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atomheartmagazine · 2 years ago

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Al via il Festival di Film di Villa Medici: ecco i dettagli

Festival Di Film Di Villa Medici (II edizione), dal 14 al 18 settembre 2022 presso l’Accademia di Francia a Roma.

Dal 14 al 18 settembre presso l’Accademia di Francia a Roma – Villa Medici avrà luogo la seconda edizione del Festival di Film di Villa Medici, con quattordici film in concorso, proiezioni all’aperto, una programmazione di pellicole fuori concorso, incontri, carte bianche, masterclass e installazioni.

Fiction e documentari, racconti intimi ed epopee collettive, ricerche plastiche e nuove forme narrative: le opere in programma seguono una pluralità di percorsi che esplorano la diversità dell’uso dell’immagine.

Tra i vari appuntamenti cinematografici che si svolgeranno ogni giorno tra la Sala Michel Piccoli, le Grand Salon e il Piazzale, alcune rilevanti prime mondiali (LE CHAMP DES MOTS di Rania Stephan e INTO THE VIOLET BELLY di di Thùy-Hân Nguyến-Chí), e numerose prime nazionali (DE HUMANI CORPORIS FABRICA di Véréna Paravel e Lucien Castaing-Taylor, GIGI LA LEGGE di Alessandro Comodin, HAPPER’S COMET di Tyler Taormina, KICKING THE CLOUDS di Sky Hopinka, LE BARRAGE di Ali Cherri MANGROVE SCHOOL di Filipa César e Sónia Vaz Borges; MOUNE Ô di Maxime Jean-Baptiste, THE DEMANDS OF ORDINARY DEVOTION di Eva Giolo WHEN THERE IS NO MORE MUSIC TO WRITE, AND OTHER ROMAN STORIES di Éric Baudelaire XAR – SUEÑO DE OBSIDIANA di Edgar Calel e Fernando Pereira dos Santos).

Presente in concorso anche il film recente vincitore del “Leone del futuro” a Venezia79, SAINT OMER di Alice Diop.

La giuria, composta da Marie Losier, Pietro Marcello e Sylvain Prudhomme, svelerà il suo palmarès sabato 17 settembre e assegnerà due premi: il Premio Villa Medici per il miglior film e il Premio della Giuria per un film originale particolarmente apprezzato dai giurati. Entrambi i premi prevedono compensi in denaro e offriranno l’opportunità ai due autori o alle autrici di essere ospiti in residenza presso Villa Medici.

Oltre ai film in concorso, Villa Medici offre una programmazione parallela denominata Focus che invita a scoprire film di artisti fuori concorso e propone proiezioni, incontri di approfondimento ed occasioni privilegiate di interazione con i membri della giuria e degli artisti cineasti. In questo ambito saranno dedicate alcune “carte blanche” rispettivamente a Marie Losier (THE BALLAD OF GENESIS AND LADY JAYE e THE ONTOLOGIC COWBOY), Pietro Marcello (LA BOCCA DEL LUPO), Sylvaine Prudhomme (TOUT-PUISSANT MAMA DJOMBO) e alla Fondazione In Beetween Art Film che presenterà il film WELCOME PALERMO del duo MASBEDO (Nicolò Massazza & Iacopo Bedogni).

La sezione “Contrechamps” rivolgerà invece il proprio sguardo a Hans Richter (INFLATION), Liv Schulman (THE NEW INFLATION), Yasmina Benabderrahmane (LA VILLA JUMELLE), Uriel Orlow (REMNANTS OF THE FUTURE) e Théodora Barat (OFF POWER).

Le proiezioni serali del Piazzale offriranno al pubblico romano il meglio del cinema, da scoprire sotto le stelle nei giardini di Villa Medici. Il festival si aprirà con LA MONTAGNE di Thomas Salvador, ex borsista di Villa Medici, che narra la fantastica ascesa di un uomo verso la libertà del corpo e della mente. Con LES ENFANTS DES AUTRES , presentato quest’anno in concorso alla Mostra del Cinema di Venezia, Rebecca Zlotowski racconta il singolare e raramente esplorato legame tra una donna e il figlio di un’altra; la serata sarà aperta e rappresentata dalla Maison CHANEL, partner della seconda edizione del festival.

Con PADRE PIO, Abel Ferrara continua la sua esplorazione cinematografica delle grandi figure controverse del suo paese d’adozione. La serata di sabato sarà dedicata al mondo della notte e della danza con STELLA EST AMOUREUSE di Sylvie Verheyde, una magnifica storia di emancipazione di una giovane disertrice di classe. Infine, la seconda edizione del festival si chiuderà con la presentazione, per la prima volta a Roma, della versione restaurata di SCIUSCIÀ di Vittorio De Sica, opera fondante del neorealismo e primo Oscar per il miglior film straniero nella storia dell’Academy Award (1947).

Con l’apertura della rassegna, il 14 settembre, verrà inaugurato anche il nuovo Art Club, a cura di Pier Paolo Pancotto che vedrà esporre fino al 10 ottobre a Villa Medici le opere di Rosa Barba, artista che lavora tra cinema e arte contemporanea. Si tratta di lavori che offrono una panoramica di oltre 10 anni di pratica artistica: il film Disseminate and Hold (2016), presentato nell’atelier Balthus e l’installazione Weavers (2021) nella piccola galleria Balthus. L’artista sarà presente a Roma dal 22 al 24 settembre (per richieste di interviste contattare l’ufficio stampa).

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hadarlaskey · 4 years ago

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An Easy Girl

An Easy Girl feels familiar. We open on a sparkling cove in Cannes, that mythical hub of French cinematic history, as a woman bathes in the crystal waters. A quote appears, Pascal, which draws our thoughts to Éric Rohmer’s 1969 discussion piece Ma nuit chez Maud in which two men use the philosopher to debate sex and women. Then another Rohmer film comes to mind, 1967’s La Collectionneuse, which begins with bikini-clad actress Haydée Politoff wading through the sea.

These are conscious choices by director Rebecca Zlotowski, who uses quotation as a means of crafting a wholly modern artwork. When we see Sofia, played by model Zahia Dehar who came to fame in 2009 when she performed underage sex work for a French footballer, she bears an uncanny resemblance to Brigitte Bardot with her sandy hair and thick winged eyeliner. Jean-Luc Godard likewise cast Bardot in his 1963 film Le Mépris as a symbol for the 1960s sexual revolution in stark contrast to the silent era of European cinema embodied by Fritz Lang, who plays a version of himself.

Godard’s attention, however, is on Bardot’s body, especially in a scene in which she invites her husband (Michel Piccoli) to verbally dissect her anatomy and identify the parts he likes most. Sofia replicates this in An Easy Girl: her hand caresses her breasts and thighs in extreme close-up as she teases two men on the beach. Like Bardot, she knows she can use her body to get what she wants.

Where Godard’s focus remains on the surface, the screenplay for An Easy Girl, by Zlotowski and Teddy Lussi-Modeste, delves into psychology. When Sofia and her cousin Naïma (Mina Farid) go to the cinema to see Pascal Laugier’s 2008 horror Martyrs, the scene shown is of a woman’s head being sliced open. An Easy Girl effectively does the same, studying the mental processes behind female sexuality and experience, conveyed through the cousins’ conversations and by Naïma’s voiceover narration.

Simultaneously, it’s a film about gazing – Laura Mulvey, author of the classic film studies text Visual and Other Pleasures, would have a field day – whereby making us party to the male gaze shows us how empowering it can be for women. While Sofia presents as the titular ‘fille facile’, we are also shown the effort needed to maintain that impression of ease. She has a micro-managed beauty routine; she eats in private rather than in front of potential suitors; she even claims to wax her labia to keep them soft. Sofia is a self-curated fetish object, stubbing out her slim white cigarettes in a clam-shaped ashtray, the cocks she collects like pearls.

Zlotowski casts an enchanting spell – just as Georges Delerue’s sweeping score catches us in the trance of Bardot in Le Mépris, Debussy nocturnes flow through the cinematic space, giving it an otherworldly charm. It’s where Zlotowski departs from Rohmer’s proto-mumblecore naturalism to create the illusion of stylisation Sofia similarly teaches Naïma.

But just like Rohmer, this is a moral tale which mocks masculine ignorance whilst applauding Sofia’s superiority, reading as retribution for the way Dehar has been slandered in the tabloid press. An Easy Girl reads not as the male sexual frustration of the Nouvelle Vague, but as a celebration of women’s sexual agency.

The post An Easy Girl appeared first on Little White Lies.

source https://lwlies.com/reviews/an-easy-girl/

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njawaidofficial · 7 years ago

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French Academy Launches #NowWeAct White Ribbon Campaign for Cesar Awards

https://styleveryday.com/2018/03/01/french-academy-launches-nowweact-white-ribbon-campaign-for-cesar-awards/

French Academy Launches #NowWeAct White Ribbon Campaign for Cesar Awards

7:20 AM PST 2/28/2018 by Rhonda Richford

Diane Kruger, Clemence Poesy and Soko are among the industry players who signed on to support.

Following the black dresses at the Golden Globes and BAFTAs, the French Academy has launched a white ribbon campaign, #NowWeAct, for this Friday’s Cesar Awards to combat violence against women.

In response to the #MeToo movement in the U.S., the French Academy is partnering with the Foundation for Women, which will hand out the ribbons to every one of the 1,700 guests entering the ceremony, and will use donations to fund its anti-violence activities.

One hundred industry players signed a letter of support for the campaign in the newspaper Liberation, including actresses Diane Kruger, Julie Gayet, Adele Haenel, Tonie Marshall, Chiara Mastroianni, Vanessa Paradis, Clemence Poesy, Celine Salette and Soko.

Directors Julia Ducournau, Houda Benyamina, Celine Sciamma, Rebecca Zlotowski and Michel Hazanavicius, the latter of whom launched his own #WeToo for men, also signed on.

Actress Rose McGowan posed with the French hashtag #MaintenantOnAgit (in French) for the foundation’s website.

This follows a far more controversial 100-signatory letter when, last month, film star Catherine Deneuve signed an op-ed in Le Monde saying the #MeToo movement had become puritanical, a witch hunt and was making hitting on women a crime. Deneuve later apologized for some of the remarks.

The Academy cites the flood of allegations against Harvey Weinstein as the catalyst for this movement, which it calls the “denunciation of machismo and violence against women, actresses today are demanding action.”

“Many actors and actresses, producers and directors want to start a constructive, positive and concrete initiative in France to support women victims of violence,” the Academy said in announcing its partnership, and will offer the ribbons as a “simple and silent way to express solidarity” in the fight for equality.

The Liberation letter also credits actresses for “piercing the wall of silence” after the allegations against Weinstein surfaced. “They paved the way. Millions of women around the world have echoed them,” it reads, adding: “We are convinced that tomorrow should not look like yesterday.”

“Now we act,” it concludes. “Together, let’s support those who work concretely so that no one ever has to say #MeToo again.”

Liberation said it will publish a series of essays before Friday’s awards ceremony from some of the signatories about their experiences.

The Cesar Awards will be held March 2 at Paris’ Salle Pleyel.

As previously announced, Paradis will open the ceremony and Penelope Cruz will be the night’s honoree.

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