As Cannes Film Festival kicks off, the Paris-based international sales company MK2 Films has revealed it has acquired three films and made substantial investments in new restorations, set against the backdrop of a strong presence at Cannes Classics.
MK2 Films has entered into a collaboration with the Niki Charitable Art Foundation on the global rights (excluding the U.S.) for two films directed by artist Niki de Saint Phalle: “Un Rêve plus long que la nuit” (1976) and “Daddy” (1973). “Un Rêve plus long que la nuit” has been restored in 4K by L’Immagine Ritrovata (Bologna-Paris) under the supervision of Arielle de Saint Phalle and with funding from Dior. It was presented at Il Cinema Ritrovato in Bologna, New York Film Festival and the new Los Angeles Festival of Movies. “Daddy” will soon be available in a restored version. MK2 Films described it as a “unique feminist work by one of...
MK2 Films has entered into a collaboration with the Niki Charitable Art Foundation on the global rights (excluding the U.S.) for two films directed by artist Niki de Saint Phalle: “Un Rêve plus long que la nuit” (1976) and “Daddy” (1973). “Un Rêve plus long que la nuit” has been restored in 4K by L’Immagine Ritrovata (Bologna-Paris) under the supervision of Arielle de Saint Phalle and with funding from Dior. It was presented at Il Cinema Ritrovato in Bologna, New York Film Festival and the new Los Angeles Festival of Movies. “Daddy” will soon be available in a restored version. MK2 Films described it as a “unique feminist work by one of...
- 5/14/2024
- by Leo Barraclough
- Variety Film + TV
The Lisbon festival is now spread over six “moments”, each based on a different theme, from October 2020 to March 2021.
The first part of the line-up of Portugal’s documentary festival Doclisboa has been announced, with this year’s edition staged across six months and comprising 31 world premieres.
The Lisbon festival was due to take place in October but is now spread over six “moments”, each based on a different theme, from October 2020 to March 2021. Screenings will take place in physical cinemas in Lisbon; while Nebulae, Doclisboa’s industry hub will run entirely online.
The first instalment, titled ‘Signals’, will run...
The first part of the line-up of Portugal’s documentary festival Doclisboa has been announced, with this year’s edition staged across six months and comprising 31 world premieres.
The Lisbon festival was due to take place in October but is now spread over six “moments”, each based on a different theme, from October 2020 to March 2021. Screenings will take place in physical cinemas in Lisbon; while Nebulae, Doclisboa’s industry hub will run entirely online.
The first instalment, titled ‘Signals’, will run...
- 10/13/2020
- by Orlando Parfitt
- ScreenDaily
Sheffield Doc/Fest, the U.K.’s leading documentary festival, has unveiled its 2020 selection, with a line-up of 115 films, including 31 world premieres.
Due to coronavirus, this year’s festival is largely taking place online. The June event is also extending its activities throughout the rest of the year both in Sheffield and virtually.
The festival is launching a VOD platform, Sheffield Doc/Fest Selects, on June 10 with pay-per-view and subscription options for U.K.-based public audiences including Q&As with filmmakers.
The Doc/Player, a film industry-oriented video library, is also being made available to festival passholders globally from today to August 31.
The festival is also organising weekend screenings in Sheffield cinemas in October – November.
In addition, Doc/Fest has partnered with BFI Player, Doc Alliance Films, The Guardian, and Mubi which will host its curated programmes at various points between July and November.
As announced previously, Sheffield Doc...
Due to coronavirus, this year’s festival is largely taking place online. The June event is also extending its activities throughout the rest of the year both in Sheffield and virtually.
The festival is launching a VOD platform, Sheffield Doc/Fest Selects, on June 10 with pay-per-view and subscription options for U.K.-based public audiences including Q&As with filmmakers.
The Doc/Player, a film industry-oriented video library, is also being made available to festival passholders globally from today to August 31.
The festival is also organising weekend screenings in Sheffield cinemas in October – November.
In addition, Doc/Fest has partnered with BFI Player, Doc Alliance Films, The Guardian, and Mubi which will host its curated programmes at various points between July and November.
As announced previously, Sheffield Doc...
- 6/8/2020
- by Tim Dams
- Variety Film + TV
Competition line-up includes new films by Jerzy Sladkowski, Bryan Fogel, Moara Passoni and Hubert Sauper.
Copenhagen-based documentary festival Cph:dox (March 18-29) has revealed its 2020 competition line-up, with 52% of the 65 titles directed by one or more female directors.
Notable world premieres include Ecstasy, the new project from Brazil’s Moara Passoni, who co-wrote the Oscar-nominated The Edge Of Democracy. Ecstasy is an autobiographical hybrid following Passoni’s alter ego Clara as she battles anorexia
Also in the main competition is the world premiere of Bitter Love from Polish filmmaker Jerzy Sladkowski, who won the main award at Idfa with Don Juan...
Copenhagen-based documentary festival Cph:dox (March 18-29) has revealed its 2020 competition line-up, with 52% of the 65 titles directed by one or more female directors.
Notable world premieres include Ecstasy, the new project from Brazil’s Moara Passoni, who co-wrote the Oscar-nominated The Edge Of Democracy. Ecstasy is an autobiographical hybrid following Passoni’s alter ego Clara as she battles anorexia
Also in the main competition is the world premiere of Bitter Love from Polish filmmaker Jerzy Sladkowski, who won the main award at Idfa with Don Juan...
- 2/21/2020
- by 1101184¦Orlando Parfitt¦38¦
- ScreenDaily
Six years after he died, the 'truth' over Yves Saint Laurent's hedonistic and tortured life is being fought over by two new films
In 2001, seven years before he died, Yves Saint Laurent agreed to be filmed by documentary-maker David Teboul for a rare behind-the-scenes look at his work. In the opening scene, watching a slideshow of family photographs, he grimaces: "J'ai joué le 'grand couturier'…" His voice is both sad and self-mocking; the voice of an old man looking back across a great distance at his frail 16-year-old self, head bowed over his lavishly dressed paper dolls.
Growing up in 1940s French Algeria, the young Yves Henri Donat Mathieu-Saint-Laurent dreamed of Paris: a bullied outcast at school, he escaped into fantasy at home – devouring his mother's fashion magazines, sketching endlessly, and predicting (in the safety of his adoring family circle, at least) a future of spectacular fame.
Six decades on,...
In 2001, seven years before he died, Yves Saint Laurent agreed to be filmed by documentary-maker David Teboul for a rare behind-the-scenes look at his work. In the opening scene, watching a slideshow of family photographs, he grimaces: "J'ai joué le 'grand couturier'…" His voice is both sad and self-mocking; the voice of an old man looking back across a great distance at his frail 16-year-old self, head bowed over his lavishly dressed paper dolls.
Growing up in 1940s French Algeria, the young Yves Henri Donat Mathieu-Saint-Laurent dreamed of Paris: a bullied outcast at school, he escaped into fantasy at home – devouring his mother's fashion magazines, sketching endlessly, and predicting (in the safety of his adoring family circle, at least) a future of spectacular fame.
Six decades on,...
- 3/2/2014
- The Guardian - Film News
This is a talk given by French director of photography Caroline Champetier at the La Roche-sur-Yon International Film Festival in October 2012, originally published in two parts on the festival’s site (www.fif-85.com). This translation is being published with their kind permission. This year's festival will take place from October 16-21, Kelly Reichardt will be the guest of honor. Many thanks to Emmanuel Burdeau, programmer of the festival, Jordan Mintzer and Caroline Champetier.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
Caroline Champetier: I’ve always tried to take a step back from what I’m doing. The more I work, however, the less I’m able to deal with this exercise. I just finished production on Claude Lanzmann’s The Last of the Unjust and have barely said goodbye to David Teboul, a young director who I worked with on Cinq avenue Marceau (2002), a film I think very highly of and that’s about Yves Saint Laurent’s last collection.
- 9/20/2013
- by Ted Fendt
- MUBI
Chicago – At the heart of Pierre Thoretton’s melancholy documentary is a story of lost love, lost art, and the ever-present aura they leave behind. Pierre Bergé is often credited as co-founder of the couture house headed by world famous designer Yves Saint Laurent. Yet “L’amour Fou” allows Bergé to set the record straight on just how large a role he played in Saint Laurent’s phenomenal success.
Rating: 3.5/5.0
Though this story is indeed a great one, this is not the first time a film has tackled it. In 2002, filmmaker David Teboul made two films about Saint Laurent. One focused more on his personal life, while the other provided a thorough overview of his trail-blazing fashions. Moviegoers seeking a well-rounded portrait of Saint Laurent should seek out Teboul’s work, since Thoretton’s film is somewhat limited by the perspective of Bergé, who repeatedly attempts to define a psyche...
Rating: 3.5/5.0
Though this story is indeed a great one, this is not the first time a film has tackled it. In 2002, filmmaker David Teboul made two films about Saint Laurent. One focused more on his personal life, while the other provided a thorough overview of his trail-blazing fashions. Moviegoers seeking a well-rounded portrait of Saint Laurent should seek out Teboul’s work, since Thoretton’s film is somewhat limited by the perspective of Bergé, who repeatedly attempts to define a psyche...
- 6/3/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Empire Pictures
NEW YORK -- So fascinated with his subject that he made not just one documentary about him, filmmaker David Teboul has delivered two cinematic portraits of master designer Yves Saint Laurent. The first is a fairly straightforward biography, while the second is a cinema verite look at the process behind the design of one of his women's collections. The two films -- "Yves Saint Laurent: His Life and Times" and the awkwardly titled "Yves Saint Laurent: 5 Avenue Marceau, 75116 Paris" -- will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular. Each is receiving its U.S. theatrical premiere at New York's Film Forum.
"5 Avenue Marceau" was actually made first as the filmmaker was granted rare access to the designer's Paris atelier as he worked on his spring/summer collection in winter 2001. The resulting document is a spare, unadorned look, a la Frederick Wiseman, at the lengthy and laborious process in which Saint Laurent fiddled with his creations while a series of exquisite models paraded in front of him and his associates. The proceedings quickly turn tedious for those not fascinated by the craft, though no doubt future generations of fashionistas will be thrilled to have them documented. For this viewer, at least, the highlight occurs in the beginning of the film, when actress Catherine Deneuve makes a brief, charismatic appearance.cludes such notable guests as President Clinton (coming out of a lengthy quiet during his Monica hibernation), Pope John Paul II, Fidel Castro, etc. By the measure of the fiercely competitive cadre who host TV for us, it depends now on the level of notables Smiley can get into his studio.
THE Tavis Smiley SHOW
KCET
KCET/Hollywood and the Tavis Smiley Group
Credits:
Executive producer: Neal Kendall
KCET executive producer: Mary Mazur
Producers: Shanta Covington, Stephanie Storey, Holly Williamson
KCET producer: Karen Hunte
Director: Jonathan X
Writer: Neal Kendall
Associate producer: Christopher McDonald
Anchor: Tavis Smiley
t of some 215,000 applicants. The youngest is 21, the eldest 36. The only other qualifications appear to be geographic diversity and cosmetic appeal -- and an overweening desire to be filthy, stinking rich.
The contestants are divided up into two teams of eight: boys against the girls. They must work together to complete a given task, which in the opener obliges them to peddle lemonade (business attire and all) on the mean streets of Manhattan. The idea, of course, it to start at the very beginning of their occupational lives. It's kind of funny to watch these yupscale types having to hustle a beverage for bucks. Ultimately, though, it's just not all that interesting. And the elimination process (one member of the losing team must go) seems particularly arbitrary in this context.
At the outset, it's also clear that the show is going to suffer some personality shortfalls -- namely, there seem to be no true standouts among the lot, the faces and personas blending into something of a capitalistic mush. Not even Trump's squinty-eyed dramatics while delivering his obligatory pep talks ("This isn't a game; it's a 13-week job interview!") can save the day.
"The Apprentice" reaches its nadir of absurdity near the close of the "supersized" premiere when members of the winning team are ushered into Trump's impossibly lavish New York penthouse to meet the jewel-encrusted, shimmering interior (not to mention his current, heavily accented girlfriend). They ooh and aah with abandon while being assured that one day this all could be their own. Somehow, it sounds more like a threat than an enticement.
THE APPRENTICE
NBC
Mark Burnett Prods. in association with Trump Productions Llc.
Credits:
Executive producers: Mark Burnett, Donald Trump
Co-executive producers: Conrad Riggs, Jay Bienstock
Supervising producer: Kevin Harris
Producers: Jamie Bruce, James Canniffe, Seth Cohen, Bill Pruitt, Katherine Walker
Co-producer: Chris Campbell
Directors of photography: Scott Duncan, Matt Sohn
Supervising editor: Jon Braun
Music: Jeff Lippencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
NEW YORK -- So fascinated with his subject that he made not just one documentary about him, filmmaker David Teboul has delivered two cinematic portraits of master designer Yves Saint Laurent. The first is a fairly straightforward biography, while the second is a cinema verite look at the process behind the design of one of his women's collections. The two films -- "Yves Saint Laurent: His Life and Times" and the awkwardly titled "Yves Saint Laurent: 5 Avenue Marceau, 75116 Paris" -- will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular. Each is receiving its U.S. theatrical premiere at New York's Film Forum.
"5 Avenue Marceau" was actually made first as the filmmaker was granted rare access to the designer's Paris atelier as he worked on his spring/summer collection in winter 2001. The resulting document is a spare, unadorned look, a la Frederick Wiseman, at the lengthy and laborious process in which Saint Laurent fiddled with his creations while a series of exquisite models paraded in front of him and his associates. The proceedings quickly turn tedious for those not fascinated by the craft, though no doubt future generations of fashionistas will be thrilled to have them documented. For this viewer, at least, the highlight occurs in the beginning of the film, when actress Catherine Deneuve makes a brief, charismatic appearance.cludes such notable guests as President Clinton (coming out of a lengthy quiet during his Monica hibernation), Pope John Paul II, Fidel Castro, etc. By the measure of the fiercely competitive cadre who host TV for us, it depends now on the level of notables Smiley can get into his studio.
THE Tavis Smiley SHOW
KCET
KCET/Hollywood and the Tavis Smiley Group
Credits:
Executive producer: Neal Kendall
KCET executive producer: Mary Mazur
Producers: Shanta Covington, Stephanie Storey, Holly Williamson
KCET producer: Karen Hunte
Director: Jonathan X
Writer: Neal Kendall
Associate producer: Christopher McDonald
Anchor: Tavis Smiley
t of some 215,000 applicants. The youngest is 21, the eldest 36. The only other qualifications appear to be geographic diversity and cosmetic appeal -- and an overweening desire to be filthy, stinking rich.
The contestants are divided up into two teams of eight: boys against the girls. They must work together to complete a given task, which in the opener obliges them to peddle lemonade (business attire and all) on the mean streets of Manhattan. The idea, of course, it to start at the very beginning of their occupational lives. It's kind of funny to watch these yupscale types having to hustle a beverage for bucks. Ultimately, though, it's just not all that interesting. And the elimination process (one member of the losing team must go) seems particularly arbitrary in this context.
At the outset, it's also clear that the show is going to suffer some personality shortfalls -- namely, there seem to be no true standouts among the lot, the faces and personas blending into something of a capitalistic mush. Not even Trump's squinty-eyed dramatics while delivering his obligatory pep talks ("This isn't a game; it's a 13-week job interview!") can save the day.
"The Apprentice" reaches its nadir of absurdity near the close of the "supersized" premiere when members of the winning team are ushered into Trump's impossibly lavish New York penthouse to meet the jewel-encrusted, shimmering interior (not to mention his current, heavily accented girlfriend). They ooh and aah with abandon while being assured that one day this all could be their own. Somehow, it sounds more like a threat than an enticement.
THE APPRENTICE
NBC
Mark Burnett Prods. in association with Trump Productions Llc.
Credits:
Executive producers: Mark Burnett, Donald Trump
Co-executive producers: Conrad Riggs, Jay Bienstock
Supervising producer: Kevin Harris
Producers: Jamie Bruce, James Canniffe, Seth Cohen, Bill Pruitt, Katherine Walker
Co-producer: Chris Campbell
Directors of photography: Scott Duncan, Matt Sohn
Supervising editor: Jon Braun
Music: Jeff Lippencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
Empire Pictures
NEW YORK -- So fascinated with his subject that he made not just one documentary about him, filmmaker David Teboul has delivered two cinematic portraits of master designer Yves Saint Laurent. The first is a fairly straightforward biography, while the second is a cinema verite look at the process behind the design of one of his women's collections. The two films -- "Yves Saint Laurent: His Life and Times" and the awkwardly titled "Yves Saint Laurent: 5 Avenue Marceau, 75116 Paris" -- will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular. Each is receiving its U.S. theatrical premiere at New York's Film Forum.
"5 Avenue Marceau" was actually made first as the filmmaker was granted rare access to the designer's Paris atelier as he worked on his spring/summer collection in winter 2001. The resulting document is a spare, unadorned look, a la Frederick Wiseman, at the lengthy and laborious process in which Saint Laurent fiddled with his creations while a series of exquisite models paraded in front of him and his associates. The proceedings quickly turn tedious for those not fascinated by the craft, though no doubt future generations of fashionistas will be thrilled to have them documented. For this viewer, at least, the highlight occurs in the beginning of the film, when actress Catherine Deneuve makes a brief, charismatic appearance.cludes such notable guests as President Clinton (coming out of a lengthy quiet during his Monica hibernation), Pope John Paul II, Fidel Castro, etc. By the measure of the fiercely competitive cadre who host TV for us, it depends now on the level of notables Smiley can get into his studio.
THE Tavis Smiley SHOW
KCET
KCET/Hollywood and the Tavis Smiley Group
Credits:
Executive producer: Neal Kendall
KCET executive producer: Mary Mazur
Producers: Shanta Covington, Stephanie Storey, Holly Williamson
KCET producer: Karen Hunte
Director: Jonathan X
Writer: Neal Kendall
Associate producer: Christopher McDonald
Anchor: Tavis Smiley
t of some 215,000 applicants. The youngest is 21, the eldest 36. The only other qualifications appear to be geographic diversity and cosmetic appeal -- and an overweening desire to be filthy, stinking rich.
The contestants are divided up into two teams of eight: boys against the girls. They must work together to complete a given task, which in the opener obliges them to peddle lemonade (business attire and all) on the mean streets of Manhattan. The idea, of course, it to start at the very beginning of their occupational lives. It's kind of funny to watch these yupscale types having to hustle a beverage for bucks. Ultimately, though, it's just not all that interesting. And the elimination process (one member of the losing team must go) seems particularly arbitrary in this context.
At the outset, it's also clear that the show is going to suffer some personality shortfalls -- namely, there seem to be no true standouts among the lot, the faces and personas blending into something of a capitalistic mush. Not even Trump's squinty-eyed dramatics while delivering his obligatory pep talks ("This isn't a game; it's a 13-week job interview!") can save the day.
"The Apprentice" reaches its nadir of absurdity near the close of the "supersized" premiere when members of the winning team are ushered into Trump's impossibly lavish New York penthouse to meet the jewel-encrusted, shimmering interior (not to mention his current, heavily accented girlfriend). They ooh and aah with abandon while being assured that one day this all could be their own. Somehow, it sounds more like a threat than an enticement.
THE APPRENTICE
NBC
Mark Burnett Prods. in association with Trump Productions Llc.
Credits:
Executive producers: Mark Burnett, Donald Trump
Co-executive producers: Conrad Riggs, Jay Bienstock
Supervising producer: Kevin Harris
Producers: Jamie Bruce, James Canniffe, Seth Cohen, Bill Pruitt, Katherine Walker
Co-producer: Chris Campbell
Directors of photography: Scott Duncan, Matt Sohn
Supervising editor: Jon Braun
Music: Jeff Lippencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
NEW YORK -- So fascinated with his subject that he made not just one documentary about him, filmmaker David Teboul has delivered two cinematic portraits of master designer Yves Saint Laurent. The first is a fairly straightforward biography, while the second is a cinema verite look at the process behind the design of one of his women's collections. The two films -- "Yves Saint Laurent: His Life and Times" and the awkwardly titled "Yves Saint Laurent: 5 Avenue Marceau, 75116 Paris" -- will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular. Each is receiving its U.S. theatrical premiere at New York's Film Forum.
"5 Avenue Marceau" was actually made first as the filmmaker was granted rare access to the designer's Paris atelier as he worked on his spring/summer collection in winter 2001. The resulting document is a spare, unadorned look, a la Frederick Wiseman, at the lengthy and laborious process in which Saint Laurent fiddled with his creations while a series of exquisite models paraded in front of him and his associates. The proceedings quickly turn tedious for those not fascinated by the craft, though no doubt future generations of fashionistas will be thrilled to have them documented. For this viewer, at least, the highlight occurs in the beginning of the film, when actress Catherine Deneuve makes a brief, charismatic appearance.cludes such notable guests as President Clinton (coming out of a lengthy quiet during his Monica hibernation), Pope John Paul II, Fidel Castro, etc. By the measure of the fiercely competitive cadre who host TV for us, it depends now on the level of notables Smiley can get into his studio.
THE Tavis Smiley SHOW
KCET
KCET/Hollywood and the Tavis Smiley Group
Credits:
Executive producer: Neal Kendall
KCET executive producer: Mary Mazur
Producers: Shanta Covington, Stephanie Storey, Holly Williamson
KCET producer: Karen Hunte
Director: Jonathan X
Writer: Neal Kendall
Associate producer: Christopher McDonald
Anchor: Tavis Smiley
t of some 215,000 applicants. The youngest is 21, the eldest 36. The only other qualifications appear to be geographic diversity and cosmetic appeal -- and an overweening desire to be filthy, stinking rich.
The contestants are divided up into two teams of eight: boys against the girls. They must work together to complete a given task, which in the opener obliges them to peddle lemonade (business attire and all) on the mean streets of Manhattan. The idea, of course, it to start at the very beginning of their occupational lives. It's kind of funny to watch these yupscale types having to hustle a beverage for bucks. Ultimately, though, it's just not all that interesting. And the elimination process (one member of the losing team must go) seems particularly arbitrary in this context.
At the outset, it's also clear that the show is going to suffer some personality shortfalls -- namely, there seem to be no true standouts among the lot, the faces and personas blending into something of a capitalistic mush. Not even Trump's squinty-eyed dramatics while delivering his obligatory pep talks ("This isn't a game; it's a 13-week job interview!") can save the day.
"The Apprentice" reaches its nadir of absurdity near the close of the "supersized" premiere when members of the winning team are ushered into Trump's impossibly lavish New York penthouse to meet the jewel-encrusted, shimmering interior (not to mention his current, heavily accented girlfriend). They ooh and aah with abandon while being assured that one day this all could be their own. Somehow, it sounds more like a threat than an enticement.
THE APPRENTICE
NBC
Mark Burnett Prods. in association with Trump Productions Llc.
Credits:
Executive producers: Mark Burnett, Donald Trump
Co-executive producers: Conrad Riggs, Jay Bienstock
Supervising producer: Kevin Harris
Producers: Jamie Bruce, James Canniffe, Seth Cohen, Bill Pruitt, Katherine Walker
Co-producer: Chris Campbell
Directors of photography: Scott Duncan, Matt Sohn
Supervising editor: Jon Braun
Music: Jeff Lippencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
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