January 2011

Cinemas South
The French Cinematheque
have

REBELS at CINEMA

Yet his mind, already rebellious resisted by sneaky, biased toward delusional images. Georges Bernanos

Because he opposes the company or its representatives, because it asserts its difference, the rebel is a character bearing account. It creates confrontation with his even temperament. His refusal led the company also sometimes become a criminal. His taste for freedom, independence make it attractive, but it engenders fascination, it can also serve as a foil.

The radical nature of his transgression, or even its violence often tell us something about the society in which it operates. In its most flamboyant, the rebel is one who refuses to compromise, who plays all out.

rebel filmmakers invented especially forms of cinema which, in themselves, are subversive. The rebellion resulted in a break with the classical aesthetic. Conditions of independent production as often accompany this break and promote the emergence of a new aesthetic.

Pierre Gabaston, Rebels on the big screen

Friday, February 4, 2011 7:00 p.m.

Opening Night
in the presence of
Nathalie Bourgeois

Director of education department of the French Cinematheque and

Pierre Gabaston

author of Rebels on the big screen
co-edited the French Cinematheque and
Editions Actes Sud Junior.

* Presentation of the event by

Vincent THABOUREY
(Delegate General Cinemas South)

* Presentation Round Rebel and Collection by

Nathalie Bourgeois

* Projection of a mounting film clips that run through the Cycle

* Conference by Pierrot le Fou

Pierre Gabaston

* Buffet

* Projection Pierrot le Fou new print restored by the Cinémathèque
French and Studio Canal

Price: 5 euros + 3 euros participation Buffet
Bookings: 04 42 44 32 21

Jean Luc Godard
France, 1965, 1:55
Starring: Anna Karina, Jean-Paul Belmondo. ..

Pierrot le Fou is a little soldier who discovers with contempt that he must live his life, a woman is a woman, and that a new world must go its own way as not to find breathless
Jean-Luc Godard

In my life as a spectator, there is a before Pierrot le fou, and after. For the first time I felt and heard, through images and sounds, colors and the blue of the Mediterranean, something like the silent voice of a poet filmmaker who told me something else. (...) This film told me that the world was chaos and violence, that's love for Marianne Pierrot Ferdinand hid as treason, as the blue sky was the same as that Pierrot painted face before dying. And it was all beauty. The invisible man's name was Jean-Luc Godard took me by the hand, to train in secret and mysterious area where I the feeling of being gone before. (...) Those who are fortunate to have never seen this film will discover in its sumptuousness plastic. Those who already know the movie part of movie history and art history, would agree that they have never seen as beautiful in its original beauty. "
Serge Toubiana

With Pierrot le fou is as if we knew nothing of Godard, criticism and film. The work was nevertheless "foreseeable", which is more than one point on the sum the other nine, taking turns themes, situations, characters, colors, words and drama to breathe in Band of Outsiders, Contempt for the woman is a woman, but better to leave them behind. (...)

(...) The first temptation is to isolate the film as an accident, may be called by the steep curvature of Breathless or painful Impressionism Bande à part. Approach surfaces, details: the color and rhythm rather guide us through the differences and exceptions themselves, towards a woman is a woman where available cracked cracked, broken, display, instead of causing some regression expands the figures, the stresses in the expanding, so disproportionate to an amplitude that reached its survival and prohibits rocking the same time, exhausted, out of balance. Voltage hesitant, intermittent, stubborn, a woman is a woman without participating in a circular motion dedicating the film to a discontinuous repetition (A married woman), the story took the time to go back. In Pierrot le fou, changes are not slack, divergent, but hasty passed. Instead of being evaluated, chance is crossed. The transverse motion prevents each obstacle, bursting the extent and apparent balance it imposes. Godard does not film breaks into pieces but the flight, the estate. No more unfolding, a juxtaposition, but accelerated. The film tells a second - sounds and colors appeared by movement, refraction, glare - and the flight of what she has, without regard to trace or digs. (...)

(...) Like The Forbidden Forest where he holds the exacerbation between the blue and the atrocious, Pierrot le fou has the drive tense of a birth, fall began, lived and dreamed of, sort of initiation. But over the momentum it tries to update printed in a parallel motion transparency and contradictory remain where the bloody trail, the scarlet splashes whose frequency recalls so many barriers that may interfere with the course original, to disrupt or even stop it. So the desperate flight, the crossing solo, seems to draw its energy, conviction, threat and who is watching the deployment of which flows in waves sudden more and more pressing, requiring pathways secondary loopholes, deviations. And the race Pierrot catches her threat, open to another possible fall in the next second to live. (...)

Jean-André Fieschi and André Téchiné
(Cahiers du Cinema No. 171, October 1965)

Godard & Karina in Pierrot le Fou
Document INA

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REBELS
plate event:

Programming
Martigues

Information
04 42 44 32 21

Friday, February 4 8:00 p.m.

Opening Night Event

Pierrot le fou Jean-Luc Godard (1965)

New print restored by the Cinematheque Francaise

Presentation Round Rebel

by the French Film

With

Nathalie Bourgeois

Director of education department of La Cinematheque
French and

Pierre Gabaston

author of Rebels on big screen

Review Pierrot le fou today confirms his unalterable violence, its unique status as film Rimbaud. Pierrot le fou, chaotic and clear, light and tragic, combines the convulsive beauty of Breathless contemplative lyricism of Contempt . Godard's ambition is to establish the position of places of an era, the desperate conclusion of a civilization in decline, while filming the adventure of a man, cynically married to a wealthy woman who decides one night escape his dreary existence with a girl once loved and found by chance

Tuesday, March 8 6:30 p.m.

Philo / Bistro / Film

International Women's Day

"Women Rebel"

In partnership with the MJC and the Media Martigues

Hosted by Benedict Spinoza (philosopher)

Gloria of John Cassavetes (1980)

The family of a young Puerto Rican Phil, age 6, has been murdered by the Mafia since his father's accountant, Jack Dawn, knew the numbers and accounts that preparing to pass the FBI and the CIA. Phil is rescued by a neighbor, Gloria, single woman, a former cabaret dancer and especially ex-mistress Tanzini, the leader of the crime syndicate. Thus begins a chase through the streets of the Big Apple between the killers and mafia-Phil Gloria unlikely couple. Gloria is a true auteur film, because throughout history a free and independent woman opposed to alienating system (here, the Mafia, god Silver), it is not difficult to see a metaphor for the artist in white-collar Majors.

Friday, March 11

Festival Regard to Women

Workshop and Conference by the French Cinematheque

Samia by Philippe Faucon (2000)

Samia is a teenage girl of North African origin who lives in a neighborhood of Marseille. At an age when girls have their first flirtations bloom, Samia decided to skip this step from adolescence to just deal with their status as women in Islam. Hawk is the cinematographer par excellence of the revolt. He filmed a fragile body - that of Samia - evolve into a virile and extremely unhealthy atmosphere. She is a woman and will remain intact. This is what Philippe Faucon decides to show a film that as the days become radical the French film.

Tuesday, March 29

Evening Rebel

Moderated by Peter Gabaston

Author: Rebel on Big Screen (Editions Actes Sud)

A Bout de Souffle by Jean Luc Godard 1960

It's about a guy who moves from one car to another and finished his run. This is the story of a girl who moves from a dress to another but keeps his hair cut until the end. It is a thriller that turns into sentimental movie then becomes polar. It is a sentimental movie that makes a hole in crime fiction. It's a love story between a girl and a specific type undecided. It's about a guy who, when he stops running, dying. It's about a guy who said If you do not like the sea .. If you do not like the mountains ... If you do not like the city: fuck you!

is a matter of life or death. This is the movie that is out of joint.