sheet film:
Production year: 2010 Country: Canada
Director: Denis Villeneuve
Cast: Lubna Azabal, Melissa Désormeaux-Poulin, Maxim Gaudette, Rémy Girard, Abdelghafour Elaaziz, Allen Altman, Mohamed Majd, Nabil Sawalha, Baya Belal
Argument: Wajdi Mouawad (play)
Screenplay: Denis Villeneuve
Music: Grégoire Hetzel
Photography : André Turpin
Distributed in Movies: Altafilms
Duration: 130 min. Public
appropriate: Adult
Genre: Drama
A family history of
Canada. Twentysomething twins, Simon and Jeanne, are witnessed in a few days the health of his mother, Nawal Marwan, cracks completely, so you just dying engulfed in the most complete and baffling silence. When the notary family friend Nawal's will deliver their children, they learn that their father is dead, as they thought-and also have a brother. The amazement and disappointment are great, as well as difficult to digest, because Jeanne and Simon that news is the straw that broke the camel in the anomalous behavior of her mother, who always acted with them and yet oddly distant. Now the latest Nawal will be buried before their child is looking for his brother and father, and they delivered a letter to each. Jeanne, who will assume responsibility for initiating the investigation, to which he moved to the Middle East with the intention of unraveling the story of his mother.
tough and powerful film Canadian Written and directed by Denis Villeneuve Quebec, from a Lebanese play of Wajdi Mouawad . The result is a terrible film, in line with others who also speak of the consequences of war, as Go and live. This brings us a story of pain, revenge and suffering, but the good hand of Villeneuve does not explicitly show palatable to the most terrible passages of the argument. Things can be said without thereby having to take his eyes off the screen, and that is appreciated. Nawal's story is a bang and introduces us to a time-the 60 and 70 - of wars and massacres in East Medium, where religious and nationalist factions destroyed the lives of thousands of people. But there is no good and bad - "the situation is too complex to simplify Manichean poles," says the director, but a spiral of evil that only creates more evil and can only end when love "break the wire anger ", as one of the characters. And this is ultimately what does this dense film, we realize that violence is not solving anything, and just adds more pain to pain.
The movie moves at a slow pace, with plans and long dialogues, shot with classical elements and slowly unwinds the skein of the history of Nawal, who is also the story of their children. For that Villeneuve splits the story in several episodes as the characters in question or place and time where they occur, so the story is not told linearly, but goes from present to past and vice versa. While sometimes baffled the swing, the set works perfectly and is certainly a wise choice to a narrative that could be done perhaps too harsh.
The performances are wonderful, especially by del lado femenino, con una inconmensurable Lubna Azabal en el papel de Nawal, cuyo rostro pone los pelos de punta en escenas clave como la del autobús, y con la joven Mélissa Désormeaux-Poulin , que también brilla con luz propia como Jeanne. El film fue elegido para representar a Canadá en los Oscar.
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Incendies - Trailer subtitulado
EL film director Denis Villeneuve
"I wanted the authenticity of Arab culture"
After collecting three awards at the Seminci of Valladolid, and having been nominated for an Oscar for Best Foreign Film, arrives today Incendies English rooms. Its director, Canadian Denis Villeneuve, explains the difficulties of adapting a tragedy set in the Middle East, based on a hit play. The work of Canadian
Denis Villeneuve greatly relies on the ethical implications of the stories, in their ability to alter the foundations of the story the characters undergoing forces greater than them, carrying them along a more disruptive effect. Also known to give them a suitable covering those stories that always come together in dramatic excess, so as to present the tragedy play for cinematic verisimilitude. In Polythecnique, his third feature unprecedented in English rooms, which dramatized the slaughter of the Ecole Polytechnique de Montreal, 1989-a misogynist disturbed that killed 14 students before opening fire on himself, "Villeneuve chose to shoot in a dirty white and black, closely following the killer (a bit like Gus Van Sant in Elephant), relating to anti-feminist reflections off left written in his suicide letter. The film raised a stir in Canada, which still carries the trauma of probably the most horrible tragedy that the country has experienced.
In the Middle East
No discussions have been less awakened his latest work, Fires, adaptation of the hit play of the Lebanese namesake Wajdi Mouawad. Especially in the heat of the Arab revolution, this family drama historical content about the consequences of the massacres in the Middle East, the film takes us to an Arab country vague in the 60's and 70's, when the effects of religious and nationalist divisions were so devastating, acquired even greater significance. "The situation is too complex to simplify Manichean poles," said Villeneuve. And finding that balance, dealing with the suffering of his characters without being carried away by emotional pornography, is where the film actually plays artistic success or failure.
-face of a material so hard and so complex historical implications, the challenge was to ensure total authenticity in relation to the reality of Arab culture. To do this required a lot of research has been much on my part as the actors. In the beginning, when I thought about adapting the work of Wajdi [Mouawad], did not seem a good idea that a Quebecer and I made a movie about the immense impact of conflict in the Middle East. Not good for a filmmaker to talk about something that is unknown, and I knew neither Arabic culture and the reality of war. Therefore, it has been a film that has required a long process of research and learning.
- Mouawad Did it help in this process?
"Yes and no. I put two conditions: that I collected all of history, and that would leave me alone because I had no time to devote to the film. He said he could take the title and change, a character, an entire sequence and remove it wanted, it could even invent scenes that need. I was very encouraged. What got me the work is to address the identity conflict of the characters through the family, and while it worked as a metaphor for the situation in the Middle East. In the film I tried to give a universal value to these conflicts of identity, because I feel comfortable in the field of family dramas, and not limited only to the reality of a country.
hatred Heritage Incendies
's argument, which was nominated for an Oscar for best foreign film and picked up three awards at last Seminci is really devastating. Start with the death of Nawal Marwan, a few weeks after he entered a state of silence when a man identified by chance in a pool. The investigation of the origins of this trauma is undertaking his twin sons Simon and Jeanne, born in Quebec, where his mother's will give them the news of having a father and a brother who have never known. Nawal's dying wish that their child goes looking for his brother and father and they delivered a letter to each. Jeanne is responsible and moved to the Middle East to start the investigation and unravel the terrible story of his mother. In the convoluted film's episodic structure, with jumps in the time to count in parallel the process of investigating the story of Jeanne and her mother thirty years ago, is compounded by the difficulty of providing humanity to characters who work as actors in a Shakespearean tragedy, symbols of a conflict and a blood feuds.
"The writing process was really hard. Valérie Beaugrand-Champagne worked with me as a kind of script consultant. When reading an early version that I sent to the producer, told me: 'Congratulations! Since you have only 80% of the work. " Made me look 18 times the script to get real characters, not just ideas or representations. Regarding the structure of the film, I think is very revealing because the investigation of the daughter and the history of the mother are not an exact equivalence, but there is some resonance and dramatic continuity between story lines. The merit is not mine. This was already well in play, which I loved dramatic structure, as prepares you for a truly surprising outcome, so I decided to keep the same idea. "
- Why place the conflict in a country vague?
-was also well in the play. I was tempted to change and indeed there is a version of the script set in Beirut, but I realized that it was very easy to get wrong, and I understood why the author had made that decision. Being more specific would have meant taking sides, and is something that is not wanted.
"But that kind of abstraction also carries some risks, as they accuse the film of a certain cowardice, a certain ambiguity ...
"It is impossible to take sides with one or the other. And Wajdi also told me that even he, being Lebanese, was unable to provide a definitive and clear view about their country. Narrative purposes, this option also proposes many questions. What culture are we talking about? I got to shoot with no questions and answers. This film is inspired by the collaboration between Jordanian and Lebanese who have worked there. It is they who have pointed me what I had to do. We have created a sort of imaginary region, a kind of maelstrom, an area of \u200b\u200bsouthern Lebanon bordering northern Jordan. Clothing, food, all the rites, are inspired in that area, but the Arabic accent is different. I felt that this proposal was accepted by those who were working on the film, so that the story was extrapolated to other countries in the region.
Carlos Reviriego A short film done in the style of a German expressionist silent film. It is meant to illustrate Freud's theory of "sinister", which is based on the story by ETA Hoffmann, "Sandman." It is a work in progress. Thomy Kessler stars as the Sandman The music is both from the public domain recordings of classical music on wax cylinders and some of my own music. was originally created as part of a documentary on sex dolls and the men who love them. It was created to establish a section of the sinister idea.
this final version is currently making festival rounds this time, including the Short Film Corner of Cannes International Film Festival of Nashville 's basically the story of when a man loves a
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The short music
: the second is coven mater - inflammatus Rossini et accensus
the last is my own music - a piece called the subject of Nathaniel (plays the third part through the epilogue) richragsdale
SOURCE:
SOURCE:
http://www.youtube.com/user/richragsdale
