Pas sur la bouche
Our summer cycle will be festive or not. Sound and image, song and dance, instrument and breathing, strings and gestures: so many possible combinations to express what cinema and music can achieve and express together. Musicals, concert films, catchy music. Jazz, classical, contemporary, disco, punk... Revolt and enchantment, distress and emphasis, joy and rhythm, melancholy and bass, laughter and stridency: diverse expressions characterizing cinema and music's historical alliance, will definitely make us fly, dream, dance!
From the 30's to the present day and across all possible genres, this cycle aims to open our minds at a time when we most need it. The first week of July will be an eventful one, as the cycle will open with several evenings in cabaret mode, where we will present for the first time concert films produced in Quebec during the confinement, with the participation of major artists of the current music scene: Klô Pelgag, Marie Davidson and Godspeed You! Black Emperor.
Gilberte Valandray is hiding an embarrassing secret from her husband, Georges: she has an ex-husband, an American named Eric! When Eric arrives in Paris on business and meets with Georges, Gilberte naturally expects the worst. The film is a tribute to the best of bedroom farces, a witty operetta with loads of sexual overtones.
Alain Resnais
Alain Resnais was a French director, screenwriter, and editor. As the director of Hiroshima, mon amour (1959) and Last Year at Marienbad (1961), he quickly became regarded as one of the major figures of the French New Wave and one of the fathers of European cinematic modernity, alongside Roberto Rossellini, Ingmar Bergman, and Michelangelo Antonioni, for his way of challenging classical cinema grammar and deconstructing linear narration. A filmmaker who enjoyed experimentation and was able to question himself with each new project, Alain Resnais was recognized for his ability to create new forms and enrich the codes of cinematic representation by blending it with other arts: literature, theater, music, painting, and comics. His work encompasses a wide range of themes such as memory, political engagement, intimacy, death, and dreams.
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Alain Resnais, un cinéaste qui croyait aux joies de montrer et raconter
«Homme-cinéma» à un degré rarement atteint, Resnais s’en défendait, insistant toujours sur le rôle selon lui décisif de ses scénaristes, de ses acteurs, de ses producteurs, de ses techniciens. C’était la marque d’un autre trait essentiel de sa personnalité, une courtoisie modeste et souriante, une manière d’adoucir en permanence le tranchant de son exceptionnelle intelligence par une douceur et une élégance qui auront marqué à jamais quiconque aura eu le privilège de le fréquenter, ne serait-ce qu’un peu...
Balado : Alain Resnais, ce rêveur définitif
Du jeune lecteur qu'il fût d'illustrés et de littérature populaire au cinéaste, secrètement lovecraftien de Providence , en passant par sa lecture militante de toutes bandes dessinées, son projet resté sans suite d'adaptation d'Harry Dickson , Je t'aime, je t'aime , film de SF d'après Jacques Sternberg , la vie et l'oeuvre de Resnais est marquée par l'univers des genres.
