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Présentation de Jean-Baptiste Larramendy
This document discusses the state of French cinema and highlights several emerging filmmakers. It explores the debate around whether a new generation is developing in the shadow of great earlier French directors. The document also examines the new approaches these filmmakers bring to genres like comedy and horror, as well as new styles of storytelling that break traditional rules. Several upcoming movies and events relating to this new wave of French cinema are promoted.
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- 1. THE NEW FRENCH CINEMA 3movies - Eden Sept.06 - StruggleforLife Sept.13 - Raw Sept.20 1 conference Sept.27 withJean-BaptisteLarramendy
- 2. THE NEW FRENCHCINEMA PART I The Death of French Culture Donald Morrison’s article in The Times’ magazine. The last French filmmakers to have emerged on the global stage A contrasted look at the selections of the greatest film festivals A new generation of filmmakers growing in the shadow of ‘the Greats’ Culture is not a product, a lesson by Jean-Luc Godard About Desplechin, Assayas & Co. Can we talk about the emergence of a new ‘French Cinema’?
- 3. THE NEW FRENCHCINEMA PART II The New French Cinema The new comedy A daring approach to genre films The new rules of storytelling The first rule is that there’s no rule anymore Don’t try to be popular and be yourself
- 4. The Death ofFrench Culture Donald Morrison’s article in Time magazine 2007: a 6-pages article in Time magazine 2010: a 200-pages book
- 5. The Death ofFrench Culture Do you think a film should be considered a film a (cultural) product? Has French ‘soft power’ waned in the XXIst century? Is there a correlation between the two?
- 6. The Death ofFrench Culture In 2001, Amelie made 33M$ at the US box-office In 2002, Christopher Gans’ Brotherhood of the Wolves made 11M$ In 2007, La Vie en Rose made 10M$ In 2012, The Intouchables made 10M$
- 7. The last Frenchfilmmakers to have emerged on the global stage Who do you know among those filmmakers: Jean-Luc Godard François Truffaut Olivier Assayas Agnès Varda Jacques Audiard Luc Besson Jean-Jacques Annaud Leo Carrax Jean-Jacques Beneix Mia Hansen-Love Justine Triet
- 8. The last Frenchfilmmakers to have emerged on the global stage Yann Gonzales Arnaud Desplechin Jacques Demy Christopher Gans Julia Ducournau Matthieu Kassovitz Jean-Pierre Jeunet Antonin Peretjatko Maïwenn Emmanuelle Bercot Bertrand Bonello Robin Campillo François Ozon Jacques Doilon Bruno Dumont Nicole Garcia Alain Guiraudie Stéphane Brizé Valérie Donzelli Guillaume Nicloux Michel Hazanavicius Abdellatif Kechiche
- 9. The last Frenchfilmmakers to have emerged on the global stage Luc Besson: first movie in 1983 => 280 000 admissions second movie in 1985 => 2 920 000 admissions Jean-Jacques Annaud: first movie in 1976 => 170 000 admissions second movie in 1979 => 900 000 admissions third movie in 1981 => 4 950 000 admissions Antonin Peretjatko: first movie in 2013 => 50 000 admissions second movie in 2016 => 100 000 admissions
- 10. A contrasted lookat the selections of the greatest film festivals Yann Gonzales Arnaud Desplechin Jacques Demy Christopher Gans Julia Ducournau Matthieu Kassovitz Jean-Pierre Jeunet Antonin Peretjatko Maïwenn Emmanuelle Bercot Bertrand Bonello Robin Campillo François Ozon Jacques Doilon Bruno Dumont Nicole Garcia Alain Guiraudie Stéphane Brizé Valérie Donzelli Guillaume Nicloux Michel Hazanavicius Abdellatif Kechiche
- 11. A contrasted lookat the selections of the greatest film festivals Dheepan received the Golden Palm in 2015 Blue is the warmest color received the Golden Palm in 2013 The Class received the Golden Palm in 2008
- 12. A contrasted lookat the selections of the greatest film festivals Venise Film Festival Berlin Film Festival
- 13. A new generationof filmmakers growing in the shadow of ‘the Greats’ Culture is not a product, a lesson by Jean-Luc Godard In 2001, In Praise of Love (Éloge de l'amour) was released. The film is notable for its use of both film and video—the first half captured in 35-mm black and white, the latter half shot in color on DV—and subsequently transferred to film for editing. The blending of film and video recalls the statement from Sauve Qui Peut, in which the tension between film and video evokes the struggle between Cain and Abel. The film is also noted for containing themes of aging, love, separation, and rediscovery as it follows the young artist Edgar in his contemplation of a new work on the four stages of love.
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- 15. Can we talkabout the emergence of a new ‘French Cinema’? Antonin Peretjatko
- 16. The New FrenchCinema The new comedy Quentin Dupieux Wrong (2012) Rubber (2010) Antonin Peretjatko Justine Triet La Bataille de Solférino In Bed with Victoria Valérie Donzelli Declaration of War Hand in Hand
- 17. A daring approachto genre films Hardcore horror movies and more Xavier Gens Alexandre Aja Pascal Laugier
- 18. A daring approachto genre films The new genre films Raw After ‘Raw’ Revenge Dans la Brume La Nuit a dévoré le Monde
- 19. The new rulesof storytelling The first rule is that there’s no rule anymore Don’t try to be popular and be yourself Les Garçons sauvages
- 20. The new rulesof storytelling The first rule is that there’s no rule anymore Don’t try to be popular and be yourself Yann Gonzales’s Knife + Heart
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