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SERAPHINE
Martin Provost

"The work we speak of is unique and defies comparison. Its genesis is uncontrollable. It escapes the laws that ordinarily govern the painting, although she meets the most extreme requirements. Seraphine, with the most modest, some flowers, leaves, trees, water running, created by means that are daring his personal conquest, a grand work. "
Wilhelm Uhde, 1945.

Interview with Martin Provost:

What is the origin of your meeting with Seraphine Louis?
One day a friend producer for France Culture said in a rather cryptic: "Martin, you should interest you to Seraphine Louis ..." Not knowing the character, I did not understand what she was coming, but She added: "Look, you'll understand why." On the Internet, I found very little information, only a few biographical details, tables confusing. Enough to arouse my curiosity. I started to enter the world very special Seraphine.
He soon got became clear that there was something strong, poignant, and food for movies ... This initial impression has only strengthened, it has become an obsession when later I read everything there was to read, including the thesis Seraphine Francoise Cloarec, psychoanalyst, who has known Anne-Marie Uhde (sister of Wilhelm Uhde, the discoverer of Seraphina) it has letters and many documents. His work has been my main source.

In the genesis of your movie, there is also another meeting absolutely crucial, that Yolande Moreau.
Yes, the meeting with Yolanda was really decisive. I never made the film without her. The very writing of the screenplay, before going in search of producers, has been nourished by his presence at my side. By coincidence we both lived in the countryside, two miles from each other. So we quickly encountered. I told him the story of Seraphine and she said yes. Very simply. Later I found in the library Kandinsky's only one portrait known to Seraphina, executed in pencil by one of its neighbors. The resemblance was more than striking. Yolande Moreau was. When I showed him the portrait, she was speechless at first then she added, nonchalantly: "It's not flattering, but that's me!" Then we talked a lot about Seraphina of what she faced, her childhood imagined ...

And then on the shelf, there was a sort of miracle, a true encounter between character and actress. Yolanda does not play, she plays Seraphine. She managed to print the image, as and when the film, a poetic and emotionally intense and more valuable it is still in detention. Our work has always been to remain precisely on the wire, not to indulge in the ease, sentimentality, the hysteria in the cinema is often associated with the representation of madness. A subtract rather than add and then to be end to end, faithful to our common vision of the character: its challenging, its weaknesses, her courage, in short, everything that we were impressed and moved from Seraphine.

After these two meetings, you write your script. It is also, and again, the story of an encounter ...
The danger for a scenario based on a real person is to stay in the anecdotal, the illustration, and move precisely to part of what makes her mystery: his humanity, his contradictions, his inner life. This is a particularly delicate. A scenario is a work in itself. But it must also be sufficiently readable then hope to attract producers and find funding. It is a spine a working tool. After trying to gather as much information as possible about the life of Seraphim, especially after the meeting with Yolanda, I was eager to get to work, and full of apprehension ... But soon I felt that Seraphine was an ally, it allowed me to enter his world: a world harsh, confusing, struggling with the invisible. It seemed that I was traveling with her.
With Marc Abdelnour, who co-wrote the screenplay, we imposed a departure from the constraint, that does not "tell" the life of Seraphim as a series of moments: what interested me more was to focus the narrative on the little things on the field off, absences, create small mysteries. Choice screenplay, I wanted to focus primarily on the relationship if unexpected, ambiguous and discreet, which for over 20 years, and for posterity linked Seraphine Wilhelm Uhde. Unlikely encounter between two outsiders. Against all odds, it will be for each of them decisive. Seraphine lives on the margins of the world, and Uhde, a foreign homosexual, is the first to see it for what it really is, without prejudice. It is the developer, his mentor, his friend, his shop and as I felt, almost her boyfriend ... It's interesting to see how it disappears and reappears in his life at the right moment, as the messenger in an ancient tragedy. It is the basis of much alive Seraphine, and then he will perpetuate his memory by revealing to the general public, as it will be the first to organize finally, in 1945, an exhibition devoted exclusively to his works, which lead others in the world.

Returning to the origin of your interest Seraphine. What did you hit her? His personality? A personal sensitivity to the painting "naive" spontaneous, non-academic?
I myself have many painted at one time without special training, and I remember one day, after hours of concentration and hard work, being afraid, yes, irrational fear and a sense of intense loneliness. I have not touched a paintbrush since. What prompted me to Seraphina, it's silly to say, but it is close to heart, and also admiration, a sense of curiosity that I have always felt for anything which is of the order of pure creation, the creative outpouring. Some call it art "naive" and others of the art "gross" but it's not a matter of class.
as now they are often people who are not scholars who are not born into privileged backgrounds and close to culture, but carry within them the ability to create incredible, irrepressible and sometimes disturbing. These artists are fishing deep, outside the art developments and upheavals, without teachers or disciples, and they do not always get the recognition they deserve. Seraphim is a visionary in the sense of the word. It was left to wear with something stronger than herself, and she did not control, the risk of destroying itself. It touches me deeply.

Your film shows the almost mystical dimension of the work of Seraphine. It seems as if its paint life depended on it, as by performing a religious ritual. Paint is never a gratuitous act ...
It can be for some! And that's just fine. But in the world of Seraphine, painting is as vital as eating or drinking, I would add, since after Wilhelm Uhde's departure has been waived to a minimum of material comfort which she was entitled by his household to devote himself to painting body and soul. It's Picasso who said: "Me if I do not paint, I get sick, I die." Seraphine is. Painting allows him to preserve in it something vital. It is a condition of its survival, it is impossible to stop and help but create. In this context, the ritual, in fact, is very important and I took care to highlight whenever it was possible: many of these rituals, religious and otherwise, that structured life and could Seraphine pass for eccentricity, were in fact a disciplined life. So I wanted to show it.
Wilhelm Uhde, who was far from being a frog clam, said of Seraphim she was a saint, and I believe him. Seraphine had achieved through his hard work and that sort of passive rebellion that was hers, a form of holiness, which his painting is the expression.

In the late twenties, Seraphine has gained some notoriety. And then, economic crisis and personal crisis coming, Uhde will virtually abandon ... After having given everything, it seems to lose interest?
is the dark part of the character. I have not sought to evade. But in the movie it was more interesting to me, do not give any explanation for this strange behavior. It is the viewer to make his idea. The end of Seraphine, the Psychiatric Hospital of Clermont-de-l'Oise during the Second World War, was so sordid. It's very troubling. Uhde says in his autobiography that she had died in 1934, when she still lived there eight years, until 1942. Falsehood or negligence, I asked ... Moreover, already after the war of 14 and his return to France where he settled back with his sister, Wilhelm Uhde does not even attempt to review Seraphine, while living in a dozen kilometers from Senlis!
In one sequence, I am told he is persuaded that Seraphim is dead, but Ulrich Tukur (who plays the role of Wilhelm) we made sure that the character makes this point without really believing in itself . This ambiguity preserves the complexity of the character. Despite his integrity and moral strength he has shown throughout his life he is worked by guilt and a certain helplessness, perhaps even a bit of cowardice, is an important dimension of the character and his relationship with Seraphina and things. Uhde had his inner demons. They are there as a watermark throughout the film. My intention was not to confine the role of a loyal patron, caring and accomplice, simple to make. For me, the shadows of Wilhelm were fundamental to rebalance in a way the couple that form on the screen with Seraphina, so that his character is not stifled by it.

The film will be followed up. Over sixty years after the qu'Uhde was held at the Galerie de France, an exhibition will be devoted to Seraphine and alone in Paris ...
Seraphine will revive with the film. In her lifetime, she had not had the solo show she had so hoped for. I made a point of honor to see her again on display in Paris. Thanks to Dina Vierny and his son, Olivier Lorquin, the exhibition will take place at the Musée Maillol: after his death, Dina Vierny has indeed bought the collection of Uhde Anne-Marie, her sister, which has enabled it to survive, and the Musée Maillol enriched by many works. There was also a room Wilhelm Uhde in the Museum of Modern Art, with some beautiful paintings of Seraphine. This hall was reconstructed at the Museum of Senlis. The tables will be reunited for the exhibition. Unfortunately, many paintings were destroyed Seraphine. At the time, many people believed them worthless. Now I hope the work of Seraphine can - and will - relive the big day, out of a circle of connoisseurs ...

Interview with Philippe Vandendriessche

MUSEUM EXHIBITION MAILLOL
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Cruising Lubbock Texas

Rabah Ameur-Zaimeche

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*** Special Evening

November 7
In the presence of

Rabah Ameur-Zaïmeche



and Michelle
Guerci,
journalist and lecturer at Paris VIII

Supported of



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The palette is a painting tool,

for mixing colors.

A pallet handling is an accessory designed to streamline the handling, storage and transportation of goods.

The nutria (Myocastor coypus) is a mammal native to South America, introduced into Europe in the nineteenth century to the operation of its fur. All individuals present in Europe are escapes or releases volunteers.

A social structure implies a good communication system. Many nutria Caviomorphes whose use a palette of sounds, each having a precise meaning.

Word and pallet



Describing the everyday business of pallet repair, Adhen itself as a brilliant gallery of characters, who observes with a sharp eye on power of speech and universal struggles.
Causer, expression, free speech for better understanding the world as it goes: it is an ancient tradition French movies (which has done wonders for example in Jean Renoir), which has occurred in recent years the exhilarating updating. If the multi-Cesar Abdellatif Kechiche was perfectly able to bind reinvention of French identity and dizziness, Rabah Ameur-Zaimeche hit equally hard with this Adhen, which depicts the graceful movement of the floor in a small business. The boss, Mao, is a Muslim and tent, midway between authority and complicity, to establish a proper relationship with its employees, all from the African continent.
First comic and burlesque (the grotesque episode of circumcision), the film moves then to a gravity which never yields to the misery on the contrary, it is through aesthetics sunny and cheerful rhythm as Last Maquis confronts its characters with contemporary difficulties.

What is striking here is the sovereignty with which social issues are articulated and consistent characters. If the engine of narrative film is the opening of a mosque in an enterprise, enabling a solid reflection on the relationship linking religion, work, community and individualism, Rabah Ameur-Zaimeche transcends any categorization by the flamboyant gallery emotions he draws. Prisoner of no subject, freed any central character, the film sails with freedom within the team that repaired pallets. The director does not forget to replace the human relationships within a broader nature, offering a long interlude around a nutria, which broke into the business. In an unfathomable poetry, this passage perfectly illustrates the ambition of Adhen: capturing an acute turmoil of life, pushing ever further the accuracy of gaze over France today. After Wesh Wesh, what happens? and Bled Number One, Rabah Ameur-Zaimeche could not better close his trilogy.
Damien Leblanc

The third feature film by Rabah Ameur-Zaimeche subtly interrogates Islam and the proletarian identity. Film analysis of a "scrub" the riddle which eventually becomes resistant:

CONVERSATION Francis Bégaudeau

Throughout his three movies, Wesh Wesh what that Password?, Bled Number One and Last Maquis, Rabah Ameur Zaimeche has built a world consistent and personal. There raised the question of the life of cities, the weight of Muslim traditions in Algeria, now the labor-management report and report to Islam. Subjects who are heavy each time more extensive than the director refrained from trial, describing a situation rather than the viewer invests only. The magnitude of these movies, and more of Last Maquis, is the skill with which Rabah Ameur Zaimeche works together form and substance, raises questions concerning a humanistic look at his characters at the same time it playing with colors, shapes and rhythm of a film that offers itself to contemplation as much as reflection.

All three films Rabah Ameur Zaimeche is strongly rooted in place, in which the story is intrinsically linked and that dictates the pace of the film. Wesh Wesh what happens? described the life of a city Paris, Bled Number One problem is the archaic Muslim Algerian magnified in a campaign. As in her first film where we seldom went to the City of Groves, Last Maquis remains concentrated in a warehouse pallet, also mechanical garage in an industrial area. Place as the filmmaker met as evidence before writing his film, which he exploits the potential cinégénique majestically. Addressed as an array, this scene is the subject of a play with the colors red, thousands of pallets, yellow slickers, blue sky, green trees ... Corps workers, machinery, pallet blocks ... continue to be in motion before our eyes and build a canvas of colors and forms in perpetual metamorphosis. It gives us time to take the pulse of dance strangely light machinery and materials, gestures of backbreaking work. The fluidity of camera movement is involved the grace of this piece, these shifts smoothly. In the midst of workers and pallets, it wanders, looking for what may well be interesting to film, hesitates, re framework remains long before the same thing. It seems to intensify the attitude and Rabah Ameur Zaimeche character he plays, Mao. Corporate boss, he walks among its employees to ensure they perform their tasks properly. Behind him, the filmmaker seems to look the people he chose to stage. Like Rabah / Mao, the viewer oscillates between attention to narrative and contemplation. A remarkable sound work making the porous border between the noise and musique concrete part of the fascinating rhythm of the ballet where you can breathe, fluid motion up to men in flights of the crane.



The Last Maquis force is to arrive in the interstices within or beyond this fluid light, to ask serious questions of the employer-employee relation, the relation to Islam (at religion). The pressure on Mao's workers is initially silent but omnipresent: here and there are indications distilled, when he calls her a soft look maneuver to confirm that he is happy, he checks the score ... Bled Number One, the problem is the archaic Islamic traditions was discussed similarly, rising time to plan, a scene or a sentence, not making this delicacy that the more meaningful issues raised. If the viewer detects the manipulation of Mao when he appeared at the beginning, the characters do not. Awareness of some of them took place when a mosque built in the warehouse, and appoints himself the Imam. The tradition that the latter is chosen by the faithful, some workers dispute, see the note in the pattern of abuse of power, an attempt to control their freedom. On the contrary, some are grateful, confident in the sincerity of his faith. When each of termination revolt at the end, others remain manageable thanks to a few euros, including Mao's rise. The viewer remains uncertain about his intentions for Mao when he asked the Imam to convert those who are not yet, it appears that the mosque allows him to buy social peace. But when he goes there to meditate alone at night, his belief may seem genuine. Part of this ambiguity character, and hence the floating of the meaning of the film, the game elusive Rabah Ameur Zaimeche, the fact that the director interprets the role of the boss and to accept, as a filmmaker, also an entrepreneur.



In Wesh Wesh and Bled Number One, the look of the character played by Rabah cernable remained, he was the one who returns after years of absence, outside Paris and Algeria, and one sees clearly reality that has become foreign. Instead of Mao (appointment at the crossroads of Muhammad and Mao Zedong) is more ambiguous, it is both the middle those for whom it manages to work and back because he observes, directs and manipulates. It is definitely a selfish boss who, without bothering to argue, denies any increase, to pay overtime and ultimately terminates abruptly for economic reasons. Occasionally, however, Mao seems to leave room for Rabah, when one feels in her eyes a kindness to his characters, he laughs with them sincerely and spontaneously. Working within the meaning of the ambiguity, the director encourages the viewer to find their own answers at the same time it refuses to judge his characters, to arrogate this right.



The humanity of this look is reminiscent of Renoir, present in more than one title in the cinema Rabah Ameur Zaïmeche. The Last Maquis universe is exclusively male, nor is there any woman is mentioned. Wesh Wesh As with residents of the City of Groves, in Bled Number One with those of the village of Algeria, Rabah Ameur Zaïmeche works reflect the nobility of the characters, actors, engineers and laborers here. It is moved by the sincere awkwardness Titi who believe that circumcision is necessary to convert, is the operation itself, words full of sense of village head requesting an increase of joyous complicity between mechanics. If Mao is on the side of the manipulation, the attitude of workers is very healthy, it makes them endearing and can be more sensitive to problems that their story raises. To be heavier than the latter, we laughed too frequently, which contributes to the richness of rhythm and meaning of the film, proximity with the characters. The naivete that they sometimes show makes them both victims and who knows more of the noblest of beings. Laughter accompanied by a fascination for the emotional purity, the problem of abuse of power by the boss is placed along what proved the greatness of individuals. As in Bled Number One and Wesh Wesh, Rabah mixes actors here (Jafri, Christian Milia-Darmezin), who interpret the mechanics, to non-professionals, laborers who actually work in the warehouse and he has long observed , Imam, the Muezzin Muezzin Imam and true. Two reports to the character and play, plus the presence of the filmmaker-actor which was discussed, comparison of three realities heterogeneous part of the richness of the film, the range of possible interaction between the character, the actor and person.

Respect for people filmed doubles as a respect for the viewer, in which Rabah confidence. Just as he leaves a great place to be on screen, Last Maquis offers ample space to invest. Plans last, the filmmaker is not afraid of annoying at the same time that he trusts in the riches of what he filmed. Not afraid either to undermine our habits, when faces are cut, the camera moves between body parts, the field is slow to cons come. Work towards more ambiguity, the lack of an overflow of words or explanatory plans invites us to go to meet what happens, we fully integrates into this world at once accessible, clear, and whose the meaning remains floating.



is finally his confidence in the reality and the possibility of cinema to account for his wealth makes him sensitive and transmits Rabah. The cinema can play with a pictorial decoration, magnifying the people dancing on backhoe loaders and pallets. In a very rare and beautiful out of the warehouse, on the banks of a river, unlikely to capture the flight of a heron in the trees, catch the light leaves a plane that passes through the plan appropriately. In Wesh Wesh, Kamel away the life of the city to go fishing at a lake in Bled Number One he isolated himself on the edge of the water yet, listen Rudolph Berger playing the guitar. Movies Rabah Ameur Zaimeche are holed escapement, at which time we take note of what happens in the warehouse, the Algerian city or village, to assimilate into breathable films that raise serious . Rabah Ameur Zaimeche uses as well as film to talk about issues close to his heart and it is urgent to raise, he uses them to make movies. In one case as in the other, with great gusto.
Marion Pasquier

"The title is enigmatic for the typical person who does not know the Arabic language as well as the contemporary history of the Algeria (country, birthplace of the director).''''means Adhen call to prayer,''last''maquis refers to religious fundamentalists, (we think recess to Algeria). What is the relationship between these words in a foreign language in France today and the film takes place in the suburbs north of Paris? Our quidam cited above do not clearly see relationships. There are yet! For the foreign population in France carry with them their traditions and customs that will handle the crafty to better exploit the workers from these populations. To show their vulnerability in a society that ignores almost all of their culture, the director films the workers who share the same religious faith. Their religious practice (zigounette mutilated, collective prayer coarse miles away spellbinding chants of Koranic verses) is deliberately caricatured by the director to better show then the''primacy''of reality when the conflict broke out between the boss and his workers. Yes Islam, like all religions, is used as a political weapon in the class struggle denied by the zealots''who directs the faithful to''blend (to ensure social peace), in the popular Umma The community of believers. Adhen''scrub''or''last'' is a film that attacks with a certain skill to a complex problem, the relationship between politics and religion. We are not embarrassed by the simplicity of the device of narration because all plans have a density''reveals''the game of subjects and issues (the relationship between boss and employees, between the imam and his' '''flock, among the workers''and''black''Arab''etc.). The film focuses on his characters a knowing look embellished with some humor, poetry and the dose of images and sounds make up the''unspoken'' Film. In his world view he is filming, it reads the mind of director on the current situation of the country that was born and which he dedicated the magnificent''Bled Number One.'' Adhen with''''Rabah Ameur returns to his''suburb''that he had staged the''Wech Wech,''a film unknown and that the acid has had the foresight to support firmly. The rest is history .... "

Ali Akika, filmmaker, member of ACID


Casually, the airwaves are underground Adhen return insistently well beyond the time of its projection.
strange object, which resists unambiguous analysis, both programmatically and formal, which is installed and working as a comedy turns to tragedy. Human Resources in Lumpen one hand, the plant in the country (as they say the city to the countryside) on the other, the place of Islam in the world of work and workers' struggles. Fiction
certainly documentary evidence, as he likes to combine Rabah Ameur-Zaimeche: the interpenetration of these two registers is the social game in perspective and keep the complexity of the characters in defusing any doctrinal position.

Adhen portrait of a group through which humanity, politics, religion and the absence of women - the latter question is settled, so to speak, from the first part of the film, served / sublimated in a crazy gesture symbolic castration allegedly meet the requirements of religious law, but we know that women's place in the immigration context, necessarily refers to the difficulties of living conditions, among others, the issue of family reunification.
Somewhere between the vicinity of a large city and the green French countryside, it works, art, typing and scrap space and matter of an industrial area in agony.
Highly metaphorical, with great simplicity, the film works as pallets (evenly red) manufactured by the company and the accumulation of which serves as a breathtaking backdrop to the film. Not really a sophisticated production, rather transitional objects without which the goods do not circulate. Activator of imagination and reflection that the viewer must set the registers, the film constructs its own tension on the gap between the story and the artifice of the place. More than a theatrical space is installation within the meaning of art, it is. Ie a space in which we are invited to walk in order to produce his own fiction. Here, the expressive force of the stacks of pallets sounds like the ridiculous accumulation of goods ghosts, the precarious order, closure, urban periphery and the flaming potential revolts.
Title, Adhen gives clearly the political tone. In the company's boss Mao, the place of immigrants in the hierarchy of work falls back on the historicity of immigration; African workers forming the last wave, the more precarious, the most fragile, most remote observation. We do not know more about each character that is at stake in their interactions or what s'entraperçoit in the wake of the camera.
"How aggressive film may remind one of documentary cinema, but it's true that we are not provided in actuality. This is another relation to time, which is not necessarily recording an immediate reality, so realistic. This is a proposal, just make things, not judgmental, "says Rabah Hameur-Zaimeche.

On clear line of narrative, opposes the opacity of Mao, whose ambiguous demagoguery will be unmasked at the same time that the true function of religion, only bond that unites them all, and on which the movie, "secular" as director, conveniently distinguished believers clerics. Played by the director himself, Mao is just turning his company and the movie around him. Only in a superb escape scene, something its deepest truth will emerge. In the scene of nutria in the middle of the immutable nature of channels lush Edenic jungle animals and welcoming to come Moreover, indifferent to the instabilities of views, what story is the eternal migration of men, something like the salt of the earth.
Cati Couteau, a member of ACID,







Portrait Rabah Ameur-Zaïmeche



It says himself: "In my city, I was the boss's son." Rabah Ameur Zaïmeche comes from an Algerian family in the past easily, which owned forests. His father emigrated to France in 1960 and built his shipping company, in a few years from one to six hundred trucks. Rabah has grown up between two worlds, privileged among the poor of the cities. At the Sorbonne he studied psychology and sociology, but "not to become an economic agent, trying to become one day, I hope, a free man."



The film, he did not learn about the schools of the university, in the halls of the Latin Quarter or in the workshops Femis, but first a self Cinephilia fed by television of the 70s, with The Film Club by Claude-Jean Philippe and the Theater of midnight Patrick Brion (who at the time spent at 22 h 30). A process similar to that of his colleague Malik Chibane and raised awareness of the importance of these two programs in learning a whole generation of movie lovers. Thanks to Philip and Brion, Rabah discovered the western, or classics like Golden Helmet, which shows quail commuter time, the Apaches.



The desire to make films the pliers quickly, but later, completing his studies, he proceeded to act. Originally a sociological work on the suburbs, he transforms into a screenplay written with a friend and neighbor of amphibians. As no producer decides to give the green light to these strangers, Rabah decides to shoot the film himself. This will be an adventure Wesh wesh, what happens?, One of the best films about neighborhoods, work of great finesse on a material's not easy and readily subject to caricature. Rabah Ameur Zaïmeche while never attending, has no shot short film, he enrolled at the outset in the wake of Renoir and Ford, showing patience to look, taste for strolling narrative sense of human complexity, range of vision. In 2006, Bled Number One, selected at Cannes (Un Certain Regard), confirmed that gangsta rapper ... not a flash in the pan, a fluke. Recounting the difficulties of returning back home from a Paris Beur, resolutely taking advantage of women, Rabah Ameur Zaïmeche shows once again his qualities as a filmmaker, his influences westerniennes, generosity and precision of her gaze, a certain laconic indifference , characteristics which contrast with the all-comers cinema.

Serge Kaganski
December 12, 2007

Bled Number One

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