There is beauty for everybody, furtive and with eclats: mist on a river, a tree under the rain, fire in the plain, a horse waking up, the gesture of a woman running her fingers through her hair, the look of a child. Sometimes, artists manages to reconstruct or capture those moments of grace, just with the good choice of words, colours blending within each others, notes associating themselves with harmony and, too rarely, with images and sounds of cinema. Alas, in the last case, when the filmmaker avoids masks of assured meanings or rejects catalogs of conventional and seductive aesthetic, he’s wreathed with a glory projecting him to the pantheon of solemn creators in the service of the elite. Terrible misunderstanding momifying him, far from the true poets, whom work touches each of us, beyond knowledges, races and social classes. Because emotion, like love, don’t have to be explained. It imposes itself and shatters. Never a virtuoso demonstration.
Among filmmakers being dowse of this magic, Andrei Tarkovski have a leading place and the DVD release of his whole filmography is one proof. We discover his first films as a film student in USSR, in a regime where norms and rules supervised everything. There are a faithful adaptation of the short story The Killers by Ernest Hemingway, filmed with economy in the spirit and the codes of American Film Noir, a chronic without heroism of soldiers who have to dig up shells after the war, a fable about friendship between a young child without a father and learning violin, and a steamroller driver, very shy with girls. Three jewels, not yet polished by the astonishing style of Tarkovski, but already bearer of a subtle subversion of Soviet doxa.
(Lire la suite…)
Chéri by Stephen Frears (2010)
Alain Guffroy began his carees as set designer assistant des films tels que Max mon amour or Indochine and then became set designer for douard Molinaro and more recently Bertrand Bonello with House of Tolerance, in competition at the Festival de Cannes this year.
Solaris by Andreï Tarkovsky (1972) and Steven Soderbergh (2002).
Laureate from the National Upper Plastic Expression certificate in 1986, Patrick Martio Bernard distinguishes himself in diverse sectors of artistic creation : illustrator, graphist, he is also a set designer, and a theater director until 1995. He realizes with Pierre Trividic a documentary, Le Cas Lovecraft, for the collection Un siècle d’écrivains, a medium lenght film, Ceci est une pipe, then, in 2003, Dancing, also co-realized with Xavier Brillat. The last full length by Patrick Mario Bernard and Pierre Trividic, L’autre, permits to Dominique Blanc to win the Price of Feminine Interpretation in Venice. 
Since the 23rd of March, the French Cinematheque in Paris honors Stanley Kubrick in one of the most beautiful way, offering not only a full retrospective of his filmography (including short features) but also a touring exhibition -previously unseen in France- and devoted to the filmmaker, until July 31. Initiated in 2004 by the Deutsches Filmmuseum of Frankfurt and Hans-Peter Reichmann, his Commissioner, who designed it closely with Christiane Kubrick, Jan Harlan and The Stanley Kubrick Archive in London, The exhibition made its premiere in Berlin and has since toured the entire world before making a stopover in Paris at last.
The President’s Last Bang (2005) by Im Sang-Soo.
François Margolin, alumnus from IDHEC, combines the hats of writer, director and producer. He directs Mensonge in 1992 and Les Petits Soldats in 2005. His work as a producer won him to work with prestigious directors like Raoul Ruiz (Nucingen House), Hou Hsiao-Hsien (The Flight of the Red Balloon) or Costa Gavras and Abbas Kiarostami for the omnibus documentary À propos de Nice, la suite.