Brussels-based company Best Friend Forever has boarded international rights to “Death Does Not Exist” (“La mort n’existe pas”) which is being showcased in the work-in-progress section at the Annecy Film Festival.
Currently in production, “Death Does Not Exist” is directed by Félix Dufour-Laperrière who previously helmed “Archipel” which won the Annecy Contrechamps Jury Award in 2021, and ‘Ville Neuve’ which had its premiere at Venice Days 2018.
“Death Does Not Exist” takes place after young activists fail an armed attack to overthrow figures of the establishment in their sumptuous villa. Helen freezes and abandons her accomplices. Manon, another
member of her group, returns to haunt her. The film’s voice cast includes Zeneb Blanchet, Karelle Tremblay (“The Nature of Love”), Mattis Savard-Verhoeven, Barbara Ulrich and Irène Dufour.
“’Death Does Not Exist’ deals with difficult subjects – violence, commitment, profound convictions – in a way that exposes their underlying tensions, outbursts, dead ends,” said Félix Dufour-Laperrière,...
Currently in production, “Death Does Not Exist” is directed by Félix Dufour-Laperrière who previously helmed “Archipel” which won the Annecy Contrechamps Jury Award in 2021, and ‘Ville Neuve’ which had its premiere at Venice Days 2018.
“Death Does Not Exist” takes place after young activists fail an armed attack to overthrow figures of the establishment in their sumptuous villa. Helen freezes and abandons her accomplices. Manon, another
member of her group, returns to haunt her. The film’s voice cast includes Zeneb Blanchet, Karelle Tremblay (“The Nature of Love”), Mattis Savard-Verhoeven, Barbara Ulrich and Irène Dufour.
“’Death Does Not Exist’ deals with difficult subjects – violence, commitment, profound convictions – in a way that exposes their underlying tensions, outbursts, dead ends,” said Félix Dufour-Laperrière,...
- 6/10/2024
- by Elsa Keslassy
- Variety Film + TV
Next month, John Coltrane’s label, Impulse!/Ume, will release Blue World, a new album by the legendary saxophonist. Recorded in 1964 and largely unreleased until now, the 37-minute session was intended as a soundtrack for Le chat dans le sac (“The Cat in the Bag”), a film by the Quebecois director Gilles Groulx. Only 10 minutes’ worth of the music actually appeared in the film, and none of it has appeared on any prior album.
Like Both Directions at Once: The Lost Album, an unearthed mid-Sixties Coltrane LP released for the...
Like Both Directions at Once: The Lost Album, an unearthed mid-Sixties Coltrane LP released for the...
- 8/16/2019
- by Hank Shteamer
- Rollingstone.com
I'm drawn to Straub-Huillet’s usage of direct quotations rather than adapting or interpreting original material for a film. To me this is, among other things, a very straightforward and concrete way of highlighting that people are much less original than they are often assumed to be. (I think that Danièle Huillet once said this, but she was certainly not the first one.) It might be worth being reminded of this, especially today, in a time where we see and seek constant innovation and renewal everywhere while nothing really changes at the core. But for Straub-Huillet, quotation is also about something else. Every film of theirs is a documentation of their loving relationship to a preexisting text, artwork, or artist. The films are more genuinely about the work of the other and less about the couple's so-called vision. Quotation, to Straub-Huillet, is an act of respect, one...
- 2/7/2017
- MUBI
Le Chat Dans Le Sac
Written and Directed by Gilles Grouix
Canada, 1964
A movie that is difficult to find but well worth the effort, Le Chat Dans Le Sac captivates moviegoers through its hand held camera usage, John Coltrane soundtrack, twenty-something characters struggling with the world around them. You don’t have to be familiar with Quebec’s Quiet Revolution, a political movement sparked by the election of Jean Lesage in 1960, in order to understand the film. But there’s a good chance the movie will inspire you to follow up with some research to fully grasp the world these characters are living in. It was the Quiet Revolution that helped Quebec become the secularized Province we know it to be today, shifting the power from the Catholic Church to the provincial government. Le Chat Dans Le Sac tells the story of the Quiet Revolution through the romantic relationship of a moody,...
Written and Directed by Gilles Grouix
Canada, 1964
A movie that is difficult to find but well worth the effort, Le Chat Dans Le Sac captivates moviegoers through its hand held camera usage, John Coltrane soundtrack, twenty-something characters struggling with the world around them. You don’t have to be familiar with Quebec’s Quiet Revolution, a political movement sparked by the election of Jean Lesage in 1960, in order to understand the film. But there’s a good chance the movie will inspire you to follow up with some research to fully grasp the world these characters are living in. It was the Quiet Revolution that helped Quebec become the secularized Province we know it to be today, shifting the power from the Catholic Church to the provincial government. Le Chat Dans Le Sac tells the story of the Quiet Revolution through the romantic relationship of a moody,...
- 4/14/2015
- by Samantha Ladwig
- SoundOnSight
This year's poster for the Vienna International Film Festival is of a flame, and while around the world in other cinema-loving cities and at other cinema-loving festivals one might that that as a cue for a celluloid immolation and a move forever to digital, here in Austria cinema and film as film aren't burning up but rather are burning brightly.
The tributes and special programs in artistic director Hans Hurch's 2014 edition make this position clear: John Ford, Harun Farocki and 16mm, with new films by Tariq Teguia, Jean-Luc Godard, and Jean-Marie Straub accompanying older ones by the same directors. These aren't just retrospectives, they are revitalizing redoubts, inexhaustible fountains of flame, of sensitivity, of consciousness, and of intervention. With such a profound retrospective program, I hope you'll forgive me telling you very little of anything new at the festival; unless, that is, you like me count cinema revived as something always new.
The tributes and special programs in artistic director Hans Hurch's 2014 edition make this position clear: John Ford, Harun Farocki and 16mm, with new films by Tariq Teguia, Jean-Luc Godard, and Jean-Marie Straub accompanying older ones by the same directors. These aren't just retrospectives, they are revitalizing redoubts, inexhaustible fountains of flame, of sensitivity, of consciousness, and of intervention. With such a profound retrospective program, I hope you'll forgive me telling you very little of anything new at the festival; unless, that is, you like me count cinema revived as something always new.
- 11/12/2014
- by Daniel Kasman
- MUBI
Dear Danny,
Among other things, Tiff is a place for getting rid of aesthetic prejudices. I often drag my feet going to experimental projects—you know, from our conversations, that I’m far more of a narrative guy—and yet I always marvel at the beauties I find in them. Imagery and rhythm are self-sufficient pleasures, and the three-part Wavelengths program we saw showcased plenty of these elements. Following Un conte de Michel de Montaigne, João Pedro Rodrigues’ The King’s Body also uses a statue as a recurring image—not the smilingly contemplative Montaigne of Jean-Marie Straub’s splendid recitation, but the armored-for-battle Afonso Henriques, Portugal’s first conquering monarch. There their similarities end, however: whereas Straub gets his mysterious effects from sun-dappled tableaux punctured by darkness, the rustling of leaves and Barbara Ulrich’s reading of the text, Rodrigues envisions a different form of performance through a parade of sinewy beefcake.
Among other things, Tiff is a place for getting rid of aesthetic prejudices. I often drag my feet going to experimental projects—you know, from our conversations, that I’m far more of a narrative guy—and yet I always marvel at the beauties I find in them. Imagery and rhythm are self-sufficient pleasures, and the three-part Wavelengths program we saw showcased plenty of these elements. Following Un conte de Michel de Montaigne, João Pedro Rodrigues’ The King’s Body also uses a statue as a recurring image—not the smilingly contemplative Montaigne of Jean-Marie Straub’s splendid recitation, but the armored-for-battle Afonso Henriques, Portugal’s first conquering monarch. There their similarities end, however: whereas Straub gets his mysterious effects from sun-dappled tableaux punctured by darkness, the rustling of leaves and Barbara Ulrich’s reading of the text, Rodrigues envisions a different form of performance through a parade of sinewy beefcake.
- 9/17/2013
- by Fernando F. Croce
- MUBI
Dear Fern,
We're absolutely on the same page with Hong's Our Sunhi, a film that came at just the right time to rejuvenate me with its droll, supreme simplicity. That it avoids Hong's charming penchant for dreams and discreet dream objects, as well as systematic structuralism, subsuming these into a nominally realist narrative, makes its delightful ideas and sadly hilarious improvisations particularly refreshing.
A day after the Hong screening, the film's terribly clever, roundelay story of three men's separate impressions of a young woman, her impression of herself and each man in turn as forming a kind of circuit loop of information, each informing the other so that any original thought, impression or character seems a group-effort amalgam, made me think—surprise, surprise—of our information age, highly wired, furiously opinionating festival experience. Friends and colleagues spending concentrated time together trading quips and insights and offhand characterizations of films, passing audience remarks,...
We're absolutely on the same page with Hong's Our Sunhi, a film that came at just the right time to rejuvenate me with its droll, supreme simplicity. That it avoids Hong's charming penchant for dreams and discreet dream objects, as well as systematic structuralism, subsuming these into a nominally realist narrative, makes its delightful ideas and sadly hilarious improvisations particularly refreshing.
A day after the Hong screening, the film's terribly clever, roundelay story of three men's separate impressions of a young woman, her impression of herself and each man in turn as forming a kind of circuit loop of information, each informing the other so that any original thought, impression or character seems a group-effort amalgam, made me think—surprise, surprise—of our information age, highly wired, furiously opinionating festival experience. Friends and colleagues spending concentrated time together trading quips and insights and offhand characterizations of films, passing audience remarks,...
- 9/15/2013
- by Daniel Kasman
- MUBI
Nb: Films by Robert Beavers, Peter Hutton, and Luther Price were unavailable for preview. However, I said some very nice things about these men and their work in general over at The Dissolve.
In years past, I have attempted to present this extended article as a preview; my aim has been to send it off into the world either the day before of the day of Tiff's kick-off. That has proven impossible this year, and, dear reader, I am heartily sorry for having offended thee... But the fact that Wavelengths is a beat that is becoming harder and harder for one person to adequately cover is undoubtedly a sign of good health. Since last year, when Tiff enfolded the former Visions section (a space for formally adventurous narrative features) into Wavelengths (Tiff's experimental showcase), not only has interest in the section grown exponentially. The section can now more fully reflect...
In years past, I have attempted to present this extended article as a preview; my aim has been to send it off into the world either the day before of the day of Tiff's kick-off. That has proven impossible this year, and, dear reader, I am heartily sorry for having offended thee... But the fact that Wavelengths is a beat that is becoming harder and harder for one person to adequately cover is undoubtedly a sign of good health. Since last year, when Tiff enfolded the former Visions section (a space for formally adventurous narrative features) into Wavelengths (Tiff's experimental showcase), not only has interest in the section grown exponentially. The section can now more fully reflect...
- 9/9/2013
- by Michael Sicinski
- MUBI
Above: Un héritier (2011).
According to my best available sources, the first Jean-Marie Straub/Danièle Huillet film to appear at the Locarno film festival was their 1994 short, Lothringen! (All corrections and updates to this are welcome.) This turns out to be perfectly appropriate for the appearance of Straub in Locarno circa 2011, in which new and old work appears in three separate programs, including a revival screening of Lothringen! (sometimes known as Lorraine!) as part of a Straub shorts program. That program also includes one of Straub's newest films, Un héritier, which was commissioned by the Jeonju film festival for its annual Jeonju Digital Project and, in what's now a tradition, is here in Locarno. This edition of the project is about as strong as any recent one, with the Straub and a small masterpiece by José Luis Guerín, Memories of a Morning, which sees him in the sublime mode of En construcción,...
According to my best available sources, the first Jean-Marie Straub/Danièle Huillet film to appear at the Locarno film festival was their 1994 short, Lothringen! (All corrections and updates to this are welcome.) This turns out to be perfectly appropriate for the appearance of Straub in Locarno circa 2011, in which new and old work appears in three separate programs, including a revival screening of Lothringen! (sometimes known as Lorraine!) as part of a Straub shorts program. That program also includes one of Straub's newest films, Un héritier, which was commissioned by the Jeonju film festival for its annual Jeonju Digital Project and, in what's now a tradition, is here in Locarno. This edition of the project is about as strong as any recent one, with the Straub and a small masterpiece by José Luis Guerín, Memories of a Morning, which sees him in the sublime mode of En construcción,...
- 8/10/2011
- MUBI
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