Rectangle Productions presents UniFrance

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Rectangle Productions presents,Opening Night Platform. A film by Bertrand Bonello, Finnegan Oldfield Vincent Rottiers Hamza Meziani Manal Issa. Martin Guyot Jamil McCraven Rabah Nait Oufella Laure Valentinelli. Ilias Le Dor Robin Goldbronn Luis Rego Hermine Karagheuz. and the participation of Ad le Haenel,France Duration 2H10 Image Scope Son 5 1. INTERNATIONAL SALES INTERNATIONAL PR CONTACT,WILD BUNCH RYAN WERNER. CAROLE BARATON rtwerner me com,cbaraton wildbunch eu 1 917 254 7653.
OLIVIER BARBIER MARTIN MARQUET,obarbier wildbunch eu martin marquet mac com. FANNY BEAUVILLE 1 310 927 5789,fbeauville wildbunch eu. EMILIE SERRES SAN SEBASTIAN FF PR CONTACT,eserres wildbunch eu RELABEL COMUNICACI N. SILVIA SIMONUTTI SPANISH PRESS ANABEL MATEO,ssimonutti wildbunch eu prensa relabel net. 34 91 435 68 08 34 629 13 90 30,INTERNATIONAL PRESS LIDIA CORRAL.
press relabel net,34 91 435 68 08 34 696 44 61 78, One morning in Paris A fistful of adolescents from different backgrounds. Individually they begin a strange dance through the labyrinth of the metro and the. streets of the capital They seem to be following a plan Their gestures are precise. almost dangerous They come together in the same place a department store at. closing time,The night begins,STATEMENT BY BERTRAND BONELLO. The film emerged from both a feeling about the world in which we live and formal. cinematographic ambitions I wrote the very first draft five years ago while I was. working on House of Tolerance a fictional opiated period film and I wanted in. contrast to make next an ultra contemporary film conceived in a very different. way very direct more like a kind of gesture, I therefore wrote a draft very quickly which addressed a climate I ve felt for a long. time now one I d describe as the pressure cooker effect That is to say. something simmering about which I ask myself Why doesn t it explode Of. course the very essence of human behaviour is to adapt to integrate and to admit. things that are in fact unacceptable Then from time to time in history there is an. insurrection a revolution A time when people say stop A refusal. I started with this premise and quickly inclined towards genre cinema in the sense. that I wanted to address the how rather than the why Why is dealt with in the scene. where Ad le Haenel says It had to happen You just have to walk in the street to. feel this very palpable tension or look through a newspaper to realise that it could. happen That s why the film begins without any introduction. How do you take action how does it happen In the film actions are for me more. important than words Action versus discourse how versus why Mystery also plays. an important part in cinema and I didn t want to try and rationalise things that are. not always explicable or justifiable, From the beginning the script was entitled Paris est une f te1 This antiphrasis was. absolutely in keeping with the film that I wanted to make I put it on hold to make. Saint Laurent and then returned to it with shooting scheduled for summer 2015. During post production Paris est une f te took on an entirely new meaning and it. clearly had to be changed Naturally I turned to music Nocturama is the title of an. album by Nick Cave I liked this idea of a Latin Greek hybrid that would mean night. vision I asked Nick if I could use it and he said yes He explained that the word in fact. referred to the area in a zoo created specifically for nocturnal animals That suited. me very well Nocturama also evokes something nightmarish. From reality to fiction, As a filmmaker I m not a substitute for a journalist a sociologist or an historian My.
aim isn t to decipher current events or to comment on them In any case current. events are too quick for film which will always be overtaken if it attempts to stick to. them The strength of fiction lies elsewhere in the recreation of a world with its. own rules logic and key elements Observation rather than analysis. 1Literally Paris is a Feast the French title of Ernest Hemingway s memoir A Moveable Feast. which became a slogan of hope after the 13 November 2015 attacks in Paris. For me the fact that one is sensitive to or inspired by reality is a given but the next. stage is to free yourself from it and make it your own To feel free Reality can be. found elsewhere anyway in the choice of an actor or a location. From exterior to interior, The structure came first That was the basis A first section with isolated characters. outside in motion supported only by journeys and actions characters who only. appear together for a brief instant in two impressionistic flashbacks Then a section. in which they are together no longer in action but waiting The transition from. exterior to interior world also allows for a transition from reality to abstraction from. a real world to a fantasy world, As soon as the characters enter the department store there is no longer an outside. world no more windows no mobile phones there is nothing left and they reinvent. something Fiction and mind take precedence over the exterior. Then at a certain point a character steps outside again He almost tries to escape. before realising that in the final reckoning he no longer belongs in the outside. world He no longer has anything to do there So he returns. Off camera, From the beginning I chose to remain only with my group of characters Everything is. from their point of view Like them we don t know exactly what s happening on the. outside except in certain instances via TV screens I didn t want cross cutting. First it helped me focus on the idea of time passing by Second they are what. interests me this micro society that they form together compelled to start over in. order to survive The off camera brings us closer to them. I wanted to film Paris realistically including its tougher aspects It s a very difficult. city to film very beautiful but damaged by its internal life road signs. advertisements construction work and so on But I decided to put all this together. The characters journeys are part of this realism, For the metro scenes for example we filmed in an almost documentary style We. didn t privatise any locations We were in the middle of everyone else I wanted to. show the richness of the metro all these different atmospheres via this opening. As for the choice of targets it addresses this need which runs throughout the film. to go from the feeling of something real to one of derealisation I don t have. anything against HSBC or the Ministry of the Interior But they are there part of our. society our environment our daily life It s an idea of repression of capitalism of. suffocation The collision between a kid from the suburbs and Joan of Arc was one of. the first images that came to mind when I started writing the script For me it s a. certain idea of France I didn t want blind lethal attacks I d rather work with. At first I worried that the young actors might not relate to the story but after talking. to them I understood that it really resonated with them and that I wasn t far off. target In a political and critical speech they spontaneously refer to financial. institutions the Ministry of Justice the media economic oppression and everything. that seems to have seized power over their thoughts and freedom. The department store, Department stores like this one are fascinating truly fictitious places in the sense.
that they are the recreation of a world inside a world Everything is there All of. life from bathtubs to food from beds to televisions It is also a symbol for the. consumerism of our time including virtual consumerism. After having violently attacked the exterior world the characters find themselves. locked up in this interior world They are caught It s inevitable Each finds him or. herself in a different area of the store Because that s what they would like to be it. lets them dream it s easy they need it or it s simply who they are There are two. scenes for example where a character finds himself face to face with a mannequin. dressed exactly like him In the former we are confronted with consumerism in the. second with death The disappearance of the self, Whereas things are so difficult to obtain in life here everything is simple It becomes. a place of freedom even if it s artificial So they allow themselves anything taking a. bath go karting even a show Among all the ideas I had I kept the most absurd as. they are for me the most beautiful I preferred dreams to the trivial or materialistic. The choice of the actors, Among the actors only half already had film experience the others had none I was. keen on this mix and balance These novice actors bring wonderful things their. faces their way of moving the musicality of their language I love actors but here I. took great pleasure in filming other faces new bodies their body language. sometimes clumsy but always fresh I knew when I was writing that I d be directing. only 50 of the characters The actors would bring the rest themselves with their. personalities their way of being who they are I often told myself that the mise en. sc ne should tend towards fiction and the directing of actors towards the. documentary, Casting lasted almost nine months I met all sorts of young people When I was. writing I was in a fiction in fantasy But when I met them I was surprised that what. I told them of the story didn t seem at all extraordinary to them They told me That. seems normal that seems logical to me we just lack a little bit of courage a little bit. of organisation I m not violent but I could do that. Our Children Lost Youth, Having watched the finished film I see something I didn t realise when I was writing. it A part of them remains anchored in childhood and I find that troubling The film. also addresses this this is what we have done to our children The most fictional. point of view of the film is its very first premise its desire to bring together young. people from different geographical and social backgrounds whom society does. everything to divide To bring them together with one shared ideal In a way it s the. punk aspect of the creation of the film the sense of an almost adolescent utopia a. desire for refusal even perhaps for destruction What interested me was that they. all shared this urge to say Stop In parallel we have seen these past few weeks on. the streets the rise of youth movements that also expose in their own way a. When I was preparing the film I re read La Bo tie s Discourse on Voluntary. Servitude a very short yet extremely powerful book and a call to insurrection I. had forgotten that it was written by a 20 year old kid in the sixteenth century La. Bo tie explains how there is a time when man accepts things that an animal. wouldn t Nocturama is first and foremost a film about refusal The only way to. express this was to form a heterogeneous group and to try and find a logic. something obvious in the way in which they can be together This being together. as we would say of living together was fundamental At the beginning of the film. for example they function alone or in pairs or threes but are rarely all together. apart from in the flashback during which there is a dance scene Almost a trance I. really wanted something to unite them without relying on speech or dialogue I. recorded music that was both rhythmic and ambient and immersed them in it I let. them appropriate it for themselves Each of them eventually found his or her place. in the room and in the sound,Mise en sc ne, I was obsessed by the mix of ultra realism and abstraction realism in their journeys.
the details all very documented HSBC Manuel Valls and abstraction in the. interior the disconnection, So I worked a lot on movement and gesture A sort of action unlike an American. action film but which must nevertheless bring tension And within this tension I. knew I had to pace things sometimes almost in real time taking time with the. characters so as not to puppet them so as to be absolutely with them from start. to finish The film is meticulously arranged Every movement every angle every. change in angle It s constructed like a musical score. The trickiest thing was to find a tension in the waiting when they are in the store. From the moment we don t know what s happening on the outside we have to. organize time passing with what happens off screen. In the same way I worked a lot on the placement of the moving shots and static. shots For example when the character played by Finnegan Oldfield leaves the store. I wanted very simple setups static shots in a deserted Paris with a single actor. passing through the frame The scene conveys a sense of calm playing not on the. hysteria of the outside world but on the contrary on its emptiness Even if this. sense of calm is just as terrifying Then came the idea of temporality which like the. film would go from the real to the unreal After a while in the store I wanted time. to diffract We go backwards change the point of view play with the idea of a. 2 In France the Nuit Debout movement began on March 31st 2016 as a reaction against proposed. labour reforms known as the Loi Travail Street protest united thousands of young people in the. style of Occupy Wall Street in the US or the anti austerity Indignados in Spain. broken record The further we go into the film the more time explodes This instils. a sense of derailment Then there are the scenes with the GIGN National. Rectangle Productions presents A film by Bertrand Bonello with Finnegan Oldfield Vincent Rottiers Hamza Meziani Manal Issa Martin Guyot Jamil McCraven Rabah Nait Oufella Laure Valentinelli Ilias Le Dor Robin Goldbronn Luis Rego Hermine Karagheuz and the participation of Ad le Haenel France Duration 2H10 Image Scope Son 5 1 INTERNATIONAL SALES WILD BUNCH CAROLE BARATON

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