bomb da’bbat #2/// festival art urbain /// 2013 /// dossier de presentation 6 retrospective 2nets synesthÉ'zic et lapeniche presentent bomb da'bbat 2 6 & 2 7 m a i festival hip hop samedi jam graff:16h + anim - concert :21h dj mkz -anto yo scred connexion t r e i z e i g h t-----dimanche à partir de 14h
8q prlv gh )udqf 7dpsrqqdjh Ŷ½º¶ÃÄ º ½¶ ´¹²¿Å IJÅÆÃì ¶ÄÅ Áú¿´ºÁ²½¶¾¶¿Å Æź½ºÄì µ²¿Ä ½¶Ä ¶ÄŹìźÂÆ¶Ä ¾¶Å²½ ½¶ òÁÁ¶Æà ½¶ ´¹²¿Å¶Æà µ¶ ÃÀ´¼ ½² ´¹²¿Å¶ÆĶ µ¶ ÄÀƽ
Le Micro Festival, par son concept, a suscité un grand intérêt du côté des médias (voir Dossier de presse en annexe) et a reçu de nombreux éloges Les médias suivant ont relayé notre initiative à l'une ou plusieurs occasions, nous avons eu du contenu rédactionnel et des encarts dans :
DOSSIER DE PRESENTATION s’attellent tout au long de l’année à son organisation 4 ASSOCIATIONS POUR UN PROJET Après 4 années de concerts dans la salle des fêtes de St Laurent de Cuves est lancée en 2001 la première édition du festival Papillons de Nuit Le succès de cette première édition (10 000
festival suscite, dès sa seconde édition un nombre croissant de productions et de diffusions de films sur cette thématique dans le pays où il se tient Si tel n’est pas l’objectif premier du festival « EOP », il est cependant bien présent dans notre volonté d’ouvrir la communication sur cette thématique
Festival before it is performed in Paris At the same time, his first novel, Aime-moi vite, is published by Flammarion Three books will follow: Léger, Humain, Pardonnable, published by the Seuil in 2007, La Rousse péteuse by Gallimard Jeunesse in 2009 and Bifteck by Phébus in 2010
Dossier e résentation fi ff ffi ˇfffi ff pectacl obi enucc icola tavy Recueil de textes de romain gary, marcel proust, arthur rimbaud et paul valéry Musique césar franck, sergueï rachmaninov, franz schubert, robert schumann, alexandre scriabine et piotr llitch tchaïkovski Scénographie samuel poncet Avec
Festival d’Ecretteville-les-Baons 2020 - Page 4/13 Les Troubadours organisent des ateliers bricolage tout au long de l’année pour fabriquer les décors et mobiliers du Festival Ces ateliers permettent aux habitants d’Yvetot et alentours, bricoleurs amateurs ou confirmés, de s’exercer aux arts créatifs, à la
Gijón Film Festival It also participated in the Short Film Corner at the Cannes Film Festival, won a Gaudí Award for best short film and the award from the Col·legi de Directors de Catalunya Celia has worked as a First Assistant Director and Second Unit Director of Claudia Llosa’s latest film, Aloft (Berlin Film Festival, 2014)
[PDF] Dossier PPE Samuel - Eduscol
[PDF] Projet prospection Bac Pro Vente - Economie et Gestion LP
[PDF] DOSSIER DE QUALIFICATION AUX FONCTIONS DE - LaBRI
[PDF] Manuel de qualification et de classification des entreprises
[PDF] GALAXIE des personnels du supérieur/Qualification
[PDF] Le 'Ministre » »
[PDF] Rapport de synthese - BAC PRO SEN BRON
[PDF] Rapport de synthese - BAC PRO SEN BRON
[PDF] Dossier de validation d 'études - Université de La Rochelle
[PDF] CAP Esthétique Cosmétique Parfumerie
[PDF] Pro Expérience Client SEPHORA - Ema Sup
[PDF] dossier professionnel de vente - Forum manucure
[PDF] Liste de contrôle de documents #8211 Visa de visite
[PDF] Demande de bourse de collège
[PDF] Demande de bourse de collège
NAOSHIMA Written by Martin Provost and Séverine Werba A film by Martin Provost 7 avenue Franklin D. Roosevelt 75008 Paris +33 1 55 34 98 08 - accueil@curiosafilms.fr SAS au capital de 45 000 € - RCS 813 251 535 - APE 5911 C - TVA FR44 813 251 535
2 Two French women, Irène, a renowned sexologist, and Joséphine, her interpreter, meet by chance in Japan, go in search of a lost and future love, and discover, beyond temporality, the mysterious and marvelous ties that unite all human beings.
3 CASTING CATHERINE DENEUVE as IRÈNE
4
SANDRINE KIBERLAIN as JOSÉPHINE
5 NOTE OF INTENT I went to Japan for the first time 4 years ago with my film "Violette". I took advantage of the trip to take a break there for 3 weeks. I, of cours e, wen t to visit Kyoto and its temples, t he Emperor' s marvelous gardens, but I also endeavored to get off the beaten track by going to visit Ozu's grave in Kamakura, by walking through the wild forests, by spending the night in a traditional Osen usually reserved for the Japanese and by trying to immerse myself in the simplest fashion in this culture that seemed so foreign to me. And then I went to Naoshima. It was a very powerful experience. On this industrial island, one man, Soichiro Fukutake, had had the brilliant idea of asking Tadao Ando to design a modern and contemporary art center in the midst of nature. I live in France very close to Giverny where Monet painted his famous Waterlilies. His landscapes are familiar to me because, like him before, I live just on the banks of the Seine, very close to the church of Vétheuil, where he had his first house, in the hills of Chantemesle which he painted so often. I will never forget what I felt in Naoshima when I entered that immense white room where the light seemed t o be coming o ut of the walls . The waterlilies exhibited there seemed almost absurd, as they were such an integral part of my daily life in France. I believe I was really seeing them for the first time; or rather it seemed to me that I was seeing them as Monet himself saw them and painted them. I remained for a long time in that room without being able to take my eyes off these paintings, rather like when I daydream on the banks of the Seine, eyes wide open, thinking of my next films. I was on the other side of the world, and with them, in another age, perhaps the one where Monet lived. It was a first miracle. And t hen there were others as my visits to m useums unfolded. Before going to Naoshima, from time to time I doubted the justification for, or even the legitimacy of certain contemporary works of art. For me, art is linked to an inner search, that of self-denial, and many installations (not all of them, of course) give me precis ely the o pposite fe eling, that of a desire for self-expression, and they leave me bewildered, emotionless, a little empty. But in Naoshima, everything suddenly became meaningful. I immediately liked Walter de Maria and his black granite spheres, James Turell and his work with light, Lee Ufan, and so many others. Finally, on Teshima, the is land next to Naoshima that I was travelling across by bic ycle, my visit to the heart archive by Boltansk i was a moving, metaphysical experience. And when I entered this sort of concrete cathedral in the shape of a water drop, open to the sky, designed by Ryue Nishizawa and Ryuei Nishizawa, I had the profound feeling of being between the earth and the sky, in a place where the gods whisper into your ear that all is not lost.
6 When I returned to France, the idea for a film was born. A film that would allow me to share with the public, the essence of what I had felt when I was there. With the assistance of Séverine Werba (who had also come back from a trip to Japan as unsettled as I was) we imagined the story of these two women, Irène and Joséphine, two French women who found themselves in Japan by chance. The first, Irène, is a renowned sex therapist who's a little jaded and who's doing a world tour with her latest best-selling book. Her encounter with Joséphine, her interpreter, will lead her to question herself. As they are on their way to Kyoto, a car accident obliges them to make their way through the forest at night where they are lost. Irène lets her guard down by owning up to Joséphine that she already came to Japan, here, to Kyoto, when she was still a young medical student. 45 years ago, she had a sentimental and sexual experience that she's never got over. It was with Hiro, a young politically motivated student whose convictions were so deep-rooted that he dec ided to stop hi s medica l studies (in 68 the workers had joined fo rces with th e student protestors) to become a w orker himself in Naoshima's copper mines. When he asks her to join him, to share his life, Irène runs away for good. This unfulfilled love has constantly haunted her and has impacted all her later relationships. To a point where this trip to Naoshima will give her the chance to make up with this young man whom she has missed so much and for whom she has been searching forever, without ever realizing. As for Joséphine, who is trapped between two cultures, the culture of her origins and the culture she has chosen for herself in Japan, she also lives with a ghost. But her ghost is very real. When she discloses to Irène that the husband she constantly talks about and to w hom to speak s several times a day on the telephone, died 4 years ago because of her in a car accident, similar to the one they just had, she also reveals her true self, and little by little rediscovers the desire to find a new love story, and a possible return to her native country. For the two women, the present becomes the past transformed and the possibility of a new future. As many people, I was born with the desire to change the world. As a teenager, I was particularly rebellious. I'd head out of my parents' home, without thinking for a second of the worry I was causing them. I lived only for what was unconditional, for poetry and cinema. Daily family life weighed me down. Consumer soci ety seemed absurd to m e and my friends' love live s seemed void of any meaning. Of course, it took me practically a lifetime to accept our earthly condition and understand that we cannot do w ithout it and t hat spiri tuality cannot be separated from the living. As soon as I set foot on Japanese soil, and I've returned several times since, I rediscovered the passion that brought a spark to my youth, the feeling that the spirit is there, as if tangible and that the relationship between what is visible and what is invisible depends on the place that men deign to give it.
7 And there, perhaps because of the respect that the living have for the dead, their relationship with gods and infinity, w ith nature, I ha d the intui tion that th e journey I had started so earl y with such juvenile carelessness and rebelliousness, was coming straight back at me, full force, but with a form of tenderness. I have never been satisfied by Cartesianism. Whilst I know that we are all on a miniscule planet lost in the cosmos, at the mercy of forces that are beyond us, in an absurd universe full of contrasting desires, of wars and injustice, I also know that art is here to remind us that there is perhaps a meaning to be found and that can be given to all that. As with the epitaph left by Ozu on his grave, humble Ozu, the simple sign "Mu", which means "nothingness". That's what is at the heart of this film. A film on the maturity of love, when you have lived through everything, apparently, but when there remains just the last stretch of the way before embra cing the unive rse, humanity as a whole an d going beyond y our ultimate fears, and even that o f dying, in order to finally uncover (as Goethe called it) this very rare and precious lightness of being. Martin Provost
8 Martin PROVOST Author / Director BEHIND THE CAMERA Martin Provost starts early on his acting career both in theatre and film, notably in Nelly Kapla n's Nea in 1976 , and in Jean-Louis Bauer's La Dynastie des malpropres. In the early 80s, he stages his own play entitled Le Voyage immobile at the Studio d'Iv ry before joining the Comé die Française of which he becomes a pensionnaire. A few years later, he stops all acting activities to devote himself entirely to writing and staging. His play Les Poupées earns the honors of the Avignon Festival before it is perfor med in Paris. At th e same time, his first novel, Aime-moi vite, is published by Flammarion. Three books will follow: Léger, Humain, Pardonnable, published by the Seuil in 2007, La Rousse péteuse by Gallimard Jeunesse in 2009 and Bifteck by Phébus in 2010. In parallel, he realizes two short films, J'ai peur du noir and Cocon. In 1997 in his first feature, Tortilla y Cinema, he directs Carmen Maura. Six years later, he w rites and directs Le Ventre de Juliette starring Julie-Marie Parmentier. In 2008, Séraphine establishes him as an important director. The film is both a critical and commercial success. With nearly 850 000 tickets sold, it is awar ded with no less than sev en César amon g which Best film, Best original screenplay and Best Actress for Yolande Moreau. Martin Provost is also nominated in the Best Director category. He rejoins Yolande Moreau three years later with Où va la nuit, adapted from the novel Mauvaise Pente by Keith Ridgway, the story of a woman who murders her husband to regain her freedom. In 2013, he adapts to the screen the life of Violette Leduc, a contemporary and protégée of Simone de Beauvoir , starring Emmanuelle Devos and San drine Kiberlain. Violette is selected at the Toronto International Film Festival. In 2017, Martin Provost gathers for the first time on screen Catherine Frot and Catherine Deneuve in Sage femme, a CURIOSA FILMS production. The same yea r, he presides the jury of the 32nd International French Cinema Festival of Namur and is a jury member at the 30th International Film Festival of Tokyo.
9 CINEMA NAOSHIMA Based on an original idea Co-written by Séverine Werba Production: CURIOSA FILMS with Catherine Deneuve and Sandrine Kiberlain BASCOULARD Based on an original idea In writing Production: CURIOSA FILMS with Vincent Macaigne and Juliette Binoche THE MIDWIFE Production: CURIOSA FILMS with Catherine Frot, Catherine Deneuve, Olivier Gourmet... Release date: March 22, 2017 Festivals: Berlin Film Festival - Out of Competition VIOLETTE Co-written by Marc Abdelnour and René de Ceccatty Production: TS PRODUCTIONS with Emmanuelle Devos, Sandrine Kiberlain , Olivier Gourmet, Catherine Hiegel, Jacques Bonnaffé, Olivier Py... Release date: November 6, 2013 Audience's Prize - Cinémania (Montreal) Festivals: Toronto International Film Festival BFI (London) Tübingen (Stuttgart) Tallinn French Film Week (Berlin)
10 THE LONG FALLING Co-written by Marc Abdelnour Production: CHRISTMAS IN JULY with Yolande Moreau, Pierre Moure, Edith Scob, Jan Hammenecker, Laurent Capelluto, Loïc Pichon, Servane Ducorps, Valentin Dhaenens... Release date: May 4, 2011 Festivals: Montreal, City of Lights (Los Angeles) Rendez-vous with French Cinema (New York) Bienne (Switzerland) Mumbai Czech Republic French Film Festival SÉRAPHINE Co-written by Marc Abdelnour Production: TS PRODUCTION with Yolande Moreau, Ulrich Tukur, Anne Bennent, Adélaïde Leroux... Release date: October 1, 2008 César 2009 Prizes: Best Actress (Yolande Moreau) Best Screenplay - Best Score Best Cinematography - Best Costumes Best Design - Best Feature Nominated for Best Director and Best Sound Design LE VENTRE DE JULIETTE Co-written by Philippe Lasry and Marc Abdelnour Production: ALTA LOMA / LES PRODUCTIONS BAGHEERA with Julie-Marie Parmentier, Stéphane Rideau, Carmen Maura, Tom Novembre, Nathalie Richard, Patrick Chesnais, Ariane Ascaride... Release date: January 22, 2003 Selected at Namur International French Film Festival
11 TORTILLA Y CINEMA Production: ODESSA FILMS with Carmen Maura, Marc Duret, Michel Aumont, Marina Tomé, Marianne Groves... Release date: April 30, 1997 COCON Short film - 11'15 Production: ASSIGNMENT PRODUCTIONS with Valérie Lang, Catherine Jacob, Artus de Penguern, Laurent Labasse J'AI PEUR DU NOIR Short film Production: LES PRODUCTIONS BAGHEERA with Artus de Penguern and Sophie Meriem Selected at Clermont-Ferrand Festival 1992 LITTERATURE NOVELS BIFTECK (Editions Phébus) LÉGER, HUMAIN, PARDONNABLE (Editions du Seuil and Point Seuil) AIME-MOI VITE (Editions Flammarion) YOUTH LA ROUSSE PÉTEUSE (Gallimard Jeunesse)
quotesdbs_dbs5.pdfusesText_9
DOSSIER PRESENTATION - RASCA Prod