The 2006/07 Tournées Festival Book

THE TOURNÉES FESTIVAL
We invite you to apply for a grant from The Tournées Festival , a
p r o g r a m o f FAC E , d e s i g n e d t o h e l p b r i n g c o n t e m p o r a r y Fr e n c h
cinema to your college or universit y campus.
The Tournées Festival was conceived to encourage schools to begin
their own self-sustaining French film festivals. Since its inception, the
program has par tnered with hundreds of universities and made it
possible for more than 250,000 students to discover French-language
films. The Tournées Festival distr ibutes approximately $140,000 in
grants annually. The program is made possible with the generous
s u p p o r t o f t h e Fr e n c h M i n i s t r y o f Fo r e i g n A f f a i r s , t h e C e n t r e
N at i o n a l d e l a Ci n é m a to g ra p h i e, t h e G ra n d M a r n i e r Fo u n d at i o n ,
t h e Fl o re n ce G o u l d Fo u n d at i o n a n d t h e Fra n co - A m e r i c a n Cu l t u ra l
Fu n d (S AC E M , t h e Wr i te r s G u i l d o f Am e r i c a , t h e D i re c to r s G u i l d o f
Am e r i c a a n d t h e M o t i o n Pi c t u re As s o c i at i o n ).
This book let includes descr iptions of the latest releases selec ted by
FACE and a complete list of eligible films featured in pre vious years.
You will also find the infor mation necessar y for your application on
pages 2 and 3. Schools will continue to be awarded a grant of $1,800
to show five films. We continue to have t wo a p p l i c at i o n d e a d l i n e s ,
one on J u l y 3 1 , 2 0 0 6 for those who wish to program films in the fall
semester, and one on O c to b e r 1 , 2 0 0 6 for those scheduling their
films for the spr ing semester.
We are delighted to be able to propose a var ied selec tion of films, a
wide ar ray of genres, many French co-produc tions, and films by
direc tors ranging from established figures to unique ne w voices.
We h o pe you w i l l b e i ns p i red by t he sel ec tion of fil m s on the
following pages, and we look for ward to receiving your application.
A bientôt!
Elisabeth Hayes, Executive Direc tor
D elphine S elles, Program O fficer
The Tournées Festival B ook was designed by Laurent Auffret .
FAC E w i s h e s t o t h a n k Wa s s i l a A l i A zo u z , M a r i e B o n n e l , Ag a t h a
Ciancarelli, Adrienne Halpern, Annette Insdor f, Lucie Loi, Richard Peña,
Patrick Renault, R achel Spiegel and Jean Vallier for their collaboration
on The Tournées Festival program.
TABLE OF CONTENTS
ELIGIBILIT Y & GUIDELINES
FEATURE FILMS - SEASON 2006/07
5 x 2
François Ozon
A A LT R A
Benoît Delépine & Gustave de Ker vern
A P R E S VO U S
AFTER YOU - Pierre S alvadori
C AC H E
HIDDEN - M ickael Haneke
L E C H I G N O N D ' O LG A
OLGA’S CHIGNON - Jérôme Bonnell
CLEAN
O livier Assayas
CO M M E U N E I M AG E
LOOK AT ME - Agnès Jaoui
C RU S TAC E S E T CO Q U I L L AG E S
COTE D'AZUR - O livier D ucastel & Jacques Mar tineau
D E B AT T R E M O N C ΠU R S ' E S T A R R E T E
THE BEAT THAT MY HEAR T SKIPPED - Jacques Audiard
D E LW E N D E : L E V E - TO I E T M A R C H E
DELWENDE - S. Pierre Yameogo
LE DERNIER JOUR
THE LAST DAY - Rodolphe Marconi
L’ E N FA N T
THE CHILD - Jean-Pierre & Luc Dardenne
L A FAC E C AC H E E D E L A LU N E
FAR SIDE OF THE MOON - Rober t Lepage
LA FEMME DE GILLES
GILLES' WIFE - Frédéric Fonte yne
INNOCENCE
Lucile Hadzihalilovic
L’ I N T RU S
THE INTRUDER - Claire Denis
LA MARCHE DE L'EMPEREUR
MAR CH OF THE PENGUINS - Luc Jacquet
MONDOVINO
Jonathan Nossiter
N AT H A L I E
Anne Fontaine
PA S D E R E P O S P O U R L E S B R AV E S
NO REST FOR THE BRAVE - Alain Guiraudie
LA PETITE JERUSALEM
LIT TLE JERUSALEM - K arin Albou
L E S P E T I TS F I L S
GRAND SONS - Illan D uran Cohen
Q UA N D L A M E R M O N T E
WHEN THE SEA RISES - Gilles Por te & Yolande Moreau
ROIS ET REINE
KINGS AND QUEEN - A rnaud Desplechin
LES TEMPS QUI CHANGENT
CHANGING TIMES - André Téchiné
WILD SIDE
Sébastien Lifshitz
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A LT E R N AT I V E C H O I C E L I S T
D I S T R I B U TO R CO N TAC T I N F O R M AT I O N
ABOUT US
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32
33
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5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
ELIGIBILITY & GUIDELINES
E L I G I B I L I T Y R E Q U I R E M E N TS
To be eligible for a grant, you must be affiliated with an Amer ican universit y
or college with non-profit status. Qualifying candidates must show films for
which the y are seek ing the suppor t of The Tournées Festival as par t of a festival
and screenings of all films must tak e place within a one-month per iod. The
festival should consist of at least five films as this is the number of films that
The Tournées Festival grant covers. The films may also be presented as par t of
a larger festival of French or inter national films. The Tournées Festival grant is
provided for a maximum of five consecutive years.
A P P L I C AT I O N P R O C E D U R E S
1 | Selecting the films:
Choose five films among the “Featured Films” and “Alter native Choice” titles
and prepare a tentative schedule for the screenings. Films must be shown in
16mm, 35mm or D VD for mat . Not all films are available on D VD, so choose
according to both your school’s projec tion equipment and the availabilit y of
the films. Since D VDs are generally available later than film, we encourage
you to check our website (www.facecouncil.org) on a regular basis for updates
on D VD releases. In this brochure, D VD for mats are indicated when the y
already exist . Also note that some 35mm films are in CinemaScope. M ak e sure
that your projec tionist is aware of the different for mats. Please note that The
Tournées Festival grant does not cover films shown in VHS. Films are in French
with English subtitles (unless other wise noted).
2 | Ap p l y i n g :
Complete the application for m (available at www.facecouncil.org/tour nees)
and send it to FACE. B e as detailed as you can about your proposed festival
and screening dates. I f you receive a grant, we realize that the dates you
initially choose may change and we simply ask that you provide us with the
updated infor mation. Please explain why you are interested in this program, if
you will be wor k ing with other academic depar tments, and if you already
show foreign films on your campus.
Th e re a re t wo p o s t m a r k d e a d l i n e s fo r a p p l i c at i o n s :
J u l y 3 1 , 2 0 0 6 a n d O c to b e r 1 , 2 0 0 6 . Choose to meet the deadline that is most
convenient for you. We will only accept one application per institution per
year. Late applications will not be considered. You will receive notification
within three weeks of the respec tive deadlines.
I F ACC E P T E D : H O W TO O R G A N I Z E T H E S C R E E N I N G S O N YO U R C A M P U S
3 | Co nt a c t i n g t h e d i s t r i b u to r s :
Contac t the U.S. distr ibutor of each film and ar range for the reser vation,
shipping, and payment of projec tion r ights for all films, including D VDs. As
some titles may not be available for book ing until late fall, check with the
distr ibutor before finalizing your program dates. You can organize your film
festival whene ver you lik e dur ing the academic year, bet ween S eptember 1,
2 0 0 6 a n d J u n e 3 0 , 2 0 0 7 . B e s u r e t o i n fo r m t h e d i s t r i b u t o r s t h a t y o u a r e
p a r t i c i p a t i n g in The Tournées Festival.
2
4 | Raising additional funds:
The Tournées Festival Grant may not cover all your expenses. In addition to the
rental fees (which range from $200 to $600 per film) you will be charged a
shipping fee for film pr ints. R ental rates are subjec t to distr ibutors’ discretion
and are out of our control. Howe ver, the y may be negotiable.
We recommend that you collaborate with other academic depar tments or
student groups, or seek pr ivate commercial sponsors in your communit y in an
effor t to find additional funding. You may also charge admission for your
screenings.
5 | Pu b l i c i z i n g yo u r s c re e n i n g s :
Tr y to show your films to as large an audience as possible. Publicize them in
your communit y. Contac t other academic depar tments, cultural institutions,
and high schools nearby that might be interested in French films. Place an ad
in your local or student ne wspaper. Put posters up on your campus. Create a
festival website.
The Tournées Festival postcard: you are to use the 500 oversized postcards that
FACE will provide. This promotional tool will enable you to promote your
Tournées Festival, including your larger festival of French or inter national films.
FACE will provide se veral label templates on its website so that you can easily
include all your festival infor mation on the back of the postcard.
A L L P U B L I C I T Y M AT E R I A L S M U S T I N C LU D E
T H E F O L LO W I N G C R E D I T L I N E ( S ) :
“ T h e To u r n é e s Fe s t i va l w a s m a d e p o s s i b l e w i t h t h e s u p p o r t o f
t h e Cu l t u ra l S e r v i ce s o f t h e Fr e n c h E m b a s s y a n d
t h e Fr e n c h M i n i s t r y o f Cu l t u r e ( C N C ) . ”
In the event that The Tournées Festival films are being shown as part of a larger
festival, the following must be included after each Tournées Festival film description:
“p r e s e n t e d a s p a r t o f T h e To u r n é e s Fe s t i va l . ”
PLEASE NOTE: Your grant is contingent upon the distr ibution of 500 postcards
and mention of the above credit line(s). We would be grateful if you could
also add our sponsors to your promotional mater ials:
“ Th e Fl o r e n ce G o u l d Fo u n d a t i o n , t h e G ra n d M a r n i e r Fo u n d a t i o n
a n d t h e Fra n co - A m e r i c a n Cu l t u ra l Fu n d. ”
6 | S u b m i t t i n g p o s t - s c re e n i n g m a te r i a l s :
Once you have completed your festival, send us the following documents
before July 1, 2007:
- copy of the distr ibutor ’s invoice (or a box office repor t);
- completed post-screening for m;
- copy of your festival budget;
- 5 copies of your adapted The Tournées Festival postcard;
- copies of your publicit y mater ials (2 examples of each document);
- any re vie ws or ne wspaper ar ticles related to the screenings.
Please be as detailed as possible when answer ing the questions on the postscreening for m. We will use your post-screening for m to e valuate your par ticipation in The Tournées Festival if you apply the following year. You will receive
the grant within a month af ter we receive your mater ials.
3
Log on to www.facecouncil.org/tour nees for quick and easy access to a range
of resources. The site includes a list of all eligible films with descr iptions and
credits, links to re vie ws, distr ibutor contac t infor mation, publicit y stills, and
downloadable for ms.
Director: François Ozon
5x2
Screenplay:
François Ozon
Emmanuèle Bernheim
Cast:
Marion: Valéria Bruni-Tedeschi
Gilles: Stéphane Freiss
Awards:
Best Actress ( Valéria BruniTedeschi), Pasinetti Award,
Venice Film Festival (2004)
Running time: 90’
Production: France, 2004
Rated R (strong graphic
sexuality & language)
Gauge: 35mm, DVD (color)
Distributor:
ThinkFilm
A depic tion of an emotionally-charged divorce, 5x2 tells the
stor y of the intense but ill-fated relationship of a couple. In
François Ozon’s inventive por trait of a moder n mar r iage, a
ser ies of vignettes are played out in re verse chronological
order as M ar ion and Gilles are seen at var ious moments of
their relationship. When the y host a dinner par t y, an air of
intimac y bor n of too much wine causes them to re veal sexual
secrets that underscore their differences. Dur ing a momentous
moment of their mar r iage, G illes fails to show up at the
hospital when their son is bor n. On their wedding night, Gilles
falls asleep ear ly and M ar ion has an affair with a stranger. And
finally, the y first meet at a resor t where Gilles is vacationing
with his long-time gir lfr iend. The film ends as M ar ion and
Gilles walk off into the sunset . In his ne w film, François Ozon
transfor ms a conventional love stor y into an interesting study
of human behavior. As he explains, “… Star ting at the end and
wor k ing gradually back wards to the first encounter seemed
lik e a good way of reaching a true, lucid reading of a couple’s
stor y. I wanted the audience to see the range of different
emotions t wo people exper ience in the course of their lives
together. ”
“Mr. Ozon… has an evident fondness for combining earnest melodrama with
self-conscious gimmick r y. … The real ingenuit y of ‘5x2’ lies in his master y of
emotional shor thand. He tells us ver y little about the characters and seems
to have encouraged [the actors] not to be too obvious or revealing.”
A.O. Scott, The Ne w Yor k T imes
4
Director: Benoît Delépine & Gustave de Kervern
AALTRA
Screenplay:
Benoît Delépine
Gustave de Kervern
Cast:
Ben: Benoît Delépine
Gus: Gustave de Kervern
Awards:
FIPRESCI Prize (Benoît
Delépine & Gustave de
Kervern), London Film
Festival (2004)
Running time: 92’
Production: Belgium, 2004
Rating: Not rated
Gauge: 35mm, DVD (B&W )
Two neighbors in the B elgian countr yside: Gus, a white-collar
wor k er, and B en, a far mer, despise one another. One day in the
midst of a fight, an accident with a trac tor leaves them both
paralyzed, wheelchair-bound, and spiteful. R ather than feeling
sor r y for themselves, the embittered paraplegics decide to seek
re venge against the trac tor ’s manufac turer, A altra. The y set out
to Finland, direc ting their frustrations towards people the y meet
on their way. The y steal mone y, food, and e ven an elec tr ic
wheelchair that belongs to an old lady. The y abuse people’s
compassion towards them but when the y at last reach the
company ’s headquar ters, the y are in for a big sur pr ise…
Captured in shar p black-and-white photography that
complements its visual gags, Aaltra under mines conventional
attitudes toward the disabled with its dr y wit and acerbic,
vengeful charac ters. In this film, the disabled protagonists are
simply nor mal human beings, at times a bit stupid, a bit nast y,
and of ten funny. Ac tors B enoît D elépine and Gustave K er ver n,
who wrote, direc ted and co-star, show a distinc t flair for
understated physical comedy and politically incor rec t humor.
Distributor:
Film Movement
“Masters of underplaying, the y [Delépine and Ker vern] mine laughs in the
minimal gesture or look, without resor ting to slapstick. Dialogue is pared to
a minimum, allowing for the dr y visuals to take front and center. The cool,
confident camera mostly maintains a passive distance, just obser ving the
action and letting it cross the widescreen on its own.”
Jay Weissberg, Var iet y
5
Director: Pierre Salvadori
APRES VOUS
AFTER YOU
Screenplay:
Pierre Salvadori
Benoît Graffin
Cast:
Antoine: Daniel Auteuil
Louis: José Garcia
Blanche: Sandrine Kiberlain
Christine: Marilyne Canto
Running time: 100’
Production: France, 2003
Rating: Restricted (language)
Gauge: 35mm, DVD (color)
Distributor:
Swank Motion Pictures
Antoine is an over zealous headwaiter at a busy Par isian
restaurant . He enjoys tak ing care of people, the restaurant ’s
clients and its staff. Af ter coming to the rescue of Louis, a
per fec t stranger who is about to commit suicide, Antoine
begins to feel responsible for him and genuinely wants to help
him. He br ings him home, feeds him and houses him, and goes
as far as dr iving all night to Louis’ grandparents’ home to
intercept his suicide letter. Af ter giving him a crash course on
wine tasting, Antoine helps him get a job as wine ste ward at
his restaurant . D esperate to help Louis find happiness, and
also to get him out of his hair, Antoine secretly sets out to play
cupid and to find Louis’s ex-gir lfr iend Blanche, the person
responsible for his depression. When Antoine finally finds
Blanche at the flower shop where she wor ks, his ac t of
k indness quick ly becomes a fiasco: Antoine falls in love with
her himself. The three strangers, brought together by chance,
lear n that there is a fine line bet ween helping others and
helping oneself.
“Elegantly written, well-thesped comedy is too hermetic and bittersweet to
be laugh-out-loud funny, but sustains a successful ratio of uncomfor table
situations to amusing solutions.”
Lisa Nesselson, Var iet y
6
Director: Mickael Haneke
CACHE
HIDDEN
Screenplay:
Michael Haneke
Cast:
Georges: Daniel Auteuil
Anne: Juliette Binoche
Pierrot: Lester Makedonsky
Majid: Maurice Benichou
Awards:
Best Director, Cannes Film
Festival (2005) Best Director,
Best film, Best Actor (Daniel
Auteuil) European Film Awards
(2005) Best Foreign Language
Film, Los Angeles Film Critics
Association Awards (2005)
Running time: 117’
Production: France / Austria
Germany / Italy, 2005
Rating: Restricted (strong
violence)
Gauge: 35mm, DVD (color)
Distributor:
New Yorker Films
7
G eorges, the tele vision host of a literar y magazine, and his wife
Anne are living a per fec t life of moder n comfor t and secur it y.
One day, their wor ld is disrupted when the y receive a videotape
from an anonymous source. On it, the y discover that their house
had been filmed by a hidden camera. As more tapes ar r ive
wrapped in drawings that are disturbingly violent and personal,
the walls of secur it y that G eorges and Anne have felt around
them begin to crumble. G eorges launches his own investigation
and secrets from his past are re vealed. As a young child,
G eorges was confronted by his parents’ wishes to adopt M ajid,
the son of their Alger ian far m wor k ers who disappeared in Par is
dur ing the police brutalit y that followed the O c tober 17, 1961
demonstration. G eorges made up a lie about M ajid who was put
into foster care. As this memor y resur faces, G eorges is faced
with the fac t that M ajid ’s life could have tur ned out differently if
he had stayed with his family. He could have received an
education but instead endured a life of pover t y. A psychological
thr iller that master fully br ings the vie wer into the stor y, Caché is
as much a sear ing commentar y on France’s bourgeoisie and its
colonial her itage as it is about father-son relationships.
“ Tempting as it is to dismiss ‘Caché’ as a liberal guilt trip in the guise of a
thriller, it is at the same time hard to deny its creepy, insinuating power. Nor
is it possible to tune out its accusator y message. Civilization and barbarism
are not antithetical, Mr. Haneke insists, but adjacent, perhaps even
identical.”
A.O. Scott, The Ne w Yor k T imes
Director: Jérôme Bonnell
LE CHIGNON D'OLGA
OLGA’S CHIGNON
Screenplay:
Jérôme Bonnell
Cast:
Julien: Hubert Benhamdine
Alice: Nathalie Boutefeu
Emma: Florence Loiret-Caille
Gilles: Serge Riaboukine
Olga: Delphine Rollin
Awards:
FIPRESCI Prize, Chicago
International Film Festival
(2003)
Julien and his sister Emma lost their mother a year ago. The y
still live with their father Gilles in the house where the y gre w
up in the B eauce region. The y all live with the pain of their
mother ’s death, but the y are incapable of talk ing to each other
about it . S et in a small town where most people have lef t for
their summer holiday, Julien roams aimlessly and falls in love
with a young saleswoman Olga whom he spots in a bookstore.
He unsuccessfully tr ies to get her attention until he finds out
she is mar r ied and has a child. His childhood fr iend Alice is
tr ying to get over a painful and abusive relationship. She and
Julien soon find out that the y have deep feelings for each
other. In this first feature film, Jérôme Bonnell was able to
create his own personal universe, fresh and full of tender ness.
Running time: 96’
Production: Belgium / France,
2002
Rating: Not rated (general public)
Gauge: DVD (color)
Distributor:
Strand Releasing
“Bonnell made a solid and endearing film, where time stops to leave room
for each one of the characters to mature and grow at their own rhythm.”
Thier r y Chèze, Studio M agazine
8
Director: Olivier Assayas
CLEAN
Screenplay:
Olivier Assayas
Malachy Martin
Cast:
Emily: Maggie Cheung
Albrecht: Nick Nolte
Elena: Béatrice Dalle
Irène: Jeanne Balibar
Awards:
Best Actress (Maggie
Cheung), Cannes Film
Festival (2004)
Running time: 110’
Production: English / French /
Italian / Spanish / Portuguese,
2004
Rating: R (drug content,
language & brief nudity)
Gauge: 35mm, DVD (color)
Distributor:
Swank Motion Pictures
9
Emily, whose musician par tner died of an overdose in Canada,
spends six months in pr ison on drug charges. When she gets
out, she has one goal in mind: to get her son J ay back. He is
being raised by her parents-in-law and Emily has realized that
she has to tur n her life around and come clean. This will not be
easy as fe w people in her life belie ve in her and trust her and
many think that she ruined her par tner ’s life. Emily moves to
Par is, quits the music scene, goes through a methadone
program, and applies for odd jobs to sur vive. Little by little,
despite expec tations that she will fail, Emily changes. She gains
the trust of her father-in-law who travels to Par is to meet with
her and give her a second chance at raising her son. Clean is
about the rock scene and drugs, but more impor tantly, about a
person’s abilit y to change. As Olivier Assayas explains, “I wanted
to come back to something more natural… closer to the
essence of my cinematic st yle that presents human relations in a
more real and hear t-war ming contex t . ”
“Clean is a movie about a woman who begins in a state of severe disequilibrium and finds herself… in an opposite state: balance, clarit y, relative
peace. The fact that it is not solely her triumph makes it no less moving,
and it cer tainly makes it far more honest than almost ever y other movie
you’re likely to see about spiritual regeneration.”
K ent J ones, Cinema Scope
Director: Agnès Jaoui
COMME UNE IMAGE
LOOK AT ME
Screenplay:
Agnès Jaoui
Jean-Pierre Bacri
Cast:
Lolita: Marilou Berry
Sylvia: Agnès Jaoui
Etienne: Jean-Pierre Bacri
Pierre: Laurent Grevill
Karine: Virginie Desarnauts
Awards:
Best Screenplay, Cannes Film
Festival (2004)
Best Screenwriters,
European Film Award (2004)
Best Screenplay, Stockholm
Film Festival (2004)
This ne west charac ter-r ich comedy centers on 20-year-old
Lolita, a stock y, dar k-haired aspir ing singer acutely aware that
she doesn’t fit into a wor ld ruled by sk inny blondes.
Compounding her low self-esteem is her inconsiderate father
Etienne, a jaw-droppingly boor ish literar y celebr it y whom she
worships and despises. Orbiting in Etienne’s sphere of
influence is a retinue of de votees and wannabes, including a
voice coach (played by direc tor Agnès J aoui) who plots on
behalf of her struggling novelist husband. Br imming with
music, food, and par ties, Look At Me paints a vibrant por trait of
the Par isian social whir l, but one which doesn’t gloss over the
undercur rent of back biting and backstabbing that flow s just
beneath the glitter ing sur face. The film ends with a hear twar ming countr y-church recital that affir ms the transcendent
power of ar t .
Running time: 110’
Production: France/Italy, 2004
Rating: PG-13 (brief language &
a sexual reference)
Gauge: 35mm, DVD (color)
Distributor:
New Yorker Films
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“Jaoui sets her wr yly obser vant sights on family, ar tistic ambition and the
t yranny of physical appearance, and the result is a bright, briskly moving
film whose modest scale belies the universalit y of its themes.”
Ann Hor naday, Washington Post
Director: Olivier Ducastel & Jacques Martineau
CRUSTACES ET COQUILLAGES
COTE D'AZUR
Screenplay:
Olivier Ducastel
Jacques Martineau
Cast:
Béatrix: Valéria Bruni-Tedeschi
Marc: Gilbert Melki
Didier: Jean-Marc Barr
Mathieu: Jacques Bonnaffé
Charly: Romain Torres
Awards:
Label Europa Cinemas (Olivier
Ducastel & Jacques
Martineau), Berlin International
Film Festival (2005)
M arc tak es his wife Béatr ix and their t wo children to the seaside
house of his youth on a summer vacation. The M editer ranean
wind blows, the sea and the heat of summer stok e their desires.
Their daughter Laura leaves for Por tugal with her bik er
boyfr iend. Their son Char lie, age 17, is lef t to roam around with
his best fr iend M ar tin. S ensitive to the charged atmosphere that
exists bet ween Char lie and M ar tin, Béatr ix imagines that her son
is gay. Char lie tr ies to explain to his parents that he is not gay
but, as he will soon discover, the y are more enthralled by their
own love affairs. Béatr ix ’s lover M athieu shows up, inventing all
sor ts of excuses to steal time with her. M arc ’s old flame, the
local plumber appears re viving M arc ’s repressed homosexualit y.
Complications escalate in a ser ies of misunderstandings but the
stor y has a happy ending. This t ypical vaude ville has fast
r hythm, witt y dialogue and an energetic stor yline that
concludes with an erotically-charged musical number about the
aphrodisiac powers of shellfish.
Running time: 93’
Production: France, 2005
Rating: Not rated
Gauge: DVD (color)
Distributor:
Strand Releasing
“Co-writers and directors O livier D ucastel and Jacques Mar tineau have
made a romper that doesn’t shy away from sexual frank ness or
Mediterranean laissez-faire.”
D esson Thomson, Washington Post
11
Director: Jacques Audiard
DE BATTRE MON CŒUR S'EST ARRETE
THE BEAT THAT MY HEART SKIPPED
Screenplay:
Jacques Audiard & Tonino
Benacquista, adapted from
James Toback’s “Fingers”
Cast:
Tom: Romain Duris
Robert: Niels Arestrup
Miao-Lin: Linh-Dan Pham
Aline: Aure Atika
Chris: Emmanuelle Devos
Fabrice: Jonathan Zaccaï
Awards:
Best Film, DIrector, Music, Editing,
Supporting Actor, Promising
Actress, Cinematography, César
Awards (2006) Best Film Music,
Berlin Film Festival (2005)
Running time: 107’
Production: France, 2005
Rating: Not rated (brief scenes of
violence)
Gauge: 35mm, DVD (color)
Distributor:
New Yorker Films
12
In this st ylish reinter pretation of J ames Toback ’s 1978 cult neonoir film Fingers, J acques Audiard has combined equal par ts
Bach and rock, in a groundbreak ing G allic transfor mation of a
thoroughly Amer ican genre: gangster-seek ing-redemption
film. Twent y-eight-year-old Thomas appears destined to follow
in the footsteps of his slumlord father. Tom is a sleaz y real
estate manager who expels squatters from low-rent buildings.
An unexpec ted encounter with the agent of his late mother
who was a classical musician reignites a long-bur ied desire for
life as a concer t pianist . When the agent proposes an audition,
Tom finds a special teacher and propels himself back into his
almost forgotten wor ld of classical music, e ven as he continues
to strong-ar m deadbeats and other thugs under pressure from
his father. As the conflic t bet ween his parents’ widely
disparate spheres intensifies, Tom feels his longing to be a
musician under mining his place in the shadow s of the Par is
under wor ld. W ill he find liberation? This Cit y of Lights thr iller
has a r ichly orchestrated mélange of menace, year ning, and
grace.
“A blistering film you feel in the pit of your stomach, a jumpy, edgy piece of
work that thrust us into a personal maelstrom so tor tured and intense, the
emotions could be spread with a knife.”
K enneth Turan, Los Angeles T imes.
Director: S. Pierre Yameogo
DELWENDE: LEVE-TOI ET MARCHE
DELWENDE
Screenplay:
S. Pierre Yameogo
Cast:
Napoko: Blandine Yameogo
Diarrha: Célestin Zongo
Pougbila: Claire Ilboudo
Bancé: Daniel Kabore
Elie: Thomas Ngourma
Raogo: Jules Taonssa
Awards:
Regard Hope Award, Cannes
Film Festival (2005)
Prize of the Ecumenical
Jury-Special Mention,
Cannes Film Festival (2005)
Running time: 69’
Production: Burkina Faso
France / Switzerland, 2005
Language: Moore, French
Rating: Not rated (general public)
Gauge: 35mm, DVD (color)
Distributor:
New Yorker Films
13
This mother-daughter tale focuses on the injustice of some
traditional Afr ican prac tices and women’s struggle for equalit y.
A small village in Bur k ino Faso is de vastated by the sudden
death of many of its children. Fear ing the worst, Diar r ha sends
his daughter Pougbila to get mar r ied in another village despite
the objec tions of his wife Napok o. She lear ns that their
daughter has been raped, possibly by her own husband and
therefore she accepts the ar ranged mar r iage despite her own
reser vations. Following a village tradition, the elders conduc t a
witch-hunt to find the person responsible for all the deaths. The
blame falls on Napok o and she is chased out of the village.
Upon lear ning of her mother ’s fate, Pougbila embar ks on a
jour ne y to find her. Her travel leads her to the capital,
Ouagadougou, where she finds her mother in a shelter for
women accused of witchcraf t . Intent on exposing the truth, she
br ings Napok o home and forces the elders to confront the truth:
Diar r ha took advantage of a local village tradition in order to
direc t the blame towards his wife. Based on a true stor y,
Delwende examines some traditional customs in Afr ica and the
role women play in exposing the injustices per petrated against
them.
“Firmly feminist in outlook and culture-changing in its aspirations,
‘Delwende’ combines aspects of Greek tragedy with a critical e ye toward the
misuse of tradition… Like S embene, Yameogo is enamored with strong
women, and in his lead actresses he’s found a terrific conduit for expressing
their nobilit y and force.”
Jay Weissberg, Var iet y
Director: Rodolphe Marconi
LE DERNIER JOUR
THE LAST DAY
Screenplay:
Rodolphe Marconi
Cast:
Marie: Nicole Garcia
Simon: Gaspard Ulliel
Louise: Mélanie Laurent
Marc: Bruno Todeschini
Running time: 105’
Production: France, 2004
Rating: Not rated
Gauge: DVD (color)
Distributor:
Strand Releasing
Simon, a sensitive young ar tist, travels to meet his parents at
their seaside home for the Chr istmas holiday and in the train,
he meets Louise who invites herself over for Chr istmas.
Simon’s parents, M ar ie and J ean-Louis, assume Louise is his
gir lfr iend. The father clear ly has no attachment to his son,
prefer r ing his daughter. Simon grow s attached to Louise, but
she prefers his best fr iend, M athieu. When M ar ie receives a
phone call from M arc, an ex-lover who also happens to be in
the region, old family stor ies resur face. Frustrated in her
mar r iage to J ean-Louis, M ar ie reconnec ts with M arc. She soon
discovers that he has not only come to be with her, but also to
meet Simon who, as it tur ns out, is really his son. M ar ie lear ns
that Louise is M arc ’s daughter. M ar ie tells Simon that M arc,
not J ean-Louis, is his father. M arc has already lef t town and
Louise lef t with M athieu. Simon is lef t alone to deal with the
ne ws, which he is incapable of bear ing on his own.
“ The search for identity. This is the recurring theme which runs through
Rodolphe Marconi’s films. In that respect, his last opus ‘ The Last Day’ is, without
exaggeration, the best accomplishment.”
Thomas Baurez, Studio M agazine
14
Director: Jean-Pierre & Luc Dardenne
L’ENFANT
THE CHILD
Screenplay:
Jean Pierre & Luc Dardenne
Cast:
Bruno: Jérémie Renier
Sonia: Déborah François
Awards:
Golden Palm, Cannes Film
Festival (2005)
Running time: 95’
Production: Belgium / France,
2005
Rating: Restricted
(brief language)
Gauge: 35mm, DVD (color)
Dispossessed twent y-year-old Bruno lives with his gir lfr iend
S onia in an Easter n B elgian steel town. The y live off S onia’s
unemployment benefits, panhandling, and the pett y thie ver y of
Bruno and his gang. Their lives change fore ver when S onia gives
bir th to their child Jimmy. She retur ns home from the hospital
to lear n that Bruno has sublet their apar tment to total strangers.
The t wo are forced to mak e do under a highway br idge. Bruno
feels little attachment to their baby and Jimmy becomes little
more to him than a ne w source of wealth. D esperate for mone y,
Bruno sells Jimmy through the black mar k et . Upon lear ning
what Bruno did, S onia faints and ends up in the hospital.
R ealizing his ter r ible mistak e, B runo sets out to get his baby
back. He e ventually does but is forced to come up with the
mone y that his black mar k et contac t lost in the failed deal.
Af ter stealing the day ’s ear nings from a small store, Bruno and
his young associate are caught dur ing a chase with the police.
Transfor med by his ne wly discovered sense of responsibilit y to
his son, Bruno steps for ward and tak es responsibilit y for the
cr ime and lands in pr ison, whereas his young par tner goes free.
Distributor:
New Yorker Films
“ The brothers have a st yle and set of interests as instantly recognizable as
any filmmaker in the world - visceral camerawork, impeccable per formances,
a concern for Belgium's dispossessed, an unlikely affinit y for Rober t
Bresson.”
James Hober man, The V illage Voice
15
Director: Robert Lepage
LA FACE CACHEE DE LA LUNE
FAR SIDE OF THE MOON
Screenplay:
Robert Lepage
Cast:
Philippe/André: Robert Lepage
The Mother: Anne-Marie Cadieux
Carl: Marco Poulin
Awards:
FIPRESCI Prize, Berlin Film
Festival (2004)
Best Adapted Screenplay,
Genie Awards (2004)
Best Film, Namur Festival of
Francophile Film (2004)
Running time: 105’
Production: Canada, 2003
Rating: Not Rated
Gauge: 35mm, DVD (color)
Distributor:
TLA Entertainment
16
B efore G alileo, it was belie ved that the moon was a polished
mir ror, its sur face a reflec tion of the globe. In the 1960s, a
S oviet lunar probe exposed the far side of the moon (which
can ne ver be seen from Ear th) as scored and disfigured by the
stor ms of celestial debr is. From this discover y, wr iter-direc tor
R ober t Lepage craf ts an engaging metaphor of myster ious
dualities, jux taposing sibling r ivalr y with the US-S oviet space
race. Estranged brothers Philippe and André (both played by
R ober t Lepage) relive childhood disputes as the y dispose of
the belongings of their recently deceased mother. André, a
tele vision meteorologist, has little in common with his older
sibling Philippe. Philippe is a for t y-ish doc toral student who
has repeatedly failed to defend his disser tation on human
narcissism and space exploration. He is deeply hur t by the
scientific communit y ’s refusal to ack nowledge his wor k. When
he receives an invitation to go to Russia to present his
theor ies on the competitive exploration of the cosmos,
Philippe hopes that he will finally gain some recognition. This
captivating cinematic jour ne y probes issues of competition
and reconciliation while searching for meaning in the universe.
“Employing plent y of the director ’s signature seamless pans across time and
space, Lepage lyrically fuses childhood memories with present-day sibling
rivalr y, archival footage with crisp video… Lepage spins a rich, moving film
that ack nowledges humanit y ’s power to break out of Ear th’s daily gravit y ; in
the process, he leaves audiences floating.”
M ar k Peranson, The V illage Voice
Director: Frédéric Fonteyne
LA FEMME DE GILLES
GILLES' WIFE
Screenplay:
Philippe Blasband, Frédéric
Fonteyne & Marion Hänsel,
based on the novel by
Madeleine Bourdouxhe
Cast:
Elisa: Emmanuelle Devos
Gilles: Clovis Cornillac
Victorine: Laura Smet
Awards:
Golden Tulip, Istanbul
International Film Festival
(2005) Best Belgian Director,
Joseph Plateau Awards (2005)
Best Actress (Emmanuelle
Devos), Mar del Plata Film
Festival (2005) CICAE Award,
Venice Film Festival (2004)
S et in the 1930’s, Gilles’ Wife is a haunting tale of passion and
sacr ifice in a small mining town. The wife of a metal wor k er and
de voted mother, Elisa’s well-ordered wor ld is tur ned upside
down when she begins to suspec t her husband Gilles of having
an affair with her younger sister V ic tor ine. D eter mined to save
her mar r iage, Elisa under tak es a strange and disquieting battle
to recover what she has lost, in the hopes of regaining once
again Gille’s attention. Steeped in r ich per iod details, which
recreate the atmosphere of classic French cinema of the 1930’s,
the film explores Elisa’s emotional upheaval over the course of a
year. Her suspicion grows but she does not confront her
husband, and when Gilles breaks down and admits to having an
affair, she suppor ts him. Elisa’s deter mination to win him back
leads her to spy on her sister V ic tor ine on his behalf. When she
discovers that her sister is falling in love with another man,
Elisa’s mar r iage regains some sense of nor malc y until V ic tor ine
announces her plans to mar r y that man. Gilles, who is still
infatuated with V ic tor ine, is enraged, wreak ing havoc and
leading to a desperate outcome. V irginie S aint-M ar tin’s
cinematography involves power ful compositions and Ver meerlik e lighting. She def tly captures Elisa’s inner wor k ings.
Running time: 103’
Production: Belgium/France, 2004
Rating: Not Rated
“Like the best of legendar y ‘poetic realist ’ films, but done with more sexual
Gauge: 35mm, DVD (color)
frank ness and visual realism, ‘Gilles’ Wife’ mixes naturalism with theatrical
grace. What compels the viewer throughout is both the power of the acting
Distributor:
… and the beaut y of the images.”
The Cinema Guild
M ichael W ilmington, Chicago Tr ibune
17
Director: Lucile Hadzihalilovic
INNOCENCE
Screenplay:
Lucile Hadzihalilovic, based on
the novella “Mine-Haha, or The
Corporal Education of Young
Girls” by Frank Wedekind
Cast:
Iris: Zoé Auclair
Bianca: Bérangère Haubruge
Mlle Eva: Marion Cotillard
Mlle Edith: Hélène de
Fougerolles
Awards:
Young Director’s Prize, San
Sebastian Film Festival (2004)
Best Film & Best
Cinematography, Stockholm
Film Festival (2004)
Running time: 115’
Production: France / Belgium
United Kingdom, 2004
Rating: Not Rated
Gauge: 35mm, DVD (color)
Distributor:
Leisure Time Features
18
A subter ranean rumbling resonates in the hear t of a forest .
Hidden by foliage, a metal grate re veals underground
passage ways leading to a boarding school separated from the
outside wor ld by a huge wall. A group of young schoolgir ls
opens a coffin only to find six-year-old Ir is. Bianca, the oldest
student, introduces Ir is to this strange wor ld where there are
neither men nor adults except the old ser vants and t wo young
teachers: M esdemoiselles Edith and Eva. Ir is quick ly discovers
the rules of the school where teaching centers on dance,
physical education and biology. Obedience is paramount and
any boarder who rebels or escapes is condemned to ser ve the
others fore ver. Nothing over ly dramatic happens in Innocence,
but the anxiet y and fear the film provok es force the vie wer to
wonder what will tak e place nex t . Ever ything indicates that
these gir ls are being groomed for something. Is it a r ite of
passage prepar ing them for puber t y and adulthood, or
something sinister? Lucile Hadzihalilovic creates a wor ld
oscillating bet ween realism and fantasy through astute
lighting, intense colors, and vir tually no back ground music.
“Hadzihalilovic steadfastly resists the temptation to explain the strange
universe she presents. Those expecting answers may be frustrated but the
spell cast by her haunting film lingers long after the closing credits, like a
damp mist after a storm.”
The Holly wood R epor ter
Director: Claire Denis
L’INTRUS
THE INTRUDER
Screenplay:
Claire Denis & Jean-Paul
Fargeau, based on the novel by
Jean-Luc Nancy
Cast:
Louis: Michel Subor
Sidney: Grégoire Colin
Young Russian woman: Katia
Golubeva
The Pharmacist: Bambou
Queen of the Northern
Hemisphere: Béatrice Dalle
Running time: 130’
Production: France, 2004
Rating: Not rated
Gauge: 35mm, DVD (color)
Louis Trebor, a myster ious loner, lives in an isolated cabin in the
woods on the French-Swiss border. An enigmatic figure and an
emotionally distant father who seems to prefer the company of
his dogs, Louis has little contac t with his grown son Sidne y.
Louis’ contac ts seem limited to an affair with a local phar macist
and an unspok en attrac tion to a beautiful, aloof dog breeder.
An ailing hear t forces Louis to leave his snow-covered
wilder ness to retr ie ve mone y in a bank vault in G ene va to
purchase a ne w hear t on the black mar k et . Af ter recover ing
from transplant surger y in Asia, Louis discovers he is being
shadowed by a myster ious, unnamed Russian woman. He begins
a boat voyage south, slowly mak ing his way back to his for mer
home on a remote island near Tahiti. The Intruder is a myster ious
and enthralling stor y about fresh star ts and the possibilit y of
escape, a tale of both inner and outer travels. Lik e all of Claire
D enis’ films, it explores the literal and metaphor ical borders
where natives and intruders intersec t, searching for signs of
home within and be yond the bar r iers of countr ies, cultures, and
families.
Distributor:
Wellspring Media
“An immersion in pure cinema! Beautiful and terrifying in their intensit y, the
images will make you gasp.”
Stephen Holden, The Ne w Yor k T imes
19
Director: Luc Jacquet
LA MARCHE DE L'EMPEREUR
MARCH OF THE PENGUINS
Screenplay:
Jordan Roberts
Luc Jacquet
Voice Over:
Morgan Freeman
Awards:
Oscar Best Documentary,
Academy Awards, USA (2006)
Best Documentary National
Board of Review, USA (2005)
Best Documentary,
Southeastern Film Critics
Association Awards (2005)
Running time: 65’
Production: France, 2005
Language: English
Rating: G
Gauge: 35mm, DVD (color)
Distributor:
Swank Motion Pictures
20
In the Antarc tic, e ver y M arch since the beginning of time,
penguins embar k on a quest to find a mate and star t a family.
This cour tship tak es them hundreds of miles across the
continent in freezing temperatures with ic y winds and deep,
treacherous waters in the most isolated region on ear th. The y
r isk star vation and attack by predators, but their courage ne ver
falters. Af ter finding a mate the penguins race against the
clock to reproduce, protec t their eggs from the ic y ground, and
walk hundreds of miles for food. When the egg is hatched, the
male and female continue to tak e tur ns protec ting their chick
so that the other one can eat . This continues until the chicks
are grown and independent enough to feed on their own.
Direc tor Luc J acquet and his cre w spent thir teen months in
the Antarc tic filming the penguins, with no possibilit y of sea
or air transpor tation. Though the y had to endure -40˚F
temperatures and 100-mile-an-hour winds, their constant
presence allowed them to capture the full and remar k able
var iet y of penguin behavior. March of the Penguins includes
under water footage of the penguins’ winter ac tivities ne ver
before captured in such breathtak ing detail.
“I t ’s impossible to watch the thousands of emperor penguins huddled
together against the ic y Antarctic blasts… without feeling a tug of anthropomorphic k inship. The feeling that these creatures are brave, indomitable
souls sur viving unimaginable physical hardship for the sake of their families
is inescapable.”
Stephen Holden, The Ne w Yor k T imes
Director: Jonathan Nossiter
MONDOVINO
Screenplay:
Jonathan Nossiter
Documentary with
winemakers and wine
consultants in France, Italy,
the USA, England and
Argentina
Running time: 135’
Production: English / French
Italian / Spanish / Portuguese,
2004
Rating: PG-13 (brief pin-up
nudity)
Gauge: 35mm, DVD (color)
Distributor:
ThinkFilm
For thousands of years, wine has been an impor tant tradition in
many countr ies. Ne ver has so much pr ide – and mone y – been
at stak e as today. Ne ver have the battle lines been so clear ly
drawn bet ween the old wor ld and the ne w, bet ween peasants
and millionaires, and bet ween local, ar tisanal st yles of wine
produc tion and multinational, mass-produced ones. The
ultimate film about wine, Mondovino was filmed over a threeyear per iod in France, I taly, the United States, Argentina and
Brazil. Jux taposing mom-and-pop wine growers with conglomerates, J onathan Nossiter, a trained sommelier and wine wr iter,
inter t wines multiple family dramas – some of which play lik e
soap operas. Through inter vie ws of amateurs, winegrowers,
businessmen, and cr itics, he uncovers the complex tapestr y of
conflic ts, conspiracies, and alliances that stem from the
produc tion, distr ibution, and consumption of wine. Mondovino
gives voice to those who create, cr itique, sell, and distr ibute
wine, offer ing a sur pr isingly var ied, and sometimes controversial
glimpse into something many people enjoy but fe w people
k now much about .
“ While not all of the many arguments laid out are fully developed, the
consistently fascinating material provides an uncommonly eloquent,
provocative statement against globalization that ’s sure to stimulate
think ing audiences.”
David R oone y, Var iet y
21
Director: Anne Fontaine
NATHALIE
Screenplay:
Philippe Blasband
Jacques Fieschi
Anne Fontaine
Cast:
Catherine: Fanny Ardant
Marlène/Nathalie: Emmanuelle
Béart
Bernard: Gérard Depardieu
Running time: 105’
Production: France / Spain, 2003
Rating: Not Rated
Gauge: 35mm, DVD (color)
Cather ine is an attrac tive bourgeois woman with a successful
career and a seemingly solid mar r iage to Ber nard, her husband
of 25 years. Their lives seem to be going well until Cather ine
discovers that B er nard is having an affair. R ather than seek ing
re venge, she hires M ar lène, a prostitute, to sleep with Ber nard
in order to discover his sexual fantasies and desires. What
begins is a mesmer izing relationship bet ween t wo women.
Cather ine wants to k now the most intimate details and
M ar lène provides her with regular repor ts. In tur n, Cather ine
dic tates what M ar lène should or should not do with Ber nard.
Expec ting to be in control of the situation, Cather ine finds out
that she is less in charge than she thought . A woman’s tak e on
a classic love tr iangle, Nathalie is a film about desire, fantasy,
manipulation, and suspense.
Distributor:
Koch Lorber Films
“As a rather naught y slice of erotica it [‘Nathalie’] works brilliantly, with
Ardant and Béar t mak ing a fascinating par tnership. ‘Nathalie’ plays around
the edges of sexual explicitness by describing rather than showing.”
J amie Russell, BBC
22
Director: Alain Guiraudie
NO REST FOR THE BRAVE
PAS DE REPOS POUR LES BRAVES
Tak e a coming-of-age stor y, mix in French existentialism and
plent y of wit, spice liberally with vivid imager y, and the
refreshingly or iginal, No Rest for the Brave is what you get . The
Screenplay:
film follows the adventures of Basile, an angst-r idden French
Alain Guiraudie
teenager who is convinced that he will die if he falls asleep.
Frédéric Videau
This leads him on a road tr ip that becomes a hallucinator y
odysse y as he encounters murder, se x and intr igue. Whether
Cast:
Basile’s excursion is realit y or fantasy, innocent or male volent,
Basile / Hector: Thomas Suire
grand ideas mesh with bizar re occur rences to create a
Igor: Thomas Blanchard
fascinating, sur real jour ne y of discover y, chance, and myster y.
Johnny Goth: Laurent Soffiati
Bodowski: Vincent Martin
This first feature film is both a gangster road movie and a
comedy. In Alain Guiraudie’s own words, "sur realism is by
Running time: 104’
definition engaged in social realit y. Dreams are fed by realit y,
Production: France / Austria, 2003
and in tur n shine a ne w light on realit y. Cinema must not
Rating: Not Rated
content itself with copying life. I t's necessar y to sublimate the
Gauge: DVD (color)
daily gr ind and to br idge the gap bet ween realit y and utopia.
We have to tr y, in any e vent ."
Distributor:
TLA Entertainment
“ The movie seems to unfold in a parallel universe, a rural France where
sleepy hollows are named for far-flung metropolises, spelled to conform
with French pronunciation as if in an O ulipian game (Buenauzerez, R iaux de
Jannerot)… That said, ‘No Rest ’ remains grounded in a par ticular social and
economic realit y.”
D ennis Lim, The V illage Voice
23
Director: Karin Albou
LA PETITE JERUSALEM
LITTLE JERUSALEM
Screenplay:
Karin Albou
Cast:
Laura: Fanny Valette
Mathilde: Elsa Zylberstein
Ariel: Bruno Todeschini
Djamel: Hedi Tillette de
Clermont-Tonnerre
Mother: Sonia Tahar
Awards:
SACD Screenwriting Award,
Cannes Film Festival (2005)
Running time: 96’
Production: France, 2004
Rating: Not Rated
Gauge: 35mm, DVD (color)
Distributor:
Kino International
La Petite Jerusalem is the nick name of S arcelles, a low-income
housing neighbor hood near Par is. Among the high number of
J e wish immigrants who live there, a Tunisian family of eight
shares a cramped apar tment: Laura (a French-bor n, 18-year-old
student), her sister M athilde, their mother, M athilde’s husband
Ar iel, and the couple’s four children. Independent and strongwilled, Laura refuses Ar iel’s or thodox y and her mother ’s
superstition. Instead, she throws herself into the study of K ant
which leads her to tak e e vening walks. On one such walk, she
meets an Alger ian-M uslim immigrant named Djamel. While
Laura’s life is disrupted by their love affair, her sister M athilde
finds out that her husband is cheating on her. M athilde tur ns
to a religious counselor who opens her e yes to the possibilit y
of sexual pleasure within mar r iage and to the different ways in
which religious faith can be enac ted. Her struggling mar r iage
is re vived, but Laura’s relationship with Djamel becomes
complicated by his family ’s disapproval of her. All this is
tak ing place while tensions bet ween M uslim and J e wish
communities are r ising. In her first feature film, K ar in Albou
delicately depic ts the intimate lives of t wo women while
raising questions of religious inter pretation, freedom, se xualit y
and family relationships.
“Her [K arin Albou’s] camera prowls, nimble and aler t, attentive to the heft
and texture of things. Close attention is paid to sound design, physiognomy
and the suggestive capacities of unpredictable edits.”
Nathan Lee, The Ne w Yor k T imes
24
Director: Illan Duran Cohen
LES PETITS FILS
GRAND SONS
Screenplay:
Ilan Duran Cohen
Cast:
Mamie Régine: Reine Ferrato
Guillaume: Guillaume
Quatravaux
Maxime: Jean-Philippe Sêt
Serge: Brice Cauvin
Awards:
Horizons Award, Venice
International Film Festival
(2004)
Running time: 64’
Production: France, 2004
Rating: Not rated
Gauge: DVD (color)
Guillaume of ten goes to Par is to visit his grandmother Régine
who raised him. He has a hard time dealing with his mother ’s
death which occur red t wo years ago. Although he loves his
grandmother, he is of ten frustrated by her. She is patient with
him, accepting him as he is. She is also comfor table with his
homosexualit y and does not mind that he is seeing an older
man. Ne ver theless, she wor r ies about him and expresses her
concer n to her late daughter (his mother), whose ashes rest on
the balcony. When Régine hires a housek eeper, M axime, to help
her, Guillaume is suspicious at first and then jealous of this
young man who has gained his grandmother ’s trust . Although
M axime tr ies not to get involved, he nonetheless helps
Guillaume deal with his mother ’s death and reunites him with
his grandmother. Filmed entirely in the grandmother ’s
apar tment, the vie wer is drawn into the intimate life of the
protagonists and cannot help but be affec ted by the film’s
emotional honest y, integr it y, and humor.
Distributor:
Strand Releasing
“‘Grand S ons’ is a film of small pleasures, many of which are found in the
per formances of Ferrato and Quatravaux, who are utterly natural and seem
to improvise off each other effor tlessly. You really feel like you’re spying on
their most private moments in that claustrophobic apar tment.”
D on W illmott, Filmcr itic.com
25
Director: Gilles Porte & Yolande Moreau
QUAND LA MER MONTE
WHEN THE SEA RISES
Screenplay:
Gilles Porte
Yolande Moreau
Cast:
Irène: Yolande Moreau
Dries: Wim Willaert
The Policeman: Olivier
Gourmet
The Journalist: Jackie Berroyer
When the S ea R ises tells the stor y of Irène (M oreau), a 45-yearold ac tress travelling from one small town to another with her
one-woman show, “Dir t y Business. ” Slyly funny in her mask ed
onstage persona, Irene is a genial pro at tour ing alone,
phoning home to her husband and child and sleeping in a ne w
hotel each night . Things change when a scooter-dr iving
vagabond named Dr ies fixes her stalled car. Af ter accepting an
invitation to her show, Dr ies soon appears at e ver y stop on her
tour as her “randomly selec ted ” audience par ticipant . What
de velops is a remar k ably natural and tender affair bet ween
t wo true eccentr ics, their exuberance and playfulness mixing
with a mature, mutual longing.
Awards:
Best First Film, Prix Louis
Delluc ( 2004) Best First Film,
Best Actress, César Awards
(2005)
Running time: 90’
Production: Belgium / France, 2004
Rating: Not Rated
(very brief nudity)
Gauge: 35mm (color)
Distributor:
New Yorker Films
26
“Approaches the eloquence of Fellini’s Strada. As you study Ms. Moreau’s
features, the actress reveals so many layers of emotional complexit y that her
face becomes a map of the world careworn, childlike and profoundly
beautiful.”
Stephen Holden, The Ne w Yor k T imes
Director: Arnaud Desplechin
ROIS ET REINE
KINGS AND QUEEN
Screenplay:
Arnaud Desplechin
Roger Bohbot
Cast:
Ismael: Mathieu Amalric
Nora: Emmanuelle Devos
Elias: Valentin Lelong
Abel: Jean-Paul Roussillon
Jennsens: Maurice Garrel
Mme Vasset: Catherine Deneuve
Awards:
Best Actor (Mathieu Amalric),
César Awards (2005)
Best Film, French Syndicate of
Cinema Critics (2005)
Prix Louis Delluc (2004)
Ar naud D esplechin once again traverses the unchar ted distance
bet ween comedy and tragedy with this exhilarating wor k of
intersec ting lives and family connec tions. Invok ing e ver ything
from Shak espeare and Hitchcock to M oby Dick, the film is a
hear tbreak ing, hilar ious melodrama of the intr igues and
entanglements of ex-spouses Nora and Ismaël. Ismaël is a
dishe veled, neurotic musician who descends into a comic
nightmare when he is committed to a mental hospital by a
myster ious third par t y. He spars with the steely clinic psychiatr ist, bursts for th with impromptu break-dancing sessions, and
attempts to woo a still-fragile suicide sur vivor. V ivacious ar t
dealer and single mother, Nora is struggling to r ise above the
calamities of her own romantic life and the looming death of
her ailing father by mar r ying an ic y Par isian businessman.
B ecause her young son dislik es her fiancé, Nora tr ies to convince
Ismaël to adopt the child. W ith its vivid references to
mythology, literature, and cinema, K ings and Queen is an
astonishingly or iginal and thoroughly enter taining tak e on
moder n relationships.
Running time: 150’
Production: France, 2004
Rating: Not Rated (brief nudity)
Gauge: 35mm, DVD (color)
Distributor:
New Yorker Films
27
“Desplechin gives these characters the time to develop, to display their
nuances, to establish their relationships with each other, to talk out their
destinies.”
Stephen Hunter, Washington Post
Director: André Téchiné
LES TEMPS QUI CHANGENT
CHANGING TIMES
Screenplay:
Laurent Guyot
André Téchiné
Cast:
Cécile: Catherine Deneuve
Antoine: Gérard Depardieu
Natan: Gilbert Melki
Nadia/Aïcha: Lubna Azabal
Sami: Malik Zidi
Running time: 90’
Production: France, 2004
Rating: Not rated
Gauge: 35mm, DVD (color)
Antoine ar r ives in Tangiers from Europe to super vise the
building of an audiovisual center. The secret aim of his
jour ne y is to link up with Cécile, whom he has continued to
love with a silent passion for more than thir t y years. Cécile
emigrated to Nor th Afr ica and mar r ied Natan, a J e wishM oroccan doc tor. S ami, their son, ar r ives at his parents’ place
with his gir lfr iend Nadia, who is raising S a ï d, a young child.
S ami and Nadia help each other to pursue their separate
passions. Nadia tr ies to reconnec t with her t win sister, A ï cha,
who lives in Tangiers. A ï cha has distanced herself and refuses
to see Nadia. S ami attempts to reconcile his relationship with
Bilal with his love for Nadia. Antoine tr ies to win over Cécile
and reignite the passion she once felt for him. While at first
she thought he was craz y and immature, Cécile feels restless
and begins to question her life. When a ter r ible accident
sends Antoine into a coma, Cécile stays at his bedside in
Tangiers while Natan moves to Casablanca.
Distributor:
Koch Lorber Films
“For his eighteenth film, André Téchiné has reunited a mythic couple from
French cinema (….) Without being a masterpiece, ‘Changing Times’ is a fine
film for Téchiné, generous, and sentimental.”
MCinema.com – M arch K ressman
28
Director: Sébastien Lifshitz
WILD SIDE
Screenplay:
Stéphane Bouquet
Sébastien Lifshitz
Cast:
Stéphanie: Stéphanie Michelini
Mikhail: Edouard Nikitine
Jamel: Yasmine Belmadi
The Mother: Josiane Stoléru
Awards:
Best Feature Film, Manfred
Salzgeber Award, Berlin (2004)
Special Jury Award, Gijon Film
Festival (2004)
Grand Jury Award, Outstanding
International Narrative Feature,
L.A.Outfest (2004)
Running time: 93’
Production: France / Belgium
United Kingdom, 2004
Rating: Not Rated (STRONG
Sexual Content)
Gauge: 35mm, DVD (color)
Distributor:
Wellspring Media
29
Stéphanie (whose bir th name is Pier re) is a transsexual
prostitute who plies her trade in Par isian discos, par ks, and hotel
rooms. She lives with J amel, a 30-year-old Nor th Afr ican who
also tur ns tr icks. One night, Stéphanie meets M ik hail, an illegal
Russian immigrant . He soon falls in love with her and she
decides to live with both par tners. Summoned to her childhood
home in the nor th of France by her dying mother Liliane,
Stéphanie tr ies to provide comfor t to a woman who has
difficulties accepting her son’s unconventional sexualit y.
Stéphanie is soon joined by M ik hail and J amel. Together the y
for m a nur tur ing web of comfor t and suppor t which helps her
gradually mak e up with her mother. Her childhood is re vealed
through flashbacks: a childhood mar k ed by the ear ly death of
her father and her sister Caroline, to whom she was deeply
attached. Liliane finally dies in her sleep. Stéphanie bur ies her
mother and closes the family home, destroying all of Liliane’s
possessions. Back in Par is, Stéphanie, M ik hail and J amel are
faced with an uncer tain future: the y live on the margins of a
societ y that is uncomfor table with people lik e them. The
camerawor k of Agnès G odard ( Beau Travail, Strayed) renders the
film deeply melancholic, sensual, and poetic.
“ Whether the camera is trained on the human body, the architecture of Paris,
the fields of northern France or dancers gyrating in a disco, the movie gives you
the feeling of rediscovering the world, moment by moment, in a revelatory
waking dream. It is a world of layered mysteries, primitive and seething with
latent violence, but exquisitely beautiful.”
Stephen Holden, The Ne w Yor k T imes
8 fe m m e s 8 Women - François Ozon, 2002
35, D VD | Swank M otion Pic tures
1 0 è m e C h a m b r e - I n s t a n t s d ’ a u d i e n ce The 10 th Distr ic t Cour t: M oments of Tr ial
Raymond Depardon, 2004 35, D VD | K och Lorber Films
ALTERNATIVE CHOICE LIST
A l a p e t i t e s e m a i n e Nick el and Dime - S am K armann, 2003
35 | French Feeling Films
A t o u t d e s u i t e - Benoît Jacquot, 2004
35 | The Cinema Guild
A b o u n a - Mahamet S aleh Haroun, 2002
35, D VD | Leisure T ime Features
A m e n - Constantin Costa-G avras, 2002
35, D VD | K ino Inter national
A n d n o w. . . l a d i e s a n d g e n t l e m e n - Claude Lelouch, 2002
35, D VD | Swank M otion Pic tures
L’ Au b e rg e e s p a g n o l e - Cédric K lapisch, 2002
35, D VD | Cr iter ion Pic tures USA
B o n voy a g e - Jean-Paul Rappeneau, 2003
35, D VD | S ony Pic tures Classics
B o r d d e m e r S easide - Julie Lopes Cur val, 2002
35, D VD | First Run Features
B r o d e u s e s S equins - Eléonore Faucher, 2004
35, D VD | Ne w Yor k er Films
Ca r n a g e s Car nage - Delphine Gleize, 2002
35*, D VD | Wellspr ing M edia
Le s C h o r i s t e s The Chorus - Christophe Barratier, 2004
35, D VD | Swank M otion Pic tures
Co n f i d e n ce s t r o p i n t i m e s Intimate Strangers - Patrice Leconte, 2004
35, D VD | Swank M otion Pic tures
D e m o n l ove r - O livier Assayas, 2002
35, D VD | Ne w Yor k er Films
D e p u i s q u’ O t a r e s t p a r t i Since O tar Lef t ... - Julie Ber tuccelli, 2003
35, D VD | Zeitgeist Films
L a D e r n i è r e l e t t r e The Last Letter - Frederick Wiseman, 2002
35 | Zipporah Fims
Le s Eg a r é s Strayed - André Téchiné, 2003
35, D VD | Ne w Yor k er Films
E l l e e s t d e s n o t r e s She’s One of Us - Siegfried Alnoy, 2003
35 | Leisure T ime Features
E n a t t e n d a n t l e b o n h e u r Waiting for Happiness - Abderrahmane Sissako, 2002
35 | Ne w Yor k er Films
L’ E s q u i ve G ames of Love and Chance - Abdellatif Kechiche, 2003
35, D VD | Ne w Yor k er Films
Ê t r e e t avo i r To B e and To Have - Nicolas Philiber t, 2002
35, D VD | Ne w Yor k er Films
Le Fa n t ô m e d ’ H e n r i L a n g l o i s Henr i Langlois: The Phantom of the Cinematheque
Jacques R ichard, 2004 D VD | Leisure T ime Features
* CinemaScope
Fe u x r o u g e s R ed Lights - Cédric K ahn, 2004
35, D VD | Ne w Yor k er Films
30
Le Fi l s The S on - Jean-Pierre & Luc Dardenne, 2002
16, 35, D VD | Ne w Yor k er Films
L a Fl e u r d u m a l The Flower of Evil - Claude Chabrol, 2003
35, D VD | Ne w Yor k er Films
Le G ra n d voy a g e Grand Voyage - Ismaël Ferroukhi, 2004
35, D VD | Film M ovement
H o p The Hop - Dominique Standaer t, 2003
D VD | Film M ovement
TOURNÉES FILMS 2002 | 2004
**
L’ H o m m e d u t ra i n M an on the Train - Patrice Leconte, 2002
35*, D VD | Swank M otion Pic tures
I l e s t p l u s f a c i l e p o u r u n c h a m e a u I t ’s Easier for a Camel...
Valeria Bruni Tedeschi, 2003 35, D VD | Ne w Yor k er Films
I l s s e m a r i è r e n t e t e u r e n t b e a u co u p d ’ e n f a n t s Happily Ever Af ter
Yvan Attal, 2004 35, D VD | K ino Inter national
Le s I nva s i o n s b a r b a r e s The Barbar ian Invasions - Denys Arcand, 2003
35, D VD | Swank M otion Pic tures
L a i s s e z - p a s s e r Safe Conduc t - Ber trand Tavernier, 2002
35, D VD | Empire Pic tures
M a v ra i v i e à R o u e n M y Life on Ice - O. D ucastel & J. Mar tineau, 2003
35, D VD | Wellspr ing M edia
M o n s i e u r I b ra h i m Mr. Ibrahim - François D upe yron, 2003
35, D VD | Ne w Yor k er Films
M o n s i e u r N . - Antoine de Caunes, 2003
35, D VD | Empire Pic tures
M o o l a d e - O usmane S embene, 2004
35, D VD (Summer 2006, TBC) | Ne w Yor k er Films
N o t r e m u s i q u e - Jean-Luc Godard, 2004
35, D VD | Ne w Yor k er Films
Le Pa p i l l o n The Butter fly - Philippe Muyl, 2002
35, D VD | First Run Features
Pa s s u r l a b o u c h e Not on the Lips - Alain Resnais, 2003
35, D VD | Wellspr ing M edia
L a Pe t i t e L i l i - Claude M iller, 2003
35, D VD | First Run Features
** For film descriptions and information, visit www.facecouncil.org/tournees/index.html
Q u i a t u é B a m b i ? Who K illed Bambi ? - Gilles Marchand, 2003
35*, D VD | Strand R eleasing
31
R a j a - Jacques Doillon, 2003
35, D VD | Film M ovement
S 2 1 : Th e K h m e r R o u g e K i l l i n g M a c h i n e - R ithy Panh, 2003
35, D VD | First Run Features
S c è n e s i n t i m e s S ex Is Comedy - Catherine Breillat, 2002
35, D VD | Swank M otion Pic tures
S o n f r è r e - Patrice Chéreau, 2002
35, D VD | Strand R eleasing
S t u p e u r e t t r e m b l e m e n t s Fear and Trembling - Alain Corneau, 2003
35, D VD | The Cinema Guild
Sw i m m i n g Po o l - François Ozon, 2003
35, D VD | Swank M otion Pic tures
L a Tr i l o g i e The Tr ilogy (Cava l e On the Run, U n co u p l e é p a t a n t An Amazing
Couple, A p r è s l a v i e Af ter Life) - Lucas Belvaux, 2002 35 | M agnolia Pic tures
Ta s u m a - Daniel Kollo S anou, 2003
35 | Ar t M attan
Le s Tr i p l e t t e s d e B e l l e v i l l e The Tr iplets of Belle ville - Sylvain Chaumet, 2003
16, 35, D VD | Ne w Yor k er Films
U n l o n g d i m a n c h e d e f i a n c a i l l e s A Ver y Long Engagement
Jean-Pierre Jeunet, 2004 35, D VD | Swank M otion Pic tures
U n e fe m m e d e m é n a g e The Housek eeper - Claude Berri, 2002
35, D VD | Ne w Yor k er Films
Ve n d r e d i s o i r Fr iday Night - Claire Denis, 2002
35, D VD | Wellspr ing M edia
V i va L a l d j é r i e - Nadir Mok nèche, 2003
35, D VD | Film M ovement
Yve s S a i n t - L a u r e n t : l e t e m p s r e t r o u v é YSL, His Life and T ime - David Teboul, 2003
D VD | Empire Pic tures
DISTRIBUTOR INFORMATION
32
Ar t Mattan
535 Cathedral Parkway, #14B
New York, NY 10025
T 212 864 1760 F 212 316 6020
www.africanfilm.com
The Cinema Guild
130 Madison Avenue
New York, NY 10016
T 212 685 6242 F 212 685 4717
www.cinemaguild.com
Criterion Pictures
8238-40 Lehigh Avenue
Morton Grove, IL 60053
T 800 890 9494 F 847 470 8194
www.criterionpicusa.com
Empire Pictures
350 Fifth Avenue, Suite 7801
New York, NY 10018
T 212 629 3535 F 212 629 3629
www.empirepicturesusa.com
Film Movement
109 West 27th Street, Suite B
New York, NY 10012
T 212 941 7744 F 212 941 7812
www.filmmovement.com
First Run Features
153 Waverly Place
New York, NY 10014
T 800 229 8575 F 212 989 7649
www.firstrunfeatures.com
French Feeling Films
475 NE 5th Street
Boca Raton, FL 33432
T 561 395 7077 F 561 395 7037
www.frenchfeelingfilms.com
Kino International
333 West 39th St., Suite 503
New York, NY 10018
T 212 629 6880 F 212 714 0871
www.kino.com
Koch Lorber Films
22 Harbor Park Drive
Port Washington, NY 11050
T 516 484 1000 F 516 484 4746
www.kochlorber films.com
Leisure Time Features
P.O. Box 1201
New York, NY 10009
T 212 267 4501 F 212 267 4501
www.leisurefeat.com
Magnolia Pictures
6 Porter Road
Cambridge, MA 2140
T 617 354 4606 F 617 812 0236
www.magpictures.com
New Yorker Films
85 Fifth Avenue, 11th Floor
New York, NY 10003
T 212 645 4600 F 212 645 3030
www.newyorker films.com
Strand Releasing
6140 W. Washington Boulevard
Culver City, CA 90232
T 310 836 7500 T 310 836 7510
www.strandrel.com
Sony Pictures Classics
550 Madison Avenue, 8th Floor
New York, NY 10022
T 212 833 8846 F 212 833 4190
www.sonyclassics.com
Swank Motion Pictures
Nat. T 800 876 5577 F 314 289 2192
East T 800 876 3344 F 631 434 1574
www.swank.com
ThinkFilm
22 East 22nd street, 5th floor,
New York, NY 10010
T 212 444 7901 F 212 444 7901
www.thinkfilmcompany.com
TLA Enter tainment
234 Market Street
Philadelphia, PA 19106
T 215 733 0608 F 215 733 0637
www.tlarealeasing.com
Palm Picture
76 Nineth Avenue, 11th Floor,
New York, NY 10010
T 212 320 3653 F 212 320 3639
www.palmpictures.com
Wellspring Media
419 Park Avenue South
New York, NY 10016
T 212 686 6777 F 212 545 9931
www.wellspring.com
Zeitgeist Films
247 Center Street, 2nd Floor
New York, NY 10013
T 212 274 1989 F 212 274 1644
www.zeitgeistfilm.com
Zipporah Films, Inc.
One Richdale Avenue, Unit 4
Cambridge, MA 02140
T 617 576 3603 F 617 864 8006
www.zipporah.com
Cover image from:
De Battre mon coeur s’est arrêté,
courtesy of New Yorker Films.
Other photographs courtesy of :
The Cinema Guild, Film Movement,
Kino International, Koch Lorber Films,
Leisure Time Features, New Yorker
Films, Strand Releasing, Swank Motion
Pictures, ThinkFilm, TLA Entertainment,
Wellspring Media.
FAC E
[
F R E N C H A M E R I C A N C U LT U R A L E X C H A N G E
]
S etting a ne w precedent in cultural relations, FACE pools pr ivate and public
resources to suppor t innovative dialogue and exchange in the fields of
contemporar y visual ar ts, per for ming ar ts, music, film, and higher education
bet ween the French-speak ing wor ld and the United States. As a catalyst for
creativit y and the promotion of what is ne w and excellent on both sides of
the Atlantic, FACE str ives to de velop mutual understanding and cooperation
bet ween French and Amer ican civil societies – face to face.
ABOUT US
A public/pr ivate par tnership: FACE, an Amer ican 501(c)(3) operating
foundation, is based in Ne w Yor k Cit y and wor ks in par tnership with the
Cultural S er vices of the French Embassy in the United States.
FACE is independently administered by an Executive Direc tor and a Board of
Trustees compr ised of French and Amer ican members.
The Cultural S er vices - with a proven track record of successful e vents and
programs - lends professional exper tise and provides general manager ial
suppor t .
FACE suppor ts programs in all the ar tistic disciplines as well as higher
education. In addition to T h e To u r n é e s Fe s t i va l , its major initiatives are:
C i n e m a | C i n é 2 0 0 0 “A la car te” grants for Amer ican film schools to assist
with depar tmental initiatives in the field of French cinema and to sponsor
the exchange of cinema professionals for master classes, conferences, etc.
Visual Ar ts | Etant donnés: The French-American Fund for Contemporary Art
celebrated its tenth year of ac tivit y in 2005. The Fund had distr ibuted over
$1.5 million to more than 180 projec ts dur ing those ten years.
Pe r fo r m i n g A r t s | E t a n t d o n n é s : T h e Fr e n c h - A m e r i ca n Fu n d f o r t h e
Pe r f o r m i n g A r t s was launched in 1999. The goal of the Fund is to encourage
institutions to produce or present theater projec ts and te x t-based theatr ical
produc tions either by contemporar y French play wr ights or with the par ticipation of French professionals.
Pe r fo r m i n g A r t s | Ac t Fre n c h : A S e a s o n o f N e w T h e a te r f r o m Fra n ce took
place in the fall of 2005 in Ne w Yor k Cit y. Close to 35,000 people attended
per for mances and theater-related e vents which re vealed to Ne w Yor k
audiences a broader vision of theater and cultural diversit y in France.
M u s i c | T h e Fr e n c h - A m e r i ca n Fu n d f o r Co n t e m p o ra r y M u s i c created in
2004, is a grant-giving program dedicated to stimulating French-Amer ican
cooperation in contemporar y music.
H i g h e r E d u c a t i o n | T h e Fr e n c h - A m e r i ca n Fu n d f o r U n i ve r s i t y
Pa r t n e r s h i p s is a grant-giving program which suppor ts the for mation of
innovative graduate-le vel par tnerships bet ween institutions of higher
lear ning in France and the United States.
33
T h e T o u r n é e s F e s t i v a l , a p ro g ra m o f FAC E
( Fre n c h Am e r i c a n Cu l t u ra l E xc h a n g e ) , wa s l a u n c h e d i n
1 9 9 5 to h e l p b u i l d a n e w p u b l i c fo r Fre n c h c i n e m a by
e n co u ra g i n g f i l m s c re e n i n g s o n Am e r i c a n co l l e g e a n d
u n i ve r s i t y c a m p u s e s.
I n co l l a b o rat i o n w i t h t h e Fre n c h M i n i s t r y o f Fo re i g n
Af f a i r s, t h e Ce nt re N at i o n a l d e l a C i n é m ato g ra p h i e,
t h e Fl o re n ce G o u l d Fo u n d at i o n , t h e G ra n d M a r n i e r
Fo u n d at i o n a n d t h e Fra n co - Am e r i c a n Cu l t u ra l Fu n d
( S AC E M , t h e Wr i te r s G u i l d o f Am e r i c a , t h e D i re c to r s
G u i l d o f Am e r i c a a n d t h e M o t i o n Pi c t u re As s o c i at i o n ) ,
T h e T o u r n é e s F e s t i v a l s u p p o r t s Fre n c h f i l m s c re e n i n g s
o n c a m p u s e s a c ro s s t h e co u nt r y e a c h ye a r.
FACE
9 7 2 Fi f t h Ave n u e, N e w Yo r k , N Y 1 0 0 2 1
a p ro g ra m o f FAC E, i s s p o n s o re d by :
The Tournées Festival,
Phone 2 1 2 4 3 9 1 4 4 9
Fax 2 1 2 4 3 9 1 4 5 5
E-mail i n f o @ f a c e c o u n c i l . o r g
new
French Films
on Campus
Website www.facecouncil.org