- Musical comedy
This is a premiere for 30 dancers of hip-hop, krump, break, voguing... A first for the director Clément Cogitore and for the choreographer Bintou Dembélé. And a first for the Paris’ Opera Bastille. By bringing together urban dance and opera singing, they reinvent Jean-Philippe Rameau's baroque masterpiece, Les Indes Galantes. From rehearsals to public performances, it is a human adventure and a meeting of political realities that we follow: can a new generation of artists storm the Bastille today?
- Historical film, Biopic, Young audience
In half a century, French animation has risen to 3rd place in the world, behind the USA and Japan. As the original inventors of a technique that was industrialized on the other side of the Atlantic, French artists and technicians were able to make a name for themselves through sheer perseverance and creativity. Resisting the American giant, embracing technological developments and convincing public authorities to support it, French animation embodies the success of a cultural model based on diversity. "French animation, that other cinema" will retrace the odyssey of the men and women of this little-known cinema.
This work as a citizen and a spy, as an explorer and a painter, as a columnist and an adventurer that has been described so well by many authors, from Casanova to Gilles Perrault, is a beautiful definition of a filmmaker that we want to apply to Renoir, Becker, to the Vigo of L'Atlante, to Duvivier, as well as to Truffaut and Demy. To Max Ophuls and also to Bresson. And to these lesser known filmmakers, Grangier, Gréville, or Sacha, whom through a scene or a film, illuminate an emotion, reveal surprising truths. I would like this film to be an act of gratitude to all the filmmakers, scriptwriters, actors, and musicians who suddenly appeared in my life. Memory warms us up: this film is a bit of coal for winter nights.
Some 70 years after cinema was invented, and after more than half a century of colonial cinema in which Africa was used as an exotic backdrop but its inhabitants were often depicted as less than human and portrayed in ways that undermined their dignity, Africans in newly independent countries were finally able to operate the camera themselves. Filming in the face of insurmountable obstacles, lacking both equipment and infrastructures, taking whatever support they could get from within Africa or elsewhere, they strove to convey the many and varied realities of Africa as seen by the Africans who had so long been debarred from self-expression. Shot over a decade, Caméra d’Afrique relates the first 20 years of the new cohorts of creative film-makers that emerged in sub-Saharan Africa, documenting an unprecedented hunger for expression that remains unsated to this day.