .
Rivette, who wants to open the pages to European modernity and new cinema emerging in the world, and other artistic and intellectual disciplines, took power after a “coup”. It prints the magazine a theoretical shift that will structure it in depth, for a long time – and that symbolizes a series of interviews with executives of the cinema as Roland Barthes, Claude Levi-Strauss and Pierre Boulez
<. p> The episode, however, is brief. In 1965, after a year and a half passed to the chief editor of Cahiers du cinema , he returned to the stage for good and adapts The Nun Diderot ( he had already assembled at the theater two years earlier). Illuminated by the presence of Anna Karina, the film of a monastic austerity was not a rant but ran into censorship even before being completed. In prohibiting the operation, the government unleashed the passions of the world of cinema, Godard in mind, which address, in the pages of New Observer , vitriolée a letter to André Malraux, called for the occasion “Minister of Kultur” . After a legal battle, the film gets permission to be released in 1967, along with a ban on under 18, and instantly became the most successful of its author. Censorship is exercised in full in 1975.
At the end of this case, Rivette challenges the primacy of the scenario. Why actors would they not the engine of the film? Or music? And why not the decorations? The portrait of Jean Renoir, Jean Renoir, the boss , he realizes for the series “Filmmakers of our time”, adopting the method of Renoir, that is to say leaving things to come in the master’s speech occurrence, without imposing anything, allows him to experience what will become his trademark: an improv theater, dialogue between and with actors. These, now, will often credited as writers of his films.
experimental period with “L’Amour fou”
1968 Rivette immersed in a period experimental which only emerge at the turn of the 1980s with L’Amour fou , and more with Out 1 , it tries to unstructured stories improvised, gravitating around the rehearsals of a company of actors. By injecting into the fiction of-phase movements, unnatural action, drama blew realism. For Out 1: Noli me Tangere , the filmmaker was inspired by the method of Jean Rouch: actors who invent their own characters. In this incredibly romantic fresco – nearly 13 hours divided into eight episodes, which will be reduced to 4 h 15 in the “short” version, Out 1: Spectra (which can be considered his masterpiece work) – it frees the accepted limits of cinematic narrative to board the viewer in a fictional extraordinary experience in which he bet because it turned out
Then comes a sequence occult. that starts with Celine and Julie Go Boating , so Alice in Wonderland on acid when, every time they swallow a little sweet, Juliet Berto and Dominique Labourier land in a bizarre parallel world populated by ghostly characters greenish complexion, with whom they relive the same scene from different angles. By doing so the living and coexist spectra, as it will coexist in Dual , the next movie, the moon and the sun, Rivette depicts the duality and ambivalence of the world. First of a tetralogy entitled Les Filles du feu , which ultimately will have three films, Dual will be followed by Chillwind a history of vengeance in a world of pirates girls, and, three decades later, with The Story of Marie and Julien , a variation on Vertigo Hitchcock.
“The world as an idea”
With the end of the 1970s comes the end splurge. The bluish gray North Bridge , one of his finest films, a sign symbolically mourning. This spinning in a Paris wasteland (wasteland under construction near the Ourcq canal) that brings Bulle Ogier, his daughter Pascale Ogier (died a few short years later) and Pierre Clementi, the black angel of the underground of the 1970s, signals the start of a new project in which, without giving up experiment, the filmmaker will embrace more traditional forms.
The theater remains present ( Love ground , The Gang of Four , Who Knows! ). But the great shape of this glorious period, and the greatest films that comprise it – Jeanne la Pucelle I and II, Up, Down, Fragile , Secret Défense , Who knows, Do not Touch the Axe – will be the women’s learning novel form with which Rivette, from Suzanne Simonin, Religious Diderot , most willingly spoke of him.
There were also la belle noiseuse , mutual magnetization story of a painter and his model in which he explored metaphorically, but just as a sculptor’s clay material, the relationship between the filmmaker and his actress. For, as he wrote in Les Cahiers du cinema ( Verdoux Review , August 1963) “What is the purpose of cinema? The real world, as offered on the screen, either as an idea in the world. We must see the world as an idea, you have to think like concrete. “
American author of 58 years won the award for best album Saturday for his graphic novel Here published by Gallimard. He succeeds Riad Sattouf.
This year, it is an American talent who received the award for best album of the famous Beast ‘Or at the 43rd edition of the Festival of Angoulême. The designer Richard McGuire was rewarded on Saturday for his graphic novel Here , published by Gallimard.
In this award-winning book, Richard McGuire messes up the classic codes of comics. The American designer, regular contributor to the New Yorker , is currently in Colombia and was not present for the award ceremony.
A total of 40 titles were competing to win the prestigious Beast Or for best album of the year BD. Last year, Riad Sattouf won the supreme award with the first volume of his Arab future published by Allary, narrative childhood in Libya and Syria.
The Special Jury Prize has returned to Health Record lousy the Pozla cartoonist, published by Delcourt, who tells with humor and his unvarnished moments spent in the hospital, family and to work as he is suffering from Crohn’s disease
Only Fauve awarded to a woman. price of the series . The latter was presented to the first volume of Ms Marvel the American Gwendolyn Willow Wilson and Canadian Adrian Alphona, published by Panini Comic. Ms. Marvel, takes the guise of a young Pakistani girl and Muslim. Kamala Khan 16 years. She lives in New Jersey, Jersey City, with his family. “His brother is very conservative. Her mother is paranoid at the thought that she could touch a boy and becoming pregnant. Her father wants her to focus on her studies to become a doctor, “explains Sana Amanat, editor at Marvel, the origin of this new heroine in the New York Times .
Price revelation , which distinguishes the work of an author in early artistic career, was awarded to A quiet star – Portrait sentimental Primo Levi’s of the Italian Pietro Scarnera. When the Heritage Awards , it was awarded to V ater und Sohn – Father and son , German anti-Nazi cartoonists EO Plauen and Erich Ohser and published in Warum editions .
Audience Award , initiated by the Cultura bookstore chain and in which 20,000 people participated, was awarded Dear land of our childhood – Survey leaden years of the Fifth Republic Stephen and Benedict Collombat Davodeau. The Fauve Polar-train was awarded to Brazilian Marcello Quintanilha for his comic strip Tungsten while price of the alternative comic has rewarded the journal graphic Laurence 666 published by the Lyon Bad Faith publisher, whose founding members were present at the ceremony to receive the famous trophy
• GOLD FAWN -. AWARDS BEST ALBUM
Here Richard McGuire (Gallimard)
• FAUVE ANGOULEME – SPECIAL JURY PRIZE
Health record of lousy Pozla (Delcourt)
• FAUVE ANGOULEME – PRIX SERIES
Ms. Marvel , Volume 1 Gwendolyn Willow Wilson and Adrian Alphona (Panini Comics)
• FAUVE ANGOULEME – REVELATION PRICE
A quiet star – Portrait sentimental Primo Levi Pietro Scarnera (Rackham)
• FAUVE ANGOULEME – PRICE HERITAGE
Vater und Sohn – Father and son EO Plauen, Erich Ohser (Warum)
• FAUVE ANGOULEME – PRICE OF PUBLIC CULTURA
Dear land of our childhood – Survey leaden years of the Fifth Republic Stephen and Benedict Collombat Davodeau (Futuropolis)
The trophy, form just as provocative as its name, was awarded this Saturday, January 30 to the Tunisian designer. The award, honoring humor and freedom of expression, strongly criticized.
The Prize ‘Sucking ass “continues to feed sneers. Yet the serious trophy was awarded this Saturday, January 30 in the Off Festival of comics in Angoulême, the talented Nadia Khiari Tunisian designer, creator of the character Willis from Tunis.
“I dedicate this award to all those who prefer freedom to security, those who are not afraid, those who resist,” said the designer. Nadia Khiari, 42, has embarked on the satirical drawing since the Tunisian revolution of 2011. She is the author of the adventures of the cat Willis from Tunis, a mischievous and mocking cat that does not respect anything or anyone except freedom. “For the pessimists who say that the Arab Spring is still a failure, I say that we should not underestimate us. It takes time. The Revolution is a long time but it’s good, “said the winner.
Yan Lindingre, cartoonist ( Titine Chez Francisque …) and the editor of Fluid Glacial has created this award. “The title is deliberately provocative and trivial, but it helps to remember that the profession of comedians, and in the case of cartoonists is to make people laugh. Although some have paid with their lives, so do not think that the humor cartoonists have become overnight serious people, “he says. The award is intended to reward “artistic courage of a writer.”
He succeeds price “Freedom of Expression” launched last year by the festival organization after the attack against Charlie Hebdo in January 2015. “At the presentation of the 43rd Angouleme program, Franck Bondoux (festival director) and announced that they were postponing Marika Bret delivery of a new award to freedom of expression, considered too dangerous for the winner, “deplored Fluid Glacial . “All things considered, we believe on the contrary that a Nobel Peace Prize has never hindered its recipient if the latter undergoes threats in his country. By granting a price even a little publicized, the winner gain visibility and provides support worldwide, “said Yan Lindingre.
This is becoming a habit for Tom Hanks. For the fifth time, the actor showing of Bridge of Spies ( named in six categories at the Oscars) has been named favorite actor of Americans. Like every year, it’s Harris Poll which carries out the survey. The actor darling of the US has already won this title in 2002, 2004, 2005 and 2013. Last year, he had remained in the rankings, but pointed to fifth.
Sandra Bullock, the first woman of rank
Behind Tom Hanks, Johnny Depp found. The actor of many faces ahead Denzel Washington. He was the darling of the Americans last year. He closes the podium in 2016. The top 5 is completed by John Wayne and Harrison Ford. The first woman of rank only happens to sixth. Sandra Bullock is followed by another actress: Jennifer Lawrence still on top thanks to the saga Hunger Games and his latest film Joy Actor and director Clint Eastwood is eighth.. Brad Pitt and Julia Roberts bring up the rear of the top 10 where ultimately there is no surprise.
Harris Polls also explains a bit grading, advising that, in men, is preferred John Wayne and Tom Hanks. The women, who have the heart to capsize Johnny Depp, Sandra Bullock and Tom Hanks. The actor’s Forrest Gump is also the darling of 18-35 years of age, 36-50 years them, preferring (almost logically) the interpreter of Han Solo and Indiana Jones.
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His films are celebrated around the world, from Hollywood to Tokyo, as evidenced by the guests (Alex Ross Perry, Mark Goldblatt, Nobuhiro Suwa …) of large format that we spend in November in his masterpiece, Out 1 (1971). But it is primarily the history of French cinema Jacques Rivette has forked through his critical commitments, taste of mystery, the game of experimentation. For Le Monde , a dozen fellow – employees or simple admirers – evoke the journey of the filmmaker, who died on January 29, to 87 years
. Read also: Death of the director of the New Wave Jacques Rivette, the mysterious band
Pascal Bonitzer: “We wrote to the wire without a net”
critic, filmmaker and screenwriter Pascal Bonitzer co-wrote all the films of Jacques Rivette Earth by Love (1984) 36 Views of Saint-Loup Peak (2009).
“I met him in the Cahiers du Cinema, in 1969, there was quite far in a master position to think playful. He walked away from the magazine at the time of ideological shift, which corresponded with his return to production.
His producer Martine Marignac put us in contact for this particular project which has become Love ground. He wanted to make a film with Jean-Pierre Kalfon, Jane Birkin and Geraldine Chaplin apartment around the theater. It happened that I had seen a show by Brigitte Jaques-Wajeman staged in these conditions. This coincidence has pleased him, he decided that we could work together. I was a little reluctant. His method, which was new at the time, was to turn a script written in as and shooting. It seemed interesting and dangerous. It was felt to write to the wire without a net. Successful or failed, all would be over at the end of two months, in contrast to a scenario written in standard conditions, where we may require you umpteen versions. I enjoyed this freedom that Jacques gave me, it also gave me a taste for dialogues. Without him I would not have realized film.
It was a very tough stage director. His films were realized from day to day, often in sequence shots with William Lubtchansky, his chief favorite operator. It was necessary to Jacques Rivette complicity with his collaborators, the cinematographer, screenwriter, actors. This complicity supposed fidelity: I wrote all his films from Love ground, William was his cinematographer with some exceptions, and when he was not there, they were people he had trained who took his place, as Caroline Champetier for The Gang of Four. This complicity was based on its charm on its secretive handling capacity.
For Balzac, the films were made as conspiracies against the dominant way of making films. Rivette system was totally opposed to the way most are films that require a scenario drawn by line. At home, the watchword was the lack of control. Each film was a new challenge: in the musical Up, Down, fragile, the story in Jeanne la Pucelle, painting and Balzac in The Beautiful Troublemaker.
He chose these challenges according to his fancy. When he decided to do Jeanne la Pucelle, that was not to stage Joan of Arc or make a film about the Middle Ages. He wondered what he could do with Sandrine Bonnaire. He knew very little about Joan of Arc, even though he was born in Rouen, even if he had read Peguy.
During the time of our collaboration, he has realized that a script written in full before the shooting, The Duchess of Langeais. It was his penultimate film. At the time of the last 36 vues du Pic Saint-Loup, he was already affected by the disease. We always wrote daily. He had lost immediate memory, filming was tough, he did not remember what he had shot the day before, it was terrible and painful. Jacques did not like illness, he did not like death. He never attended a funeral. He had turned to the present and the immediate future. “
Caroline Champetier” A dancer gesture “
Director of Photography, Caroline Champetier enlightened The Band four (1989).
“I was first assistant to the chief op ‘William Lubtchansky, on the set of Merry-Go-Round on The North Bridge . It was my film adolescence. Then I signed the photo of The Gang of Four. On this film, we felt that Rivette was in a renewal situation. He told us: “I do not understand, the light does not make sense!” He was a very special, feminine, with a dancer’s gestures. On The Gang of Four , Rivette made me shoot women, especially my first great actress Bulle Ogier. I had a responsibility to his image, I took this mission very seriously. “
Bulle Ogier:” He disappeared two days … then come back “
Actress, Bulle Ogier starred in seven films Rivette , L’Amour fou (1969) Do not Touch the Axe (2007).
“I would like to mention the joy of having met Jacques as director. I do not want to stay in my sadness, which is nevertheless very large. This happiness was to make movies with him around the table, from inspiration, literary discussions, an idea that was taking him to something else. He had a poetic side of childhood … On a shoot, he could disappear two days, producers, like Martine Marignac, sought him everywhere, worried … Then he came back.
I met the first time for a role nun in Suzanne Simonin, Diderot Religious . Then I played in the Amour fou , which was decisive for the future, for example, in my meeting with Bunuel. L’Amour fou Do not Touch the Axe is a lifetime for me. As for Jacques Rivette, his reason for living, it was the cinema. “
Pierre-William Glenn:” On “Out 1″, always held camera “
Director of photography Pierre-William Glenn lit Out 1 (1971).
“There was Rivette with the idea of jumping into the unknown. Out 1 was a movie unconventional, while improvisation, with Bulle Ogier, Bernadette Lafont, Jean-Pierre Léaud, Marcel Bozonnet … Forty-five years after having turned, I continue to present the around the world, from Japan to the Cinematheque in Geneva! He remains a reference for the public. I restored from June to October 2015, after the Cannes Film Festival. I remember this shoot, I almost always had the camera 16 mm in the shoulder, I almost never put up. I was following the characters, you had to start listening to their rhythms, different. “
Marcel Bozonnet” He could spend an evening to repeat the story of Kodachrome! “
Actor, Marcel Bozonnet played in Out 1 (1971) and Jeanne la Pucelle (1994).
” I was studying in Dijon and my main occupation was to read Les Cahiers du cinema . At the time, the cinematic field was not as wide and it quickly became a film buff. One day I went to see a popular movie starring Lino Ventura. The first part was screened a short film by Jacques Rivette. I remember a glass of champagne, shown in close-up. He had a way to film that came out of our rhetoric. Then Rivette spotted me on stage at the theater, with Hermine Karaghioz.
I was an occasional collaborator, a theater man who grazed his universe. At 25, I turned in Out 1 , the large fresco that I have never looked for. Much later, I held a role in Jeanne la Pucelle . I remember his kindness, his vast culture. He could spend an evening to repeat the story of Kodachrome! There was something in him that grew to fellowship, it was available, not overlooked people. “
André Marcon:” He began to recite “The Afternoon of a Faun” “
Actor, André Marcon played in Jeanne la Pucelle (1994), Up, Down, Fragile (1995) and 36 Peak Views Saint-Loup (2009).
“With Jacques Rivette, I lived happy filming, which is exceptional. He lightness, gravity accuracy. I have a wonderful memory of filming Up, Down, Fragile. One day we had a big technical problem, between image and sound, which could jeopardize the working day. Jacques sat on the bed that was in the room, then he started to recite The Afternoon of a Faun, Stéphane Mallarmé’s poem he knew by heart. Meanwhile, the technicians solved the problem peacefully. It was of great culture, without the bludgeon. “
Martine Marignac” Jacques came up with an idea, without warning “
Producer Martine Marignac collaborated with Jacques Rivette’s North Bridge (1981) 36 Peak Views Saint-Loup (2009).
“Barbet Schroeder (in his capacity the producer Films du Losange) and Bulle Ogier wanted Jacques is back to work after the loss of The Stop The Story of Marie and Julien. He asked me to become producer. Jacques had not turned for five years, he was more or less banned from by insurers, there was no money at all. It was the North Bridge from a bit of money from a command Chapier Henri, who led Paris Audiovisuel, has gone for a short film on the occasion of Heritage year. It was even more improvised than usual, a scenario that Pascale and Bulle Ogier invented with Jacques in As, and Suzanne Schiffmann and Jerome Prieur trying to structure. Claustrophobia Bubble, released from prison, has no means to rent lights. His character could not go into a room, it was fortunate we did not have a round to shine.
After that, his method has not changed. Jacques came up with an idea, without warning. This idea was often a desire actor. Jacques had intuition and knowledge enough not to be mistaken. He never set foot in a social evening, but he saw everything. If he wanted to run with Sandrine Bonnaire and Guillaume Depardieu, it was because he had seen them in films.
From there, every week, there was a meeting and Bonitzer Suzanne Schiffmann, who succeeded Christine Laurent. Rivette loved trios, he wanted there to be a woman. They built what we called the “skeleton”, numbered 1 to 50, a description of the structure of the film. We, the producers, worked from there for scouting, casting supporting roles.
Jeanne la Pucelle, the methodology remained the same, with the constraints of film ‘time. It had made me this sentence remained famous: “. We will not shoot battles, Martine, only battle of ideas” When turning, it was difficult to explain to stunt that required a cut scene that was only an idea of battle.
We have seen the first signs of the disease during the preparation of 36 Views of Saint-Loup Peak. During filming, he was aware of being ill, that’s why the film is short. It turned four hours a day. The whole team was aware, and this notion troupe played full, everyone is put to it to help more than usual. He was a man of culture in a way that one hardly knows today, who knew by heart whole pages of Balzac, with the memory of an elephant on which the disease has fallen. We lived it for him as the worst possible mutilation. “
Jean Narboni:” An example of rigor, sharp “
Critical, Jean Narboni worked from 1963 to Cahiers du Cinema, after Jacques Rivette stole the direction Eric Rohmer .
“I met Jacques Rivette in 1962 the French Cinémathèque, rue d’Ulm, as a movie fan I attended, along I was pursuing my medical studies. It was for me an absolute model, the biggest criticism of Cahiers du cinema , and the rest elsewhere today all periods. An example of rigor, writing, sharp. So I have spoken to him, and he was quick to ask me to write, then work as sub-editor, the Cahiers. I started part time and then I ended up stopping medicine. I was very close to him during those years, we spent the whole day working together.
Besides, it’s pretty simple, you could see that Rivette working condition with him. He was literally immersed in the movie, which does not prevent him from opening the cinephile Notebooks to other disciplines, such as psychoanalysis or structuralism. Once he had made up his mind, in a somewhat delirious, work the report of cinema in mathematics: we had to put in it at the rate of several per week, but fortunately it did not last too long. Music was our other big ground. It was a very happy time. I have to remember him not of the ascetic sometimes described, but a being infinite charm, penetrating intelligence, the inextinguishable laughter at times. It was, in the history of French criticism, a great precursor. “
Jean-Louis Comolli:” At Rivette, everything attracts without reaching “
Criticism and filmmaker, Jean-Louis Comolli was editor-in Head of Cahiers du cinema in 1966-1971, following Jacques Rivette.
“The term” eulogy “is not suitable for Jacques Rivette. Praise, perhaps, funeral, no. Jacques was laughing. I remember seeing her laughing as it were detached from her face, floating, laughter Alice’s cat, unsituatable. Neither contempt nor superiority, an astonishment, only, that of a child who liked to shoot women and who had no need for it passes scenario.
Can we even talk improvisation when any fascination aside, one realizes that Rivette films almost always the same situations, the only similar situation: that of the unlikely encounter each (each) with the other? The paths cross and avoid body, and that’s why it lasts, why it has no end. Everything is magnetized, with Rivette, bodies, words, gestures, clouds, everything attracts without achieve.
Perhaps the filmmaker he had thwarted the beauty of its characters female, worn by actresses also awesome that Juliet Berto and Bulle Ogier, Jane Birkin and Sandrine Bonnaire, to achieve pure cinema intensities beyond the plot, beyond the story, beyond the relevance , even beyond the ritual invocation consistency in the rationale, the logic, the need, which are the ordinary of our time, and one-fifteen minutes sequence shot had the power to dissolve to exit the cinema.
Jacques Rivette has taught me to love the almost-nothing of passing time by becoming, on a screen, almost everything. In other words, unleash the fiction to become documentary. “
André Téchiné:” I was fascinated by its magical and childish rituals “
Criticism and filmmaker André Téchiné rubbed shoulders with Jacques Rivette Notebooks film , and on the set of Mad Love (1968), where he was assistant director.
“It’s Rivette who insisted that Les Cahiers du cinema publish my first review on The Soft Skin , Truffaut. I had the opportunity to meet him, to the magazine. Sometimes he would say of a movie: “Ah, it goes in all directions!” For him it was the supreme praise, the height of jubilation
On the set of Mad Love , I was less an observer assistant. This was for me the opposite of a school. I was fascinated by these magical and childish rituals that fell into place before me. The film revolved around Andromache, Rivette let his actors free. He often filmed with two cameras, one in 35 mm, the other 16, it entremêlerait later editing.
For him, cinema was the equivalent of a abandonment, a leap into the void. His films defy the rules, limits, the same staging concepts, control, period. With L’Amour fou, Out 1 or The North Bridge , he invented radical film experiments, wildly exciting. I do not know a filmmaker who protects his junior. “
Axelle Ropert:” It was the same intransigence “
Criticism and filmmaker, Axelle Ropert is the author of two feature films, including Pull the tongue, miss (2013).
“At a time when a growing number of voices welcomes slyly from the end of the New Wave (which is good known, “killed the public, the work of screenwriters and respect for well-made film” – crap that would easily refuted by examining the facts), at a time when we break our ears with stories of scenarios ” shielded “from” newfound virility “of French cinema, film” punched in the mouth “and nice little” real “all the sauces, baked and annealed, I tell myself every day: ” The the last day of the New Wave filmmakers are dead, it will be ruined. “
Rivette, it was the same intransigence. How intransigence can it be missed? We miss her not because she was punishing us (we are not in an Austrian filmmaker), but because it mysteriously doubled an incredible sense of reverie. It is often said that the great dreamers are nice, but they are far from the world (or more bluntly, they would do well to land, one day). And I say: how can one be a great dreamer if not precisely by observing the world? “
Christine Laurent:” The champion of free gesture “
Actress, screenwriter and filmmaker Christine Laurent co-wrote the scenarios of nine films by Jacques Rivette, of The Gang of Four (1989) 36 Peak Views Saint-Loup (2009).
“He said that the aim of cinema, c is told that the real world on the screen is as an idea in the world. “We must see the world as an idea, you have to think like concrete.” He wanted each of his films is an adventure for those who were part of his team and also later for spectators who would see it.
We, his accomplices work, we were a little like sisters and brothers conspiring to build adult stories, with the energy and severity of childhood. For him, arrange the stories, monitor the work of dialogists, to stage, mount, all these phases actually formed a single and big bow. And he alone held the entire gesture.
When turning, he was lying in wait, ready to capture the unexpected, almost nothing he turn into opportunity. It looked like a dancer inventing his figures on the rhythm of the melody he had in mind. Also, his body than his actors was handed a kind of fluid that enchanted the sequence.
Jacques Rivette, like all his films attest, loved women and their secrets. Early on, Les Filles du feu announced a corpus of films populated by female characters. It was the champion of the free gesture, an acrobat who performed his tricks without a net.
His smile, his laughter almost carnivorous sometimes still resonate through his films. Hélène Frappat evokes in his book Jacques Rivette, secret understood , the final sequence of Who knows, in which we learn that the company is saved, the theater is saved, the world is saved, “we are saved,” while the voice of Peggy Lee sings Senza Fine . Jacques Rivette translated the title of this song: “Must be continued.” Then he adds. “It’s a formula that I would put at the end of all movies” “
DISAPPEARANCE – The filmmaker died Friday at the age of 87. He leaves an original work, open, bold.
He was frail, fragile, of infinite sweetness. He faded. Illness forced him to retirement. We did not forget. We lived with his films, with the memory of the few stagings, with his books. Jacques Rivette died Friday morning. He would have turned 88 on March 1st. An illness, long and cruel, had cut off from the world of appearances.
He was frail, but of moral strength and intelligence, culture flawless. Jacques Rivette was a man of the book, a literature enthusiast to the phenomenal memory. He read it and wrote many of his films are inspired by literary works starting with Suzanne Simonin, religious Diderot (exact title of his 1966 film, starring Anna Karina, prohibited by André Malraux , then Minister of Culture. A censorship that made him known to the general public. It would be past.
Under the sun of Saturn
Early on, Jacques Rivette had loved the film and Rouen he had already shot his first film, the four corners. In Paris, the one his friend Claude Chabrol said it looked like the Cheshire cat Alice in wonderland , took part in lives of two magazines. The cinema Gazette born in 1950 around a film club of the Latin Quarter. Jean-Luc Godard and Maurice Scherer which takes the name Eric Rohmer, are in the game. Can The coming Cahiers du cinema. It works from 53 before taking the direction of 63 to 65. Until the edge of the 70, it will publish articles.
He belonged to that generation called “New Wave”. If he could be scathing in his judgments, he revered those he was assistant, Jacques Becker, Jean Renoir, learning his trade on the plates.
This man often dark character, taciturn, organizing themselves, even in the happiest years of his life, that they may have great difficulty reaching, the man who was hiding under the sun Saturn was, was committed. Spotted by Pierre Braunberger, his film twenty minutes, Le Coup du berger, it started without a penny, brings him the recognition of the environment. It is barely 56.
The short films of Jacques Rivette are rarities: he loved filming long, he liked to take his time, he knew that one settles in a movie as in a thick novel on which we dread coming to see the last page. Released in 1969, Mad Love than four hours. There we find the hero of the Idols theater, Bulle Ogier and Jean-Pierre Kalfon. André Téchiné’s assistant. An emblematic film immediately after May 68. An actress, a director. A break.
The fascinating Beautiful Troublemaker
Bulle Ogier is the best actress in the world of Jacques Rivette. It has grace, delicacy, beauty, depth of those that are found in all his films and he met in his theatrical attempts. Bulle Ogier shot seven feature films under his leadership, including the unclassifiable Out 1: Noli Me Tangere , twelve forty of which he will make a shorter version. At that time, he relies on a terse synopsis and improvisations. But it will evolve and come to the “canvas” (also the theater). This is the case for Celine and Julie Go Boating (1974) or The Gang of Four (88)
It turns a lot.: Dual, Noroît , The North Bridge , earth with Love . Christine Laurent and Pascal Bonitzer sign scenarios. In 1991 he met Michel Piccoli and Emmanuelle Béart in the fascinating Beautiful Troublemaker by Balzacet starts one of his very great movies: the two parts of Jeanne la Pucelle with Sandrine Bonnaire (1994). The actors, actresses adored this man of “I do not know” .At Throughout his life, he had gone through moments of discouragement. Friends watching. It resumed. In 2007, with Do not touch the ax is based The Duchess of Langeais of his dear Balzac, he finds his single theme: the dangerous passion. And it was just that: passion
For some years now, picked his silhouette, arched, had ceased to slip silently, almost seeming to apologize, in Parisian cinemas. Inflation movie releases, and soon age and illness, had been right in the frenzy that since his youth animated Rouen: Jacques Rivette belonged to the category of moviegoers filmmakers
. In the service of his passion, he first put his analytical skills and his pen, like Rohmer, Chabrol, Godard, Truffaut, constituting with them a phalanx of lovers gathered in the “Cahiers du Cinema”, taking the middle 60s the direction of the magazine instead of Rohmer, then everything which opposed it. The experiment did not last long, a year and a half, and he promptly found its place as a filmmaker.
Of all, he was the first to stage short films in Rouen start, then in Paris, where he also serves as an assistant on the set of “French Cancan” by Jean Renoir, to which he devoted a portrait in the series “Filmmakers of our time.” He then formed with François Truffaut an inseparable tandem, their friends and their enemies sometimes jokingly nicknamed Truffette and Rivaut.
Between dream and reality
“Paris Belongs to Us” his first feature film (1960), will the months to emerge, like a premonition of what will his career, often prevented by the embarrassment of production, output difficulties. Like “Suzanne Simonin, religious Diderot” with Anna Karina, banned by the censors before being completed – action that will inspire Godard a letter to André Malraux, “the Minister of Kultur” then , published by “Le Nouvel Observateur”.
The presentation of the film will only be allowed nearly ten years later in 1975. Meanwhile, Rivette directed “L’Amour fou” film more than 4 hours, in other words almost a short film with reference to the duration 12:29 “Out 1″ newly reissued. He experimented, he started, grants to its actors, actresses and his even more, an absolute freedom, providing them draw together they make the film, observing more than he directs, filming in continuity , letting them live.
“Celine and Julie Go Boating” (1974), with Juliet Berto, Bulle Ogier, Dominique Labourier, the culmination of this period and allows it to finally touch recognition which previously was private: the film bears the mark of Rivette’s attraction to the occult, parallel worlds, confusion of reality and dreams. The filmmaker and his actors (who co-signed the script) play together and play with the viewer, who has to be carried away by their imagination and fantasy to enter a world of which he knows nothing (and also probably).
Women, theater, Balzac …
It is the same for his subsequent films, until the filmmaker comes to a form of more traditional inspiration, bringing it to “la belle noiseuse” with Michel Piccoli, Jane Birkin and Michel Piccoli, variation on the painter and his model, which won the Grand Jury Prize at Cannes in 1991. To follow, he Sandrine Bonnaire Joan of Arc magnificent, turning to the advantage of the film financing difficulties encountered by the project, to keep it away from the din of battle and draw the vibrant portrait of a young woman.
always at the forefront of his films, women now form the heart and Rivette remains faithful to the actresses he has chosen, which Jeanne Balibar will join soon. Women, but also the scene, but the great writers Balzac in mind, he will deliver with “Beware of the ax” a superb adaptation of “La Duchesse de Langeais” (2007).
On that occasion, he said to us: “The staging is the art of suspense, of all the possible ways to have the first treaty of suspense, but then the word was written without ‘e’ end, it is. Pierre Corneille, which is the basis of everything. Work is always arranging and writing. The only difference is the object of worship, this massive machine that is the camera, which sometimes creates around himself . We are a strange agitation as high priests around this object, otherwise there is no real difference between the theater and the cinema: a great actor is someone who can stand before a camera . ”
All this, yes, and a lot of other things, and more, the mystery, the mysteries, he carried with him.
VIDEOS – The French filmmaker died Friday, January 29 at the age of 87. He leaves behind a filmography of twenty-one feature films. Return on its five most emblematic works.
Jacques Rivette died Friday, January 29, at the age of 87. Mythical figure of the New Wave, it was one of Eric Rohmer weapons brothers and Jean-Luc Godard to Cahiers du cinema before embarking on implementation.
Little known to the general public, which has mostly retained the controversy around Suzanne Simonin, Religious Diderot and nudity Emmanuelle Béart The Beautiful Troublemaker , he nevertheless signed twenty-one feature films. Le Figaro has selected five, symbolic of his career behind the camera.
● Paris belongs to us (1960)
A little over ten years after his arrival in Paris in 1949 the age of 21, Jacques Rivette made his first feature film. Critics last ten years alongside Eric Rohmer and Jean-Luc Godard, first in La Gazette du Cinema and in the Cahiers du cinema he launches in achieving the example of his colleagues. Conforms to the naturalistic aesthetic of the New Wave, he films in the decorations of Paris a group of young people who ride the play Pericles Shakespeare. The arrival of Anne (Betty Schneider), came to join his brother and the suicide of one of the members, greatly disrupting the troops. A first film in which we find already all obsessions Rivette: secret society, conspiracy and traps the viewer …
● Suzanne Simonin, Religious Diderot (1966)
The first great success of the director, Suzanne Simonin, Religious Diderot , released in 1967, is also the most controversial. Adapted from the novel The Nun Diderot, the film reveals the daily life of Suzanne Simonin (Anna Karina), enclosed in a cloister, which eventually discover the carnal pleasures in another convent. The film was first censored before being within the scope of a prohibition under 18 years until 1975.
● The Gang of Four (1988)
Released in 1988, the 13th feature film by Jacques Rivette puts particular director Albert Dupontel, Michel Vuillermoz and Nathalie Richard (who also won the prize with this role Michel Simon). The Gang of Four , Jacques Rivette tells the daily life of four students in drama and the departure of one of them, part live a romance with a mysterious lover.
● La Belle noiseuse (1991)
In 1991, Jacques Rivette finally gets his first film award with La Belle noiseuse , which won the Grand Prize at Cannes. A feature film fed fantasies and pictorial creation freely adapted from Unknown Masterpiece Balzac, where he staged a widely Emmanuelle Béart naked face a painter Michel Piccoli with which the Tension mounts as she posed for him for five days. This is the biggest public success of Jacques Rivette.
● Jeanne la Pucelle (1994)
Three years later, Jacques Rivette released a two-part film recounting the epic of Joan of Arc, played by Sandrine Bonnaire. The director depicts firstly the great victories of the Maid of Orleans before plunging the viewer into her imprisonment and execution. A film that has certainly been welcomed by historians but largely ignored by the public, because of its length and its lack of lyricism.
A journalist infiltrated an underground mosque includes a jihadist cell in the making, the first planned attack aimed school. From this idea, he developed following the killings in March 2012 by Mohamed Merah – who killed seven people – in Toulouse and Montauban, Nicolas Boukhrief, former movie critic to the journal Starfix become a screenwriter and filmmaker (he is the author including Conveyor in 2003, and Guardians of the order in 2009), had a small but effective thriller, whose political intelligence reflects on all aspects of the staging
Read the survey:. Terror goes wrong on a big screen
Tendu by suspense that rises in steps over the skids and accelerations that accidents impose on the course, largely improvised, terrorist apprentices, this film could legitimately find its place in the halls of multiplexes. Especially since it is remarkably interpreted by the actors fairer than others, engaging, as are some French movies with the real state of the country. The wave of attacks that hit France in 2015 changed its destiny and led, in January, SND, the original distributor, to withdraw from the project and discouraged, after the attacks of November 13, circuits rooms to program on their screens (see Le Monde dated November 16, 2015 and dated January 14, 2016)
Read the story. delayed output for film “Made in France”
Mixture of amateurism and expertise
We could, however, argue that these tragic events have helped to defuse this this film, which comes out directly on VOD, could have controversy. The composition of the jihadist cell is quite different, for example, that of Philippe Faucon staged in The Disintegration (2011), the first detective on the preparation of a Jihadist attack on French soil, where the characters were from a relatively homogeneous social fabric (suburban North African immigration …).
Here, the composition of terrorist group reflects a more complex reality, representative of the landscape the French jihadism is accurate as of January 2015: plurality of geographical and social backgrounds of the candidates for jihad radicalization multiple channels (Internet, prison, Salafi mosques …) and motivation (humanitarian, political, “ressentimentales” purely criminal, all crystallized in a common adherence to radical Islam), a mixture of more or less marked amateurism and expertise in handling weapons …
Five characters Five different profiles
The five main characters very well reflect five different profiles. There Hassan, the eldest, who relies training which he received in Pakistan and orders that would have given him, on this occasion to proclaim himself master of operations and install, within of the cell, a general climate of distrust and paranoia.
There Driss, most radically indoctrinated young man determined to make war on France and convinced of the moral rightness of his cause.
There Christophe, son Dad freewheeling, from a Breton Catholic family – the comic character of the film – which finds in radical Islam, a source of adrenaline, a using tear to the heir life mapped out for him by his father.
There Sidi, a boy with mild temperament quickly taken to the idea of doubts take action .
Focused on action, on the evolution of the body in space, staging does not leave room to comment
And then there’s Sam, the journalist who uses her Muslim background and his knowledge of Arabic to embark on this undercover operation by endorsing the intellectual role of the band, always ready to translate a Koranic verse to his friends, giving them language courses, to engage in theological debate. Taken aback by the sudden acceleration of events, it is exceeded when an expedition with an arms dealer turns to carnage and several deaths. Touching fact, he turns to the police who forced him to enter his service as an indicator.
Focusing on action, on the evolution of the body in space, the tension that weighs on the shoulders of the hero (who fears not only for his life but for those of his wife and young son), on the subtle levers that operates to reverse the dynamics of the group, the stage does not leave room for comment. Fat-free, it prints a relentless momentum to this thriller, which combines brilliantly, the description of a social reality, the expression of a strong political views and a sense of spectacle that has – almost – nothing envy its large American models.
French Film with Nicolas Boukhrief Malik Zidi, Dimitri Storoge, François Civil, Nassim Si Ahmed and Ahmed Drame (1 h 29). On the Web: prettypictures.fr/catalogue/2015/made-in-france-nicolas-boukhrief
Paris (AFP) – If Alain Finkielkraut called “among you and be welcomed to the sound of the drum, it is not to be believed” the philosopher, a descendant of Polish Jewish victims of the Shoah, “exalted champion national identity “, was received in 66 years Thursday at the French Academy.
The arrival under the dome of this brilliant intellectual, accused of” neo-reactionary “and tireless destroyer of politically correct, aroused gnashing of teeth. Alain Finkielkraut was elected in 2014 in the first round by 16 votes out of 28, but his name was canceled by a cross in repudiation of sign, eight bulletins.
In defining himself as an “heir Enlightenment “, the essayist, used for TV sets, made its debut among equals, to the sound of drum rolls of the Republican Guard, wearing the traditional green coat, under the eye of his wife, his son , many personalities and the Prime Minister, Manuel Valls, who on Monday received at Matignon.
“This is to mine that I think,” he has said, in its preamble speech. “To my parents of course, not there to know this happiness: the entrance of their son to the French Academy while the credit goes to them.”
They “were sorry see me assimilate to the nation by sacrificing my Jewish identity even though this identity was reflected more for them or so for me, by the rituals of tradition, “continued the author of the” imaginary Jew ” recalling that “it is in France and with the complicity of the French State that (his) father was deported” to Auschwitz.
This polemicist always quick to denounce the republican school of decline emphasized that his parents “have not really left him no choice but to be studious and bring good papers.”
But “being French accounted nothing special ( m) are eyes “, said Alain Finkielkraut, whose cult show” Replica “on France Culture has just celebrated its thirtieth anniversary
-. ‘wandering Origins’ –
” I discovered that I liked France the day I realized that she too was mortal, “a love” I tried to express in many of my books and recent interventions “. “This is me being called a backward-looking, reactionary, or even worse,” he began.
As per tradition, Alain Finkielkraut was to praise his predecessor, playwright and novelist of Belgian origin, Felicien Marceau. But he has been sentenced in absentia to release 15 years in prison for cooperation when he was a reporter for Radio Brussels between 1940 and 1942.
Exercise is tricky, a-t- he acknowledged. “An enthusiastic supporter of national identity, oblivious of its origins and wandering compelled to praise a collaborator: there is no chance, do our vigilant, and they rub their hands, they lick chops. “
The new Immortal Marceau has made a portrait without concessions, nuancing the extent of its commitment, setting it in the context of pacifism of the interwar period, calling his conviction of “exorbitant” and recalling that French nationality had been granted him by General de Gaulle.
Coming from the left, Alain Finkielkraut said he was “betrayed and even threatened by vigilantes presumptuous that populate intellectual scene “. According to him, “we put the name to the pinnacle of Primo Levi, but this is Quentin Tarantino who leads the game is on the model of Inglorious Basterds + + that everyone is his film.”
After recalling the path of the philosopher in a way that is both critical and accomplice, the historian Pierre Nora concluded: “the Company opened its arms to you, you will know that with it is that happy identity. ” “So suffer, dear Alain Finkielkraut – suffer without suffering too much – you are welcome to know”
Before the ceremony, his friends had given him his Academician sword.. On this symbolic weapon, the philosopher called for engraved: a Norman cow, Aleph, the first letter of the Hebrew alphabet, and this sentence of Charles Péguy that summarizes his commitment: “The Republic One and Indivisible, our kingdom of France “.
Elected to the French Academy, Alain Finkielkraut there came “session take” this Thursday, January 28 afternoon, praising – as is tradition – the former chair occupant 4 of the Meeting of “Immortals,” Felicien Marceau.
Essayist, novelist, playwright, his appointment to the Academy in 1975 had controversy. Portrait.
Louis Carette #
Before going on to posterity by his pen name, Félicien Marceau was born Louis Carette. Born in 1913 in Cortenberg – near Brussels – in a family of Catholic officials and Francophile, he studied law at the University of Leuven before turning to journalism and writing
A. eight, he wrote his first Roman “The Kaffir”, that layer on a book of accounts stolen from his mother. When he died in 2012 – at the ripe age of 98, became Félicien Marceau, he is dean of the French Academy
Balzac #
Fascinated by the “Napoleon. Letters “, he devotes a literary critic essay to the work of Balzac and sees its” Balzac and his world “as a” who’s who “of some 95 books and 2,500 characters of the” Human Comedy “.
Released in 1970, the book – exhaustive but austere appearance. – caused a sensation in literary and intellectual landscape was dominated by the existentialists and figure committed by Jean-Paul Sartre, kind of double germanopratin Felicien Marceau
Goncourt #
Renowned close Hussars , Felicien Marceau has won numerous literary awards. It gleans the Interallié in autumn 1953 “The Elks of the heart”, then comes the consecration and Prix Goncourt 1969 his novel “ Creezy ” the story of a bitter and impatient love between a deputy and a “cover girl”.
For me, ‘literature’ should be written ‘bed and erasures “,’ he used to say.
# Collabo?
A very” dark matter, “that the years . War Balzac disciple Appointed in 1936 to the Belgian broadcasting, as a representative of the Catholic party, he became a reporter for Radio Brussels – a pro-Nazi frequency, created and managed by the military administration in 1940 and German- resigns May 15, 1942. “A youth bullshit,” considers Felicien Marceau, many years later in his memoirs “The short years” (1968), explaining that “dementia” antisemitic occupant had driven to slam the door.
Except that the young Louis Carrette did not write that theater critics on Radio Brussels. At the time of the Liberation of Belgium, the new authorities will remind the good memories, many of his stories that have “served the designs of the enemy.”
# Forfeiture nationality
Sentenced in absentia in January and October 1946 by the Brussels Council of War to 15 years hard labor for “treason” and “profit motive,” Felicien Marceau went into exile in France. Stripped of his Belgian nationality, he became stateless.
In 1959, General de Gaulle, after consulting his record, grant him French nationality.
thank so whoever you who is French, has enabled us to elect you. How doubt that he had approved our choice, since both is he who partially opened the doors of our house, “launch playwright André Roussin, responsible for hosting Félicien Marceau its entry to the Academy in 1975.
Resignation #
His election to the chair 21 of the French Academy was not without difficulty. In 1975, under the dome of the Quai Conti, all the “immortals” have not the meekness of the “man of 18 June” and have not forgiven Félicien Marceau’s attitude during the Occupation
This is the case of the poet Pierre Emmanuel resistant. – elected in 1968 the 4th chair -., who claims to have resigned and continues to serve on the announcement of the election of its new classmate However, as usual, the Academy does not take official act of resignation and waits for the death of poet in 1984 to replace it.
Boards #
“The novel is a long patience, it is a knitting. A room, on the contrary, it is a part of baccarat. Have to write it quickly, after thinking still much longer, “he says.
Author prolific theater, it’s a triumph with” L “Egg” (1956) and ” La Bonne Soupe “(1958) and therefore connects successes and projects on a one piece per year until the late 60s.
# Modest
D a modest and reasonable natural, despite its impressive showcase of “trophies” literary, Felicien Marceau confessed “little talk” and give “a sore seal for a chapter or article that anyone would write in the quarter of time “.
