Woman Strangled Man In The Bwd

dreams in ,

the footsteps of Pina Bausch

Linsel Anne, Rainer Hoffmann

Germany, 2010, 1:30

In 2008, Pina Bausch, a few months before his death, decided to resume Kontakthof his famous show, either with his band, but with adolescents 14 to 18 who never took the stage and have never danced. This documentary is their story ...

The film follows the process repeats until the first, and gradually we measure what this wonderful collective work brings everyone into the most intimate part of her life and how this labor of a year can be a formidable machine thrive in unstuck, forcing dams. We are in the collective construction, certainly, but also in the listening. The "terrible" Pina attends the selection first, then a few repetitions decisive, and it is clear how the high priestess of modern dance intimidated and seduced at a time. We discover how, in a few comments, glances, she manages with the help of two wonderful dancers of his company, Jo-Ann Endicott and Bénédicte Billiet, ubiquitous in everyday life, to breathe this thing so bizarre is the creative force of a group in harmony with a leader loved and admired.

There are times mild, others more aggressive in this compendium of personal lives, individual experiences, talents of directors is of interest to us constantly to people while allowing us to feel the progress of the work, until 'Master's finale, where everyone taking the insurance flourishes, arises in the group to give it a smooth consistency. And it's damn nice and strong. Pina Bausch is a party just after Paradise, June 30, 2009, other angels can dance ...

The dance "Kontakthof" door to do no mistaking the mark of Pina Bausch: there is question of forms of human contact, encounters between the sexes, the quest for love and affection with all the anxieties, aspirations and doubts that are part . It is about feelings that are a major challenge, particularly for youth.

For nearly a year, young people from eleven schools Wuppertal began an emotional journey. Every Saturday, forty students from 14 to 18 have participated in dance lessons led by two dancers from the troupe Bausch, Jo-Ann Endicott and Bénédicte Billiet, and intensely supervised by Pina Bausch in person.

The film of Anne and Rainer Hoffmann Linsel accompanies the process repeats until the first. We see the young in their first clumsy attempts yet to transpose the theme of the show in the movement and choreography to find their own form of physical expression. They find themselves in a process that leads to a significant personal achievement. Contacts soft and timid, but also aggressive, are condensed into so many individual experiences that many of these youth are on the scene for the first time.

Pina Bausch has consistently encouraged les jeunes danseurs à « être eux-mêmes». Derrière leurs mouvements se révèlent les angoisses, les sentiments, les désirs et leurs « rêves de danse ». A la fin, chacun d’entre eux a non seulement grandi mais il est surtout devenu plus confiant en soi, plus indépendant et plus sceptique vis-à-vis des préjugés.

Pina Bausch est décédée le 30 juin 2009. LES RÊVES DANSANTS montre les dernières prises de vues et la dernière interview de la danseuse et chorégraphe célèbre dans le monde entier.

Philippine Bausch was born July 27, 1940 in Solingen in the Ruhr, where his parents ran a hotel-restaurant-cafe. At just 15, she joined the school around interdisciplinary dance founded by Kurt Joos, Essen, before leaving in 1958 to New York with a scholarship to the Juilliard School. This slender dancer triumphs there, but returned four years later in his homeland to lead the company committed to the school in Essen.



In 1973, Pina Bausch to accept the proposal Wüstenhöfer Arno, head of the Wuppertal Opera, to take over the ballet company. From the outset and less than four years, she won with ferocity of Iphigenia in Tauris, Orpheus and Eurydice, The Rite of Spring, the Seven Deadly Sins, Bluebeard, all scores illustrious dedicated to the theme of the sacrificial victim, denied , bruised. Faced with Gluck, Stravinsky, Weill and Bartok, she bluntly describes his ambition and violence, especially that perpetrated against women, male domination.


Always based in Wuppertal, but regularly invited abroad - including each season at the Theatre de la Ville in Paris for thirty years - She also organized residences with all his company in the world's metropolises, to draw the matter of his new shows. She signed a forty creations, including Café Müller (1978), Nelken (1982), Danzon (1995), Masurca Fogo (1998), Nefes (2003), widely acclaimed by critics and times. This grande dame of modern dance also leaves behind a company of forty dancers.

PINA BAUSCH AND THE CINEMA
Pina Bausch has played a princess blind And the Ship Sails On, Federico Fellini (1982) and Talk it (2001), Pedro Almodovar, showed extensive excerpts of his shows. She herself has made a film, The Complaint of the Empress in 1989, Baroque manifest the glory of nature and of wandering.

Pina Bausch - Talk to Her

The Complaint of the Empress

SITE :

Warping Legs Around A Man

Life Ranch Commune

Life Ranch
Sophie Letourneur


4:30 p.m. Thursday, November 11
In the presence of
Sophie LETOURNEUR

Audience Award Film Awards & French, 2009 Belfort

"If we had to tie his film to a film tradition, it would be that rare, women filmmakers like Noemie Lvovsky ( Small, Life does not frighten me ) in France, more recently, Drew Barrymore ( Bliss) in the U.S., which put girls at the center, not as objects of desire, but as active, desiring, conqueror, pushing the boys to the rank of accessories to the limit. (...)

could also evoke Barbara Loden, especially in the latter part of the film, when girls get together for a vacation on a plate of Auvergne, the flood of words Finally exhausted, as the vacuum saturated abysmal that it has produced a violent and melancholy sweeps. Concentrated on a very fleeting existence, this time the merger of the individual within a friendly group comes up for the abandonment, still fresh, the nest, the film also captures the end. The factly, he makes you run along the spine chilling soft and cruel Paradise Lost. "

Isabelle Regnier - Le Monde

Sophie Letourneur (debut) has just completed the most chick flick amazing - the most confusing - since the invention of the chick flick ("movie for chicks"). Snorkeling among Parisian babes, sluts in so Rohmer 2010, and real document on the vocabulary of today's chicks (" What are you doing here? Because me, nothing except fuck, I have nothing to fuck "modern version of" What can I do, I dunno what to do "Anna Karina in Godard). Everything looks improvised, nothing is - with, in particular, work on his chiseled. (...)"

Guillemette Odicino - Telerama

"Are we as individuals within a group or is bound to be dissolved?, Letourneur Sophie asked. This is for the party theory. In practice, Life Ranch is a comedy novel with a hundred times more replies than any cult film bun. And especially not a girly film cluttered code generations.

(...) For a first feature film, Sophie Letourneur capture something very alive and very happy dying. And it is this deep feeling of nostalgia that, finally, we hugged. "

Lamôme Stephanie - First

" Life Ranch is a musical score, music for orchestra, whose mastery requires us to listen beyond the four violin isolated sentences in the middle of the set. Thus he should watch the movie. It is an invitation to position itself as a spectator, an invitation to see differently: it is a gesture of filmmaker who has not matched the originality of his research (...)

Chiara Malta, filmmaker.

Sophie Letourneur shot a short film "head in the gap" that has received numerous awards and two means highly acclaimed films "Manuel Bolognese" (fifteen Directors' 2006) and "Rock and Canyon" (Special Jury Prize, Vendome, 2007).

"I wanted to show the mundane moments of youth, moments that are not exceptional in itself, but becomes available when one realizes that one is more capable of to live in the same way.

In everyday life, these moments seem not special interests. The action is trivial, what is less clear is the ephemeral link between these people is feel more self with others than alone in a period when one is looking. The strength of this relationship empowers the natural ease, confidence and relaxation. These discussions between friends eventually coalesce into a thought to freewheel, as if it expressed anything that moves through us, without barriers. Total availability, a pause at the end of study before the group keeps its shape, no splits, just before each live his life, his work, his marriage.

In this film, I want to highlight the exception of those subtle moments as if suspended in time, to feel what they have to wonder, in their apparent banality. Shoot what you can not live at a certain age, it my way of talking about that age. That's what I try to do with the trilogy for the preteen Manuel Bolognese, adolescence and Canyon Rock, post-adolescence to Life at the Ranch. Central to these three films, the adolescent friendship and separation, the longing for what can only be experienced and the grief of a part of you every time. "Sophie Letourneur



Interview Sophie Letourneur

The story of this movie seems very personal, almost intimate, have you really experienced all these situations in your own life?

Yes, but some situations have been implemented because I did not stick to my reality too, for example, I nearly went to Berlin but I did not like the movie, I stopped in the 14th district ... The Things are quite different because the group of girls that I chose for the interpretation already existed, they gave me a little of what they were and helped me to detach myself from my own history, ultimately is a mixture of reality and adaptation. I choose people who are not actors but who are like me when I lived in that age, I put them in situations and I love them ownership my story is a way to get rid of me dispossess, to evacuate, saying something here, they are periods I lived, they belong to everyone and anyone at a time.

Did you write the script for a very precise way, or have you left a part of the actresses improvised during filming?

There is no improvisation in the shooting and the scenario was constructed in several steps: I first wrote a sequential order that clung to my life and when you see the movie today we find all the scenes in this sequential order, with a few additional dialogues that I fished in my personal archives. Then when I found the group, I readjusted the script to girls who are friends in real life. The next step was to create a writing device that puts the situation in the group stages of the prepared sequential order, save for any rehearsal time by providing avenues of work and explaining the narrative. From 4 to 5 hours sound captured on each scene, I picked the most interesting moments and the funniest and I installed with its software. The soundtrack was created and copied onto CD and distributed to girls who were learning by heart their text from that medium. The group is constituted as a body, it is important to me that the phrases intersect, overlap, there is a simultaneity mastered sound and dialogue. Girls were more then just repeat the whole CD, just like a partition or a song. I prefer it to be rather well prepared que de filmer en continu et de faire des impros au moment du tournage, ça n’est pas mon truc.

Au début du film, le spectateur est complètement intégré à l’action mais dispose de peu de pistes pour identifier les personnages. Qui est vraiment le personnage principal de cette fiction ?

C’est vrai que le spectateur est jeté dans la fosse au lion, un peu perdu, il ne sait pas qui est qui. La bande agit comme le premier personnage du film et personne ne peut vraiment s’en dégager. Le ranch est à la fois le cocon et le carcan du groupe. Mais c’est surtout l’histoire d’un départ, celui de Pam, le mien. Parfois ça se passe smoothly and all is well in my case the rupture was most brutal. In the band there's something warm, gentle, reassuring but at the same time it quickly becomes unbearable and suffocating, causing the idea of failure.

One feels in the movie when the idea becomes clearer, when girls go into the mountains of Auvergne. This getaway is a form of breathing?

I did not think as breathing, but when I started arguing with my friends we left in this country house and the tension was due more to silence. From the moment he is the most steady stream of Parisian life, they find themselves face to them and it becomes even scary. They are detached from their usual environment, with their codes, their private joke and always the same stuff that runs in a loop. The fact of the move in other contexts creates problems, misunderstandings, conflicts. It may also be a relief for the viewer out of their terrible din from the moment Pam says she can no longer lives at the Ranch. Something deflates, something is dead and for me it's like if I started a second film. So

at this point that emerges the strong character of the film?

Pam stands then as a character since left the band but did not yet have the weapons to become truly one, it still has a ways to go. It suffers from the fact that others do not accept their differences, it is more trash, more fragile, it is still looking for is what I wanted to express by giving this role as an artist in the final plans Berlin. Something is a little bastard for her in this film is what interests me because it also prepares the next film so always very spontaneous, as a form immediately with other characters, which stick to other periods of my life.

(Interview by Vincent Courtois)

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interview around 3 shots

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