Les baisers
Le cinéaste originaire de Lyon a durablement marqué le paysage de la cinématographie française, autant par la diversité de ses propositions cinématographiques que par la longévité de son parcours. Quel est le signe distinctif d’un cinéaste qui semble se mouvoir avec aisance autant dans le cinéma historique, le drame de mœurs contemporain, la comédie dramatique, le film de cape et d’épée ou même la science-fiction ? S’il s’agit de l’œuvre d’un cinéphile compulsif et d’un historien du cinéma, ajoutons qu’elle est aussi la somme d’un passeur revendiqué et passionné par ce qui agite les comportements humains, tels qu’ils peuvent être montrés et vus au cinéma.
Sketch comedy revolving around the kiss.
Claude Berri
Claude Langmann, known as Claude Berri, was a French director, screenwriter, producer and actor, born on July 1, 1934 in the 10th district of Paris and died on January 12, 2009 in the 13th district of Paris. Nicknamed "the last mogul" or "the godfather" of French cinema, he is considered one of the great directors (Chao Pantin, Jean de Florette and Manon des sources, Je vous aime) and film producers (Tess, L'Ours, Astérix et Obélix : Mission Cléopâtre, Bienvenue chez les Ch'tis) of French cinema. He was also president of the Cinémathèque française from 2003 to 2007. Claude Berri was also a lover of modern and contemporary art, to which he dedicated the Espace Claude Berri, opened in Paris from 2008 to 2009.
Charles Bitsch
Charles Bitsch, born April 23, 1931 in Mulhouse and died May 27, 2016 in Villejuif, was a French film critic, director of photography and director. A former student of the Technical School of Photography and Cinema (Class "Cinema" 1953, including Philippe de Broca and Pierre Lhomme), Charles Bitsch collaborates to Cahiers du cinéma from 1955 to 1959, as well as to the weekly Arts. Charles Bitsch was director of photography and cameraman for Jacques Rivette for Le Coup du berger and Paris nous appartient, then assistant director for Claude Chabrol, Jacques Demy, Jean-Pierre Melville and, on several occasions, for Jean-Luc Godard. He directed, in 1964, the sketch Cher baiser of the film Les Baisers.
Bertrand Tavernier
Bertrand Tavernier, born April 25, 1941 in Lyon and died March 25, 2021 in Sainte-Maxime, is a French director, screenwriter, producer and writer, also president of the Institut Lumière. Son of the writer and resistance fighter René Tavernier, he was first an assistant director, press agent (notably for Stanley Kubrick) and critic before moving on to directing with L'horloger de Saint-Paul, his first critical success, the basis of a long collaboration with the actor Philippe Noiret . Several of his films have received awards, in France and abroad (including Around Midnight which won an Oscar and was nominated for a Golden Globe).
Bernard Toublanc-Michel
Bernard Toublanc-Michel is a French director, born on December 6, 1927 in Ancenis. A student at the Beaux-Arts, in architecture, Bernard Toublanc-Michel arrived at the cinema as a trainee director on Edouard and Caroline by Jacques Becker. He became an assistant to directors such as André Hunebelle** (The Hunchback), Jacques Demy** (Lola), Agnes Varda** (Cleo from 5 to 7), Jean-Luc Godard** (Living Life, Pierrot the Madman*, Feminine Masculine) and others. His first big success as a director was *Five Guys for Singapore with Sean Flynn, a success that allowed him to direct Adolphe ou l'Âge tendre with the beginner Jean-Claude Dauphin facing Ulla Jacobsson and Philippe Noiret. His second discovery was the young Isabelle Adjani for Le Petit Bougnat. Le Malin Plaisir with Anny Duperey, Claude Jade and Jacques Weber was a success: a thriller in which a young writer is trapped by five women. Bernard Toublanc-Michel then turned to television (among others the detective film La Grotte aux loups with Claude Jade and the comedy Allons voir si la rose with Dany Carrel and Henri Guybet) and the Mutant in which he debuted Fanny Ardant his third discovery.
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Bertrand Tavernier : « Chaque film était une bataille »
Sa traversée du cinéma a commencé il y a un peu plus d’un demi-siècle. Avant de réaliser L’Horloger de Saint-Paul (1974), Bertrand Tavernier a aimé autrement le cinéma - en programmant un ciné-club, en écrivant pour des revues (les Cahiers du cinéma, Positif) ou comme attaché de presse...
