A screening of "VÂYU" [Air], a 1994 movie by Velu Viswanadhan, closes today the exhibition dedicated to the Indian painter at the Pascaline Mulliez gallery. (The film will be presented by Pierre Eugène - film critic and PhD in Film Studies at 'Jules Verne University', Picardy). Filmography: 2010 - MG Road to Dandi, Crosswinds production 2009 - What happens in heavens, Croswinds production Retour aux éléments, Méroé Films / ARTE / Centre Pompidou Pushed, Chorégraphie Padmini Chettur, Crosswinds production 2006 - Inhabit, Chorégraphie Preethi Atreya, Crosswinds production 2005 - Paper Doll, Choreographie Padmini Chettur, Crosswinds production 2004 - Solo, Chorégraphie : Padmini Chettur, Crosswinds production Tsunami at Cholamandal, Fishermens’ Village, Crosswinds production 2003 - Raja Rani, Crosswinds production 2002 - Ether / Aakaash, Production Viswanadhan / Centre Pompidou 2001 - Des Mains de Calcutta, Crosswinds production 1994 - Air / Vayu, Production Le Jour et la Nuit / ARTE / Centre Pompidou 1988 - Agni / Feu, Production Viswanadhan / Centre Pompidou 1985 - Eau / Ganga, Production Viswanadhan / Centre Pompidou 1976-1982 - Sable, Production Viswanadhan / Centre Pompidou [All PPG's posts about Viswa]. ___
Toronto hosted last week, June 24-26, the International Indian Film Academy awards, the Indian version of the Oscars - a three-day festival of dance, music, fashion and movies culminating in a massive movie awards gala.
[Reuters] Numerous cultural events, film workshops, and movie screenings have also taken place across the GreaterTorontoArea in the past week, leading up to Saturday night's festivities. [ChrisYoung]
A curiosity: my first invit to see 'The 5 elements" was in 2004... * * * I hope you didn't miss the Art Chennai festival, mid-March. Viswanadhan's was there!
I mean the movie, of course. A 24 month-production is nothing compared to Ramesses' waiting for 3200 years to accomplish his trip on the screen.
You can see the trailer, in ENGLISH and FRENCH versions and even download the 2 parts of the film.
by Valérie Girié, director and scriptwriter and Guillaume Hecht, architect, producer and director.
Production : Les Films du Scribe, Egyptian Media Production City, Koloss, CNRS Images.
Contributors : Christiane Desroches-Noblecourt, Valéry Giscard d'Estaing, Zahi Hawass, Christian Leblanc, Salima Ikram, Abd el-Rassoul family, André Macke,Kevin Caine, Christian de Tassigny, Philippe Martinez. ___
But now, in 2010, 120 years later, he is back as...'na stampa e 'na figura !
LA SCOMPARSA DI PATÒ[The Vanishing of Patò] Challenging the allegations of L'Araldo di Montelusa, edition of Monday 28 April 1890 - one of the precious documents 'unearthed' by Andrea Camilleri and that constitute the basis on which the Sicilian writer has been able to build the imaginary and strange adventure as well as the possible death of Mr Pato - a recent survey, carried out in close collaboration between MM Camilleri, Mortelliti and Nichetti, gives us back the same man, priciso 'ntifico, in good shape and ready for a new adventure... the same adventure, in fact, brought by a movie.
Director of the Trinacria bank of Vigàta and notable of the town, Mr. Antonio Pato usually plays the role of Judas in the 'Passion of Christ' for the traditional Venerdì Santo performance and each year, as he commits suicide, Judas disappears from the scene through a trapdoor disguised under his feet. But in the year 1890, the accountant disappears once and for all.Is Patò dead or is he hiding ? Murì Patò o s’ammucciò? The investigation is set in motion in Vigàta, revealing the usual rivalry between the Reali Carabinieri and the Pubblica Sicurezza, punctuated by the provincial and local newspaper articles and some anonymous and spicy commentaries that bloom on the walls of the city. Rumors and gossip explode, heralds of a scandal that the authorities will suffocate... at the expense of truth.
This is the first film adaptation of a historical novel by Camilleri, partly because his detective series, animated by his Inspector Montalbano is far more popular, at least in Italy, and has already inspired a television series, rather poor in my opinion and I'm afraid it would require a bigger talent to bring to the screen a historical novel by Camilleri, without betraying the essence of his creation. We can always wait until the movie comes out, no hurry. ___ LA SCOMPARSA DI PATÒ, Italy, 2010 Director: Rocco Mortelliti Screenplay: Andrea Camilleri, Rocco Mortelliti, Maurizio Nichetti Cast: Nino Frassica, Maurizio Casagrande, Neri Marcorè [Patò], Alessandra Mortelliti Production: 13 Dicembre S.r.l. ___
In a recent interview, the writer points out, with his usual irony, the similarities between the pressures exerted on the police in his novel, with those we still can find today in the late Berlusconi's 'affairs'. Citing Tomasi di Lampedusa in Il Gattopardo, Camilleri notes that even today, in Italy, everything changes in such a way that nothing changes. ___
"In the intimacy of the artist - adept of bondage (shibari> 縛り) - and of his models. Freely based on the life of painter-photographer Seiu Ito."
His models: his two wives and a prostitute whose resemblance to his first wife dragged him into one Sade-style spiral.
If the story takes all points of view, the photographer's and model's behaviour and feelings prevail in such an extent that thestressful practice of bondage appears as naturally admitted.
"I think Nikkatsu's position in the industry is unique. It's a large company, but we worked on one single concept, sex, for 18 years, and made a very large number of films. Having sex is an activity where we clearly show our true natures. Examining the relationships between men and women is one of the best ways to show the essence of human beings. So we thought that by working with the theme of sex, we could explore ourselves more deeply and express the very core of the world." [Noboru Tanaka - 1937-2006] ___
[Below, a few snaps taken on arte-tv]. In 1976, the painter Velu Viswanadhan began a cycle of films on the five elements: sand, water, fire, air and ether - wich, according to Vedic principles, constitute the universe. They are the starting point of a journey across mythical, historical and everyday's India. Over thirty years later, this new film is a flashback and a rediscovery of the premises, and a statement of what India is nowadays. Viswanadhan filmed each element in itself : the eddies of the Ganges, the lightning storm, the wind in the paddy fields... but also how humans use these elements : fishermen casting their nets, blacksmiths clapping iron, tea merchants boiling water... The sounds of nature and life are the sole film's soundtrack : the sound of the waves dying on the shore and the crackling of a fire do replace speech. The repetition of images and their slow pace let viewers immerse themselves in nature, in a sense of eternity. [Translated from a text by Aamil/arte-video] *[Viswanadhan filmography] Thanks to all Viswa's fans, yours faithful G@tto.
A classic from Rohmer's "marivaudages" Le genou de Claire (Claire's Knee), 1970
(okchicago)
Did I say "marivaudages" ? "(le mot)... décrit un certain type de dialogue amoureux (dont les comédies de Marivaux offrent le modèle), il renvoie à une certaine façon de vivre l'échange sur le mode de la galanterie et du badinage. C'est dans ce sens large que le mot est de nos jours le plus couramment employé pour désigner une atmosphère enjouée et spirituelle, des rapports amoureux fondés sur le jeux de la séduction, tels qu'on les trouve dans les films d'Eric Rohmer, par exemple". Eric Négrel, 1999, on "Le Jeu de l'Amour et du Hazard". ____
On January 14 Arte features Les Nuits de la Pleine Lune (Full Moon in Paris), 1984, with Pascale Ogier (that I met at a party in 1983).
Eventually, a few days ago, I was dragged to see Avatar on a cold, very cold evening. A Siberian wind was blowing on quai de Seine as we reached the MK2 movie theater, where we had to wait outdoor for twenty minutes prior to be allowed inside. It was so cold we even met a white bear, standing on a ridiculous but real fragment of ice field, floating on the Villette channel and he was shaking too, his fur messed up with the wind whirls. My camera freezed in my hand, refusing to release the shutter,so no bear picture, sorry. As a result, when I wanted a picture of the 3D spectacles, I had a blurry effectdue to condensation, but I was there for special effects, after all. Now, about Avatar...happily I was primarily attracted by the movie's 3D effects which are fantastic and I can't wait this technology to be applied to interesting issues by a less commercial film director than Cameron and not necessarily exploring virtual worlds.
Nonetheless, I liked the idea of avatars as a way to enter a virtual environment and was charmed by those little creatures jellyfish-like, dancing in the air and almost touching the audience in their seats, but I disliked the antropomorphic view of Pandora, where human feelings are copied and pasted on its inhabitants' behaviour. In short, the story is nothing but a fairy tale following the old good/evil dichotomy, with the final triumph of the good. *Avatar massive launch through basic social media (Mashable). * ... but hit by claims of racism (Telegraph) * Have a scientific look at the film, with Copernicus' update. *The year of 3D (boingboing). *Latest 3D technology and LCD shutter glasses(engadget). *1935 anagliph 3D with red & cyan glasses was nice too...
The Müller footbridge connects Ivry's centerto Ivry's harbour, spanning the underlying railways from rue Jules Vanzuppe, just in front of Nadine's studio and two steps away from Viswa's.