Do you see the Tibetan snow leopard in Marie Amiguet and Vincent Munier’s majestic documentary The Velvet Queen (La Panthère Des Neiges)? Photo: Haut et Court
In 2021, Marie Amiguet and Vincent Munier’s majestic documentary The Velvet Queen (La Panthère Des Neiges) with commentary by Sylvain Tesson, an unwavering dramatic score by Warren Ellis, and the haunting ‘We Are Not Alone’ sung by Nick Cave, had a World Première Special Screening at the Cannes Film Festival.
The three amigos, Vincent Munier with Marie Amiguet and Anne-Katrin Titze on the Nick Cave, Warren Ellis song We Are Not Alone and the score: “I followed their art for a long time and we tried by sending a draft of the movie and they accepted.”
In 1962, French structural anthropologist Claude Lévi-Strauss in his work on totemism, coined the phrase that “animals are good to think with.” In the mountains of Tibet, the...
In 2021, Marie Amiguet and Vincent Munier’s majestic documentary The Velvet Queen (La Panthère Des Neiges) with commentary by Sylvain Tesson, an unwavering dramatic score by Warren Ellis, and the haunting ‘We Are Not Alone’ sung by Nick Cave, had a World Première Special Screening at the Cannes Film Festival.
The three amigos, Vincent Munier with Marie Amiguet and Anne-Katrin Titze on the Nick Cave, Warren Ellis song We Are Not Alone and the score: “I followed their art for a long time and we tried by sending a draft of the movie and they accepted.”
In 1962, French structural anthropologist Claude Lévi-Strauss in his work on totemism, coined the phrase that “animals are good to think with.” In the mountains of Tibet, the...
- 12/28/2021
- by Anne-Katrin Titze
- eyeforfilm.co.uk
German filmmaker Ulrike Ottinger has been making films for nearly 50 years now, creating experimental and often transgressive work that frequently walks the line between documentary reality and artistic truth. Nothing has fazed her in this time, even working in the bohemian heyday of the late Rainer Werner Fassbinder’s Berlin, but her latest film, in which she turns the camera on herself, proved to be the most challenging so far.
Making its Dutch premiere in IDFA’s Masters section—after debuting at the Berlin Film Festival, where she was honored with the Berlinale Camera—“Paris Calligrammes” finds the director reflecting on her own formative experiences as a young painter and photographer in Paris, where she lived from 1962 to early 1969. She moved there to learn etching, but, because of a voracious appetite for learning, she also attended lectures by anthropologist Claude Lévi-Strauss, philosopher Louis Althusser and sociologist Pierre Bourdieu at the Collège de France,...
Making its Dutch premiere in IDFA’s Masters section—after debuting at the Berlin Film Festival, where she was honored with the Berlinale Camera—“Paris Calligrammes” finds the director reflecting on her own formative experiences as a young painter and photographer in Paris, where she lived from 1962 to early 1969. She moved there to learn etching, but, because of a voracious appetite for learning, she also attended lectures by anthropologist Claude Lévi-Strauss, philosopher Louis Althusser and sociologist Pierre Bourdieu at the Collège de France,...
- 11/28/2020
- by Marta Balaga
- Variety Film + TV
It would be a great mistake, sight unseen, to pigeonhole Ulrike Ottinger’s “Paris Calligrammes” as just another nostalgia-filled personal documentary about how amazing life was in Paris in the 1960s. Where others self-servingly wax lyrical about being in the nexus of the Left Bank’s Golden Age of hipness and activism, Ottinger takes us through this formative time of her life in a way that deftly balances past and present to paint a picture of a threshold era of both positives and negatives.
Recounted in the director’s own measured voiceover (the English version features Jenny Agutter while the French version has Fanny Ardant) and largely composed of found footage, film clips and home movies, the film reflects the director’s generosity of spirit as well as the period’s bubbling cauldron of syncretic and opposing movements. Promoted together with a handsome book tie-in, “Paris Calligrammes” should spark renewed...
Recounted in the director’s own measured voiceover (the English version features Jenny Agutter while the French version has Fanny Ardant) and largely composed of found footage, film clips and home movies, the film reflects the director’s generosity of spirit as well as the period’s bubbling cauldron of syncretic and opposing movements. Promoted together with a handsome book tie-in, “Paris Calligrammes” should spark renewed...
- 3/6/2020
- by Jay Weissberg
- Variety Film + TV
Born in 1987 in Hirakata (Osaka Prefecture) Kaori Oda had to abandon her dream of becoming a basketball player at an early age. Eventually she decided to study abroad in the United States where she took her first classes in filmmaking. Upon her return to Japan she directed her feature debut, the self-documentary “Thus a Noise Speaks” (2010), a film about her family’s dealing with her coming out as homosexual. In the aftermath she applied for the film.factory program of the Sarajevo Film Academy, a program co-founded by director Bela Tarr.
Her newest documentary titled “Toward a Common Tenderness” deals with the repercussions of her debut feature, but also delves into themes such as the power of the camera as a constructor of reality and the process of re-defining herself as a director. The film premiered at the International Leipzig Festival for Documentary and Animation Film 2017 and will be screened...
Her newest documentary titled “Toward a Common Tenderness” deals with the repercussions of her debut feature, but also delves into themes such as the power of the camera as a constructor of reality and the process of re-defining herself as a director. The film premiered at the International Leipzig Festival for Documentary and Animation Film 2017 and will be screened...
- 7/25/2018
- by Rouven Linnarz
- AsianMoviePulse
Volker Schlöndorff on Germany in Autumn (Deutschland Im Herbst): "In the film there is a segment which Heinrich Böll wrote and I directed about an Antigone production …" Photo: Anne-Katrin Titze
On the last day in April, after having returned from Indiana where he spoke at the 1968 in Europe and Latin America conference (held at the University of Notre Dame), Volker Schlöndorff met with me at Lincoln Center for a follow-up conversation on the topic. His 1966 film Young Törless, starring Mathieu Carrière, was also screened.
Earlier that morning he was up at Columbia discussing Antigone and May '68 in a class taught by his Return To Montauk co-screenwriter Colm Tóibín. The director of the Oscar-winning Tin Drum on the 50th anniversary year of the student protests shared his memories on the legacy of '68 and the eternal return of Claude Lévi-Strauss.
Max Zorn (Stellan Skarsgård) with Rebecca (Nina Hoss) in...
On the last day in April, after having returned from Indiana where he spoke at the 1968 in Europe and Latin America conference (held at the University of Notre Dame), Volker Schlöndorff met with me at Lincoln Center for a follow-up conversation on the topic. His 1966 film Young Törless, starring Mathieu Carrière, was also screened.
Earlier that morning he was up at Columbia discussing Antigone and May '68 in a class taught by his Return To Montauk co-screenwriter Colm Tóibín. The director of the Oscar-winning Tin Drum on the 50th anniversary year of the student protests shared his memories on the legacy of '68 and the eternal return of Claude Lévi-Strauss.
Max Zorn (Stellan Skarsgård) with Rebecca (Nina Hoss) in...
- 5/7/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
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