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Goran Paskaljevic

Goran Paskaljevic's films deal with the vicissitudes of life in ethnic war-torn Yugoslavia, reflecting the struggle and aspirations of the common man, and of the marginalised. The themes are not political per se, but portray a strong bond of humanist feelings and the desperation of a people who are forced to adapt their lives to political unrest. Having worked for a Belgrade television network for nearly half-adecade, he made his feature debut in 1976 with ‘Beach Guard in Wintertime’, an ambling, bittersweet tale of how a youthful love affair wilt under the negative influence of parental expectation and a weak job market. It also spoke about the contradictions faced by the younger generation, disintegrating social ties and futility of relationships. The easy solutions, even if they existed, offered little more than a lonely leap into the unknown. Love, angst, shared fears, and hopes of a different destiny find echo in his works. In such, it contributes to our understanding of his society and his people, their prejudices, myths, courage and servility.

Beach Guard in Wintertime /Cuvar plaze u zimskom periodu

Yugoslavia/90min/1976
Direction: Goran Paskaljevic

Grown up in an atmosphere of failed marriage of his parents, a young man wants to go his way
throughout life. School he finished doesn't give him the
opportunity to find a job, so he accepts the position of
a beach guard in winter period. He marries the girl he loves, believing that love will prevail over all misfortunes.
Soon he realizes that his parents started in that way, but
their enthusiasm was destroyed by life problems. His wife
abandons him, his father dies and the young man is at
fresh start, but this time burdened with bitterness

Honeymoons/Medeni mesec

Yugoslavia/95min/2009
Direction: Goran Paskaljevic

Honeymoons' shows us that the distance between Eastern and Western Europe is more than a question of kilometers. The films follows two couples, one is Albania, one in Serbia, who in the midst of wedding celebrations decide to leave their respective countries to realize their dreams in Western Europe. They soon find themselves trapped between their countries' past and their future lives together....

How Harry Became a Tree

Yugoslavia/100min/2001
Direction: Goran Paskaljevic

This drama is set in rural Ireland. Believing that "a man is measured by his enemies", Harry Maloney (ColmMeaney) sets out to ruin George O'Flaherty - the most powerful man in town, who not only owns the local pub and most of the businesses in the area, but is also the local matchmaker. When Harry's son Gus( Cillian Murphy) - upon whom Harry regularly heaps abuse (mostly mental and verbal) - falls for the lovely Eileen, George helps get the two together during this time, Harry quietly mobilizes his dastardly plans.

Midwinter Night's Dream/San zimske noci

Yugoslavia/95min/2004
Direction: Goran Paskaljevic

Serbia, winter 2004. Lazar returns home after ten long years in prison. He discovers that the apartment where he used to live is now occupied by a woman, Jasna, the single mother of a 12-year-old autistic girl named Jovana. They are Bosnian refugees who have been squatting and have nowhere else to go. Both Jasna and Lazar are attempting to turn the page on difficult pasts. Lazar empathizes with Jasna and allows her and her daughter to stay. Little by little, these social castaways form a tight kinship as they grow closer together. With the visual elegance and emotional complexity that Paskaljevic has accustomed us to, the film is in many ways a metaphor for the harsh reality of modern-day Serbia.

Powder Keg /Cabaret Balkan/ Bure baruta

Yugoslavia/102min/1998
Direction: Goran Paskaljevic

In Belgrade, in February 1998 - when the troubles started in Kosovo, 20 people's paths crisscross one night in rage and theater. A callow youth dents a car; its owner hunts him down and trashes his father's flat. Michael, back from abroad, hopes to reclaim Natalia; her new, younger lover seems outclassed. A Bosnian drives a bus to eke out subsistence; his son works the Black Market for a sadist. A cabby buys drinks for a cop he crippled in revenge. Swarthy friends at a gym confess betrayals of each other; violence erupts, then one menaces a woman on a train. Another young woman, traumatized when a knife-wielding youth commandeers her bus, calls for help and ends up with a gun at her head. It's a cabaret macabre.

Special Treatment /Poseban tretman

Yugoslavia/94min/1980
Direction:Goran Paskaljevic

Dr. Ilic works in the hospital for compulsory treatment of alcoholics. By conducting his own "special treatment" through physical exercises, apple eating, the healing effects of listening to Wagner's music and psychodrama, a group of six patients have been taken to visit the brewery where there is a problem of alcoholism in the workplace. The events that followed reveal that the doctor used his own way of treatment in order to express his own essentially despotic and hypocritical personality.

When Day Breaks /Kad svane dan

Yugoslavia/78min/2012
Direction: Goran Paskaljevic

Misha Brankov is a retired music professor. One morning he receives a letter requesting him to contact the Jewish Museum in Belgrade. At the museum, he learns that during some excavations on the sewers at the city’s Old Fair grounds, an iron box was found, in this same place where during the Second World War an infamous concentration camp was set up for Serbian Jews and Gypsies. The contents of the box will change the Professor’s life
Marco Bellocchio
Marco Bellochio is one filmmaker who pursued certain themes throughout his life and career, always historicizing his narratives and giving his situations a brooding quality, and his characters a melancholy charm. His films go on asking troubling and uneasy questions to all the powers-that-be, political, ideological and spiritual, that promised liberation and freedom, but ultimately failed to deliver anything but demand for obeisance and servility. In his own words, “…throughout the years, my imagination keeps going back to the same themes, but with a very different outlook, a very different perspective. The stories do come back, but my way of looking at these stories has radically shifted. While in 'Fists in the Pocket' I morally share or support the choice of the protagonist to kill the mother—not in a criminal way, but in a philosophical way—in 'My Mother’s Smile' I am on the side of the character who rejects the murder. That’s a very different perspective. This Bellochio’s films stand testimony to 20th century history with all the tragic beauty and strength of its dreams and frustrations, hopes and disappointments, making him not only the conscience of Italy but of the world. What makes his films compelling lessons in life and liberation are their ability to combine a deep distrust for all kinds of fundamentalism and totalitarianism, even while being enchanted by dreams of hope and calls for freedom.

Devil in the Flesh/Diavolo in corpo

Italy/114min/1986
Direction: Marco Bellocchio

An adaptation of Raymond Radiguet’s novel Le Diable au corps, Bellocchio's controversial film begins with a complex choreography of gazes, spaces and protagonists. An Italian high school student becomes infatuated with a woman he sees outside his class window. Her fiancée is in jail for being involved in a radical movement, and she spends much time in court providing moral support. Young Giulia (Maruschka Detmers) and Andrea, the high school student, become witnesses to an attempted suicide. The emotional shock forms the basis of the passionate relationship that rapidly develops between the two of them, whose boundaries are more delineated by the inscrutability of desire and insanity than family power relations or the political climate. Their situation is condemned by her family and his father, who is the woman’s psychologist. The film stars Federico Pitzalis as a high school student who falls in love with an older woman

Fists in the Pocket/ I Pugni in tasca

Italy/108min/1965
Direction: Marco Bellocchio

In a quirky, chilling and at times very intense film, a young man tormented by twisted desires, takes drastic measures to rid his dysfunctional family of its various afflictions. It is the family, the nucleus of social and societal wrongs that is dissected in unyielding fashion here. A widowed mother lives with her mentally and physically disabled children in an upper class villa, their lives dictated by narcissism, lethargy and melancholy. In an intriguingly metaphoric and ominous character introduction shot, Alessandro, the adrift, melancholic, and perennially unemployed brother, seemingly falls from the sky and lands into the frame of an empty landscape. The tormented Alessandro resolves to liberate his older brother from his perceived burden of responsibility towards the helpless and emotionally crippled family. Bellocchio's furious debut was nothing less than a direct attack on post-war Italian society, its rigidly bourgeois moral values, its hollow conventions and hypocritical piety.

Good Morning, Night/Buongiorno note

Italy/106min/2003
Direction: Marco Bellocchio

Circa 1978. The notorious political assassination of former Italian Prime Minister Aldo Moro at the hands of militant anarchist group, the Red Brigades, is filtered through the prism of a young female terrorist complicit in the crime. Played with finely sustained intensity by Maya Sansa, Chiara is forced to confront the limits of ideology and patriarchy as the collective weight of personal history, conscience and memory impress themselves upon her. The title of the feature film, Good Morning, Night, is taken from a poem by Emily Dickinson. The Floyd fans have something to look forward to in this film.The soundtrack makes heavy use of Pink Floyd music with 'Shine on You Crazy Diamond' played during the final sequence and its riff played prominently during the course of the film. ``The Great Gig in The Sky' also features in one sequence.

Vincere

Italy/128min/2009
Direction: Marco Bellocchio

Vincere is Italian master Marco Bellocchio’s portrait of Benito Mussolini and the fiery woman who was his secret wife and the mother of his abandoned child. When Ida meets Mussolini in Milan, he is the editor of Avanti and an ardent Socialist who intends to guide the masses towards an anti-clerical, anti-monarchical, socially emancipated future. Ida truly believes in him and his ideas: Mussolini is her hero. In order to finance Popolod’Italia, a newspaper he has founded and the nucleus of the forthcoming Fascist Party, Ida sells everything she has: her apartment, her beauty salon,her furniture and jewelry. Rather than a biographical account of the events that marked the early life of Benito Mussolini (played with firebrand intensity by FilippoTimi), Bellocchio's consummately crafted evocation of Italy's Fascist past is more intimately concerned with Ida Dalser (Giovanna Mezzogiorno), the woman loved, scorned and ultimately erased from the official record of Mussolini's life.

Sorelle Mai/Irmãs Jamais

Italy/105min/2010
Direction: Marco Bellocchio

Marco Bellocchio returns to his hometown Bobbio, and to the house in which he shot 'Fists in the Pocket', to narrate the story of the hopes, disappointments and yearnings of his own family. Bellocchio’s daughter Elena stars with other family members Maria Luisa, Letizia and Piergiorgio, as well as professional actors Donatella Finocchiaro and Alba Rochwacher. A personal, intimate project shot over a period of ten years with evocative references to some of his most famous films.

Wedding Director/Il regista di matrimoni

Italy|France//97min/2006
Direction: Marco Bellocchio

Elica (Sergio Castellitto) fleeing dull professional obligations in the city for a brief seafront idyll. But no sooner than he's effected his escape, he's enlisted to film the wedding of a local Princess (Donatella Finocchiaro), and in the style of Visconti's The Leopard, no less—a setup quickly complicated by the instant romantic attachment that develops between Elica and the bride, and the ensuing threats to the filmmaker from the latter's donnish father (Sami Frey). The film-maker decides to make it his mission to save her from a marriage of convenience. A reflection on the modern Italian film tradition from Visconti to Sandro Bolchi, as well as an interrogation of an artist's relationship to subject, the
film's concerns are played with a skillful dexterity, set off with a lightness of touch that never overwhelms the work's
modest narrative framework.

Dormant Beauty/Bella addormentata

Italy|France/115min/2012
Direction: Marco Bellocchio

Set against the background of the emotive and controversial real-life, euthanasia case of Eluana Englaro, Dormant Beauty is a subtle and complex depiction of recent Italian history. The euthanasia case was discussed in heated terms across the entire political spectrum and all sections of society in Italy in 2009. The father of a coma patient was, after a trial lasting several years, given permission by a Milan court to turn off his daughter's life support following a 17-year coma. The film weaves together four stories about life, death and love, which allow the different standpoints in the conflict to collide in illustrative and intransigent fashion. And, this drama affects the lives of four characters having their own beliefs. The film takes a complex look at the state of Italian society which refuses to trade in simple answers or ostensibly clear demarcations.
TAKASHI MIKE

Raised in Japan, as a child Takashi was fascinated by motor racing and for a long while he believed that he would become a professional racer. The energy and furor of race tracks and the dapper speed of the wheels have all been incorporated in the tone of his films. Set in criminal underworlds, most of his films may come across as abstract and far-fetched. Blood oozing from the corpse that lay on the concrete pavement.Strippers twisting themselves on the poles, some with their tongues out. Men marching onto clubs, picking up revolvers. A drugged man dry-humping a woman inside a bathroom closet. All this and more within just the first three minutes of Takashi Miike’s film, Dead or Alive.

Known for filming gory and violent stories,Takashi Miike is a Japanese director who began his career under the wings of Shohei Imamura. After juggling various roles in Television and crafting a series of direct to video films, Takashi made his first film in 1995, Shinjuku kuroshakai: Chaina mafia sensô.Centred on the activities of a homosexual notorious group, the film depicts the mafia war between China and Japanese, also the rift between two brothers, one corrupt and the other, law abiding. This was the first of the Black Triad Society trilogy,later followed by Rainy Dog and Ley lines.

13 Assasins/Jûsan-nin no shikaku

Japan/141min/2010
Direction: Takashi Mike

Portraying the Samurai era with all its essentials, predominantly the martial art, its significance, necessity and blood shedding fights between officials and feudal landlords, that’s what Takashi Mike says in 13 Assassins. Having crafted a more traditional Japanese epic of the grandest scale, 13 Assassins is a remake of a 1963 film of the same name and based on a real-life incident. A land lord rapes and kills with impunity by virtue of his political connections. Honest government official covertly enlists thirteen swordsmen to assassinate this sadistic lord before he can seize more power. The Samurais plans a deadly trap to finish the land lord and his army of bodyguards. Coincidentally the swordsmen of the landlord get information about the trap and prepare for a counter attack, culminating in one of the bloodiest and muddiest sword fights ever put to silver screen.

Audition/Ôdishon

Japan/115min/1999
Direction:Takashi Mike

Takashi Mike provides the viewers a paradoxical movie experience that leaves one grasping for superlatives while simultaneously gasping for breath. Audition an unnerving horror film focus on the strange relationship between Aoyama a middle-aged widower who is a TV producer auditioning prospective wives and Asami, a striking young woman with ballet training and mysteries. A lonely widower's attraction to a beautiful actress leads to some gruesome surprises when she reveals her terrifying darker side. Surprisingly Aoyama find a number of ugly scars on Asami’s legs and later he discovers a man trussed up in her living room with his tongue and feet lopped off. The film portrays the changing role of women in a society that remains gender – regressive and packed with male protagonist.

Crows, The/ Kurozu zero

Japan/130min/2007
Direction: Takashi Mike

Suzuran High School is also known as The School of Crows. The biggest clique, Serizawa Army and its boss Tamaran Serizawa are challenged by a new student to the school, Kenji Takiya. Takiya, son of a yakuza boss, wants to be the school’s ace fighter. But at the advice of Ken Katagiri, a low-ranked start-out yakuza, Takiya starts to muster together a gang of his own. And as he grows into a true leader, he must face an ultimate battle with Serizawa’s gang. Through Serizawa and Takiya’s battle, director Takahashi shows not only his unique aesthetics for violence but also the true meaning of charisma, friendship, and leadership.

Hara-Kiri: Death of a Samurai / Ichimei

Japan|UK/126min/2011
Direction: Takashi Mike

Exploring the possibilities of portraying revenge, honor, and individuality in the face of oppressive power Takashi unfolds the story of a Samurai who seeks a dignified death. Poverty-stricken samurai Hanshiro requests to commit ritual suicide at the House of Ii, run by headstrong Kageyu. Trying to dismiss Hanshiro’s demand, Kageyu recounts the tragic story of a similar recent plea from young roninMotome. Though shocked by the horrifying details of Motome’s fate, Hanshiro remains true to his decision to die with honor. At the moment of the hara-kiri, Hanshiro makes a last request to be assisted by Kageyu’s samurai, who are coincidentally absent. Suspicious and outraged Kageyu demands an explanation
to Hanshiro. Hanshiro confesses his bond to Motome, and tells the bittersweet tale of their lives. The film exposes an
icy hypocrisy and abject power-worship at the heart of the warrior code.

Shield of Straw /Wara no tate

Japan/124min/2013
Direction: Takashi Mike

"Kill Kunihide Kiyomaru, and I will pay you 1 billion Yen". This is the ad placed in all the main newspapers in Japan. In placing the ad, the powerful multibillionnaire Ninagawa puts an irresistible price on the head of the man he believes to be his granddaughter's killer. Realising he has become a target for millions of people, Kiyomaru turns himself in at the Fukuoka Police Station. Four officers are dispatched to bring Kiyomaru back to Tokyo, risking their own life, but now
any number of assassins lie in wait on the journey. The trip becomes a hellish chase, with potential killers at every turn. Will the police get Kiyomaru to Tokyo to face justice, or will justice of a different nature prevail?

Hariharan
Hariharan is a Malayalam director acclaimed for making critically and commercially successful films. His films explore the complexities of social issues and human relationships, which are set against the backdrop of Kerala's cultural milieu. “Valarthumrugangal”, “Panchagni”, “Nakhakshathangal”, “Oru Vadakkan Veeragatha”, “Sargam”, “Parinayam” and “Ennu Swantham Janakikutty” were screened in the Indian Panorama of International Film Festival. He has been honoured with a Diploma by the Pyongyan Film Festival of North Korea for “Oru Vadakkan Veeragatha”. “Sargam” fetched him the State Award for Best Director and the National Film Award for the Best Popular Film Providing Wholesome Entertainment in 1993. The film also received special honor at the Fukuoka and Swiss film festivals. “Parinayam” won the National Film Award for Best Film on Other Social Issues and was screened at seven film festivals across the world. “Ennu Swantham Janakikutty” was the inaugural film at the Korean film festival (2000), and it also took part in the London film festival (2000). “Pazhassi Raja” released in 2009 was his most ambitious project. The film was based on the life of Kerala Varma Pazhassi Raja, the first royal to revolt against the British East India Company.

Pazhassi Raja

Malayalam/195min/2009
Direction: T. Hariharan

A biopic of Kerala Varma Pazhassi Raja, known as the Lion of Kerala who lived in the late 18th century, and died fighting against the British colonial regime. Pazhassi Raja, the popular king of Kottayam, opposed the highhandedness of colonian rulers and dared to challenge the imposing army of the British by resorting to guerrilla wat ractics, is considered the first Indian King to put up resistance against the colonialists. He strongly opposed the British interventions in the domestic affairs of his kingdom that led to conflicts between the two. Apart from narrating the great saga of the valiant hero, the film delves deep in to the complexities of human feelings and relationships.

Panchagni

Malayalam/141min/1986
Direction:T. Hariharan

Indira, a naxal activist, is imprisoned for murder. Allowed to visit her dying mother, a freedom struggle activist, on a two-week pass, she encounters hostility from some members of her family. Persecuted by the villagers and by the police, Indira eventually turns to a journalist, Rasheed, to unburden herself, recounting the circumstances of her crime. In the politically turbulent 60s in Kerala, she had been a welfare officer who had led a group that hacked to death a particularly vicious landowner. Rasheed and Indira fall in love with each other. Rasheed, with great difficulty, succeeds in getting a remission order in time so that Indira no longer has to go back to jail. When she rushes to the house of Sharada, her best friend, to share the good news, Indira is shocked to find Sharada’s servant girl being gang-raped by her husband and friends. True to her righteous self, Indira ends up shooting Rajan with his hunting rifle and
ultimately surrenders herself at the police station.

Edavazhiyile Poocha Minda Poocha

Malayalam/1976
Direction: T. Hariharan

Rohini, a college lecturer, has an irrepressible desire for independence, which, coupled with sexual repression and hidden angst, reflects in her married life to Dr. Raja. Bhagyanath completes an excruciating triangle of relationships. The film also shows the amazing dexterity of Srividya where she mouls herself in the exact way the role is conceived by the creator.

Sarapanjaram

Malayalam/1979
Direction: T. Hariharan

The story revolves around a young married woman, Soudamini, whose upper-class husband is paralyzed and is rendered impotent. Her sexual frustration leads her into an affair with a servant, Chandrasekharan. She eventually gets married to him but later discovers that he has had many relationships and he aimed only for her wealth. She and her only daughter Baby are helpless as they are not able to put him out of their lives. Later, a young man named Prabhakaran, who is the son of an exservant of Soudamini, enters their life and helps them get rid of Chandrasekharan. In the climax, Chandrasekharan is shot dead by Soudamini.

Sargam

Malayalam/1992
Direction: T. Hariharan

Kuttan Thampuran has suffered from epilepsy from childhood and is rough and violent. Haridas has a special bond with Kuttan. Haridas has a liking for music, but his father, a well known classical singer, discourages him from music and persuades him into a professional degree course. Kuttan remains a nuisance both at home and his village despite seeking various treatments. Haridas sings at a local temple and Thankamani, a dependant on the house, falls for him. Though reluctant initially, Haridas reciprocates her feelings. Meanwhile, Kuttan’s parents plan to get him married to Thankamani
as a final attempt to treat his disease. Kuttan agrees to this, unaware of her love affair. Haridas quietly leaves the village. After marriage, Kuttan is devastated after coming to know about the truth and commits suicide. Years later,
Kuttan’s mother, in her deathbed, calls for Haridas, a wellknown singer now. Thankamani is paralyzed, having faced a series of misfortunes at a young age. Haridas sings for the dying woman, and hearing his voice, Thankamani attempts to sing along and shows signs of getting cured.

Oru Vadakkan Veeragatha

Malayalam/168min/1989
Direction: T. Hariharan

Legend says Aromal Chekavar was killed in a duel because his sword broke. Chandu is said to have betrayed his cousin. The film presents the event from Chandu's perspective. Chandu grows up with Aromal and his sister Unniyarcha. Harrassed by Aromal, he flees to Aringodar’s kalari and finds solace in Kunji, Aringodar’s daughter. Unnikonar invites Aromal to represent him in a duel with Aringodar. Unniyarcha, though married, offers to live with Chandu if he assists Aromal. Kunji bribes the blacksmith to make Aromal’s swords brittle. Aromal wins the duel by deceit. He blames Chandu of cheating and attacks him, only to get killed by accident. Years later, Aromal Unni and Kannapan Unni (sons of Unniyarcha and
Aromal respectively) come seeking revenge for Aromal’s death. Chandu recounts the story, but the warriors insist
on a duel. Chandu stabs himself.

Vellam

Malayalam/1984
Direction: T. Hariharan

CLARE DENIS
Claire Denis is one of France's most respected auteur filmmakers. She was born on 21st April 1948, in Paris, France. The daughter of a government official, she grew up in French colonial Africa and spent most of her childhood in Cameroon, Burkina Faso and Djibouti. She enrolled at the IDHEC (Institut des hautes études cinématographiques), one of France's leading film schools. She graduated in 1972 and began a long apprenticeship in filmmaking before she became a fully fledged film director in 1988 at the age of 40. Claire Denis began her career as a second assistant director on Dusan Makavejev's Sweet Movie (1974). She worked with some distinguished filmmakers, including: Robert Enrico (Le Vieux Fusil, 1975; Pile ou face, 1980); Hanna K (Costa-Gavras 1983); Wim Wenders (Paris, Texas, 1984); Wings of Desire, 1987) and Jim Jarmusch (Down by Law, 1986). She also collaborated with New Wave director Jacques Rivette and later (in 1990) made an insightful documentary about him for the television series Cinéma, de notre temps. Her films revolve around immigrants or social outcasts and are distinguished as much by their sensual composition as by their stark realism.

35 Shots of Rum/35 rhums

France|Germany/100min/2008
Direction: Claire Denis

Inspired both by Yasujiro Ozu's classic Late Spring and the story of Denis' own grandfather and mother, 35 rhums is a beautiful, intimate family portrait of Lionel (Alex Descas), a widowed train engineer, and his daughter Joséphine (MatiDiop), who live a happy yet insular life in a small apartment in a working-class suburb in Paris. Lionel quietly seeks to thwart the amorous attentions of a family friend (Nicole Dogue) and Josephine attracts the persistent attentions of her neighbor Noe (Gregoire Colin). Josephine also has to deal with the courtship of a fellow university student (Jean- Christophe Folly). Amidst all this, the devoted, uniquely close relationship between father and daughter changes and starts trembling. Denis portrays the bittersweet pushand pull in the changing relationship in most effective manner.. A masterpiece from the heart, 35 Shots of Rum skirts the edges of social politics while slowly and subtly
revealing its transcendental characters—captured with Alex Decas’ and MatiDiop’squet acting, Agnes Godard’s languid cinematography, and Tindersticks’ pulsing, melancholic soundtrack.

Beau Travail

France/93min/1999
Direction:clare_beutravail

Based on Herman Melville's novella Billy Budd, Denis' most famous and celebrated work is a milestone of contemporary cinema, synthesizing elements from a number of different art forms (literature, music, dance) and reconfiguring them to create a wholly unique form of cinematic storytelling. Beau travail focuses on a French Foreign Legion outpost that is run under the strict discipline of the stiff Sgt. Galoup (Denis Lavant). In a series of hypnotically photographed sequences scored and choreographed to excerpts from Benjamin Britten's opera of Billy Budd, Galoup leads the half-naked legionnaires through their daily exercises and war games, training for battles that will never be fought while waiting for their regular evening excursions to nightclubs to dance and pick up local women. This seemingly perfectly balanced world is upset by the arrival of new recruit Sentain (Grégoire Colin), whose beauty and heroism charm the troop's commanding officer Bruno Forestier (Michel Subor) and awaken a burning jealousy within Galoup. Beau travail exploits the austere East African landscape as a stage for a standoff between a young recruit (Grégoire Colin) and his sociopathic sergeant (Denis Lavant), both vying for their commanding officer’s attention. A variant on Herman Melville’s Billy Budd, this mesmerizing film is one of Denis’ most critically acclaimed.

Claire Denis la Vagabonde

Lifshitz/France/1995
Direction: Claire Denis
Filmmaker Sébastien Lifshitz (Les Invisibles,Pleinsud) films an engaging conversation with Claire Denis in close-ups as she discusses her first few films, her influences (notably Renoir and Ozu), and her creative process. What is unique about this arresting interview with Denis in Claire Denis La Vagabond is that Sébastien Lifshitz cleverly omits the questions. Claire Denis offers a spirited and insightful discussion of her first few films as well as fascinating ideas about filmmaking itself—lighting, sound, editing—and other directors.

I Can't Sleep/J'ai pas sommeil

France|West Germany|Switzerland/112min/1994
Direction: Claire Denis

Intruder, The/L'intrus

France/130min/2004
Direction: Claire Denis

Jacques Rivette, the watchman

France/125min/1994
Direction: Claire Denis

No Fear, No Die/S'en fout la mort

France|West Germany/90min/1990
Direction: Claire Denis

Trouble Every Day/Amor caníbal

France|Germany|Japan/101min/2001
Direction: Claire Denis

White Material

France|Cameroon/106min/2009
Direction: Claire Denis

JEAN RENOIR

According to Renoir, everything that moves on the screen is Cinema. After the initial magical wonder and mystery got faded, then, it became the works of individual “authors” with their independent stamp on it. He considers individuals as product of their environment .the boy you make friends with in the nursery school, your teacher, even youur cousin;s dog with whom you interacted, all make upto what you’re today as a filmmaker..So, naturally your works will have your insignia. Renoir belongs to this class of filmmakers. As the second son of the impressionist Painter, Auguste Renoir,
Renoir Jr enjoyed a childhood surrounded by art and artists. His father's success and exacting critical standards, however, intimidated Renoir, and he sought to distance himself from his father's artistic milieu. He attended several schools,and the University of Aix-en-Provence, where he earned a degree in mathematics and philosophy.In his childhood, Jean Renoir's chief passions were cinema and motor cars. In 1924, he decided to go into films to make his wife - under the professional name of Catherine Hessling - a star. Catherine starred in La Fille De L'Eau (1924), Nana (1926) and The Little Match Girl (1928). In Nana, an adaptation of Zola's novel, Renoir was influenced by Stroheim and German Expressionism.

 

Boudu Saved from Drowning/Boudu sauvé des eaux

France/85min/1932
Direction: Jean Renoir

Vanishing Corporal, The/Le caporal épinglé

France/90min/1962
Direction:Jean Renoir

Toni

France/81min/1935
Direction: Jean Renoir

La Bête Humaine

France/100min/1938
Direction: Jean Renoir

French Cancan

France/102min/1954
Direction: Jean Renoir

Experiment in Evil/Le testament du Docteur Cordelier

France/95min/1959
Direction: Jean Renoir

HARUN FAROCKI
Harun Farocki was born in Novi Jicín in 1944 in what is today the Czech Republic. He studied at the German Cinematic and Television Academy (DFFB) in Berlin, from which he was expelled in 1968 for political reasons. In addition to writing theoretical texts, he has scripted numerous films and television productions. Farocki’s early films are marked by ideas of a cultural revolution as formulated by the increasingly radical Left of the time and are explicitly developed as effective means of political propaganda. In this way, “Inextinguishable Fire” (1968/69) seizes upon the Vietnam War as one of the quintessential themes of the student movement. While his politically motivated educational films subject the audience to an analytical and consciousness-raising agenda, the subsequent auctorial, essayistic and documentary films call for a more active reception on behalf of the audience itself. Thus the documentaries consciously refrain from any interpretation of the events portrayed, while presenting quotidian life in a clearly visible form that reveals its hidden capitalistic logic. Parallel to this, cinematic essays arise, which question the very use of film as a pictorial medium. Through both montage and a deliberate composition of either intentionally filmed or found materials, Farocki produces a subtext, which opens up the technical, socio- political, and cultural contexts of meaning in the production, distribution, and reception of images. I

Images of the World and the Inscription War/Bilder der Welt und Inschrift des Krieges

West Germany/75min/1989
Direction: Harun Farocki

In Comparison/Zum Vergleich

Austria|Germany/61min/2009
Direction:Harun Farocki

Serious Games

Germany/2010
Direction: Harun Farocki

Videograms of a Revolution/Videogramme einer Revolution

Ujica/Germany|Romania/106min/1992
Direction: Harun Farocki|Andrei

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