From the 2 to the 14 of July of 2009
Edition 7

Between July 2 and 14, fifteen Parisian theaters opened their doors to film lovers, to introduce them to new talent thanks to the International Short and Feature Film Competition, the latest productions by already established directors that the festival is exhibiting in a preview in the presence of the film crews, the masterpieces of cinema history, the guests of honour, the tributes, the special cycles for the youngest and the country chosen each year to highlight its filmography.
In this 7th edition, 12 feature films from countries as diverse as Kazakhstan, Chile, Italy, the Netherlands and South Korea were presented in competition, as well as 17 short films from Malaysia, Poland, Taiwan, Mexico and Argentina, among others.
Tribute was paid to the Italian actress Claudia Cardinale, the French actor Jean-Pierre Léaud and the director Tsaï Ming-Liang, through retrospectives (the full one in the case of the Taiwanese director).
After the Philippines, this year Turkey has been honored through a panorama of some 30 films and multiple meetings with new talents from that country.
Among the films in competition we highlight The Other Bank by George Ovashvili (Kazakstan, 2009), Calimucho by Eugenie Jansen (The Netherlands, 2008) and Puccini et la fanciulla (Italy, 2008).
Chronicle of a conflict

After the fall of the Soviet Union, an unresolved conflict broke out in 1988 between Russia and Georgia over the province of Abkhazia. The greatest tragedy of this conflict is that the Georgians and the Abkhazians have the same roots, but hatred has turned them into bitter enemies. The story of The Other Bank ("The other bank") takes place a decade later, towards the end of the '90s, under the gaze of Tedo, a child who was born with the conflict and who is part of what the director Ovashvili calls "the children of war", a generation that lost everything, their family, their land, their future, living adrift in a constant state of defenselessness. In this sense, the dream told by Tedo's friend (and which is updated in images towards the end) about a jungle landscape in which zebras and giraffes are at the mercy of lions, and the duckling of plastic that the little boy recovers from the rubble into which he turned his old house. The broken toy is a metaphor for lost childhood, and the jungle, without law or any protection from the State, is a no man's land where only the strongest survive.

Singularities of a blonde girl by Manoel de Oliveira

Lisandro Alonso's Liverpool

SExemple de petit texte. Lorem ipsum pain sit amet.

G. Deleuze writes in this regard in The Time-Image, "what defines neorealism is this rise of purely optical situations (...) fundamentally different from the sensory-motor situations of the action-image in ancient realism." In this context, it is no longer the spectator who acquires a posture of passive observation in the face of the action, but the character "rather than reacting, he registers. Rather than committing himself to an action, he abandons himself to a vision (...) the situation in he finds overflows everywhere his motor capacity."(2)
Farrel seems to act and react to a given situation, however that long pilgrimage through the snowy landscapes of Tierra del Fuego, those anodyne dialogues in which silence prevails over words, that open, suspended ending, makes us think that the action-reaction situations in which the characters operate on the environment with a precise and determined purpose to provoke a change in the given situation, so present in classic cinema, is not part of Lisandro Alonso's narrative search. Hence, the viewer always has the feeling that "nothing happens" in his films.
But there is also something else in Alonso's cinema, and it is the almost mystical relationship that his characters establish with the natural environment that surrounds them. There the human figure is dwarfed, even disappearing from the frame while the landscape remains empty for a time, as if it were the true protagonist of the film. The empty, cold, dark environment of Liverpool does nothing more than aesthetically reflect the desolation and abandonment of Farrell and his family.

Taking Woodstock by Ang Lee (USA, 2009)

The year is 1969, shortly before the arrival of man on the Moon and in the midst of the Vietnam War. Elliott Tiber is going through a bad financial time and must return to live with his parents in White Lake, a town in upstate New York. He tries to save the Tibers' motel from financial ruin and finds an opportunity when the neighboring town of Katskill refuses to host the thousands of fans of the most famous hippie music festival: Woodstock. With a simple phone call, Elliott causes 500 people to flock to White Lake three weeks later, changing the lives of his family, his town and his own.
Instead of showing the great story of Woodstock, Ang Lee chose to focus on a teenager in search of his own identity, in the process leading to the discovery of his homosexuality and the struggle to achieve his independence from an oppressive family environment.
Opening with a close-up of a field of lilac flowers and a split-screen montage, so dear to American experimental cinema of the '60s, the American director of Taiwanese origin immerses us in the effervescence of an entire era in which young they dreamed of a world of peace and love.
The scene filmed with a subjective camera, in which we see, together with Elliott -who has just consumed a dose of LCD- the multicolored drawings of the caravan move in space as if they were living beings, turns out to be an effective method of immersion achieved thanks to modern digital animation techniques.
In Taking Woodstock the viewer finds a brilliant, dynamic, well-acted, filmed and post-produced comedy, funny and profound at the same time, a precious gem that dazzles by its simplicity without great pretensions.

The winners

During the award ceremony that took place at the MK2 Bibliothèque on Monday, July 13, 2009, the jury of the 7th edition of the Paris Cinéma Festival, made up of Vikash Dhorasoo, Chantal Lauby, AÏssa Maïga, Linh-Dan Pham and Bruno Putzulu They unanimously decided to award the jury prize to the feature film by Georgian director George Ovashvili, The Other Bank. The majority of the festival's spectators voted for La Nana, by Chilean Sebastián Silva, for the audience award and a special jury, made up of university students, voted for Vegas: Based on a true story, by Iranian-American Amir Naderi, for the Prize for the Future (Prix de l'Avenir).
Among the 17 short films in the International Competition, three have been awarded: The Audience Award went to Diplomacy by Jon Goldman (United States, 2009), the Cinécinéma Award, to Vostok by Jan Andersen (France, 2008) and finally L'Autre Monde by Romain Delange (France, 2008) won the Emotion Award (Prix de l'Emotion) from a jury representing the firm Kookaï, patron of the festival.

Adriana Schmorak Leijnse

(1) - "In the Christian era, with the relegation of the serpent to the symbolic role of Satan the tempter, the dragon increasingly came to represent chaos, the brute power of destruction, the evil inherent in the world of matter ." (Fontana, David. The Secret Language of Symbols, Debate, Madrid, 1993, p. 80).
(2) - Deleuze, Gilles. The image-time. Film Studies 2. Paidós Communication, Barcelona, ​​1987, p. 13.


Press release 'III Women of Film Online Festival' March 25 to March 3...

Festival Paris Cinéma 2009 Between July 2 and 14, fifteen theaters...

Paris Cinéma Festival 2008 Between the 1st and the 12th of July, the 6th...