Official selection
Ouverture/clôture
Compétition longs métrages
Compétition courts métrages français
Hors compétition
Rétrospective Peter Suschiztsky
Focus Los Angeles Film Festival
This year, the fifib celebrates the 50th anniversary of the twinning between Bordeaux and Los Angeles in a joint manner. Last June, we dispatched The Magnetix, a band from Bordeaux, to the Los Angeles Film Festival to deploy their energy and their science of sound during a "cine-concert" of Sherlock Jr. directed by Buster Keaton. California passes the buck with a special program of three films selected this year for the Los Angeles Film Festival, according to a certain criterion – to show aspects and hidden faces of a city that we believe we know, in the movies and on TV. The films will be presented by their young directors.
Mamitas directed by Nicholas Ozeki, Lake Los Angeles directed by Mike Ott and Comet directed by Sam Esmail crisscross L.A. and beyond: from Echo Park to Hollywood, from the Antelope Valley... to France. Ozeki and Ott remain in the Latino-American "minority" (over 40% in California), clinging to the "American Dream."
What about the upper middle class in Esmail's film? These three movies have something in common : the movement, vital and identifiable in the city of L.A. Do not stay motionless, you should move, especially if you are a pedestrian. In Mamitas by Nicholas Ozeki, characters from different social backgrounds are shaking the social classes. The little girl in Lake Los Angeles begins an epic odyssey with a childlike look. The pseudo-classical romance in Comet leaps from era to era, like the fragments of a grenade. Move along, you have to see everything: Welcome to L.A.
Hommage John Cassavetes
He was Martin Scorsese's mentor, and remains a model for the rebellious Abel Ferrara who paid tribute to him with Go-Go Tales. He was an inspiration to Jean-François Stévenin who declared his love in "L'envie d'avoir envie", a beautiful text published in Les Cahiers du Cinema in 1989. He died the same year, and now finds his way back with a program that leaves us a taste of America.
Pro-Hollywood when he was the actor, anti-Hollywood when he was shooting his own films, Cassavetes considered cinema as a family business. His work was inseparable from the group of friends he created with Ben Gazzara, Peter Falk, and Seymour Cassel. After meeting the great actress Gena Rowlands, he became the father of three children - all of them carry the torch - and made his major works. Two of them, A Woman Under the Influence and Opening Night, are included in this tribute, with Shadows, first jazzy test announcing the French Nouvelle Vague and cinema of modernity of the 60s.
Cassavetes's legacy is huge. Eager to connect with what is happening today, the fifib invited the gang from Party Girl to join the gang films of Cassavetes. The first autobiographical feature directed by Marie Amachoukeli, Claire Burger and Samuel Theis has nice things to say about intimacy, and family stories, of which we do not know - and that's a good thing - whether they are fiction or documentary.
Jacques Versus Doillon
Fight Club
Love Battles, the title of Jacques Doillon's latest film, could summarize a career of 40 years. His "fight club" starts slowly with his first feature film, the aptly named L’an 01 (1973), sophomoric comedy co-produced with Gébé, Alain Resnais and Jean Rouch, who mocks the consumer society. Then, Touched in the Head (1974) builds his reputation as a filmmaker of youth in conflict with itself and society. He captures the energy of children and teens (Judith Godrèche in The 15 Year Old Girl, Gérald Thomassin in The Little Gangster or the unforgettable Victoire Thivisol in Ponette) with long shots, in simmering enclosed spaces or releasing natural and minimalist scenery.
The "fight" has no age when Jacques Doillon tackles couple dramas and sharp feelings in films with titles such as The Pirate or A Woman’s Revenge. Among his movies, his weapon of choice is dialogue, which rushes out like a river and takes us into a strange territory between realism and abstraction. Words can not fully explain the characters, they have their own life. There is always an escape in the films of Jacques Doillon, but it inevitably leaves marks and cuts on the viewer.
The fifib modestly wanted to pay tribute to Jacques Doillon and his talent of buccaneer of cinema, persisting shooting in the most austere conditions. He chose to show his last two films, A Child of Yours and Love Battles, but also two of his favorite movies: The Crucified Lovers directed by Kenji Mizoguchi ("if I had to choose one film above all others, but you would have to torture me, it would be this one”, he said in Telerama in 2010) and Touch of Evil directed by Orson Welles ("not sure we have done better to make the camera and the actors dance "). With these two filmmakers like fellow warriors, the battle will be very beautiful.
Carte Blanche Marie Losier
This program is a joyous melting pot of some of the most whimsical and beautiful short films from N.Y. to L.A., by quintessential artists and filmmakers, from all ages and time.
All films are bathing in celluloid for your delight!
Carte blanche FRAC Aquitaine
Carte blanche Semaine surréaliste
Carte blanche ARTE
Séance spéciale Des jeunes gens mödernes
Séance spéciale Gaby Baby Doll
Nuit blanche Pégase
Programme d'éducation cinématographique - Premières fois
Rencontre-Masterclass Virgil Vernier
