Archives par mot-clé : Cinéma

Framing Asia

Framing Asia is a monthly film screening and discussion on Asia during the Leiden Asia Year.

Framing Asia is organised by by the KITLV (Royal Netherlands Institute of Southeast Asian and Caribbean), the IIAS (International Institute for Asian Studies), the department CA-DS (Cultural Anthropology and Development Sociology) and Studium Generale of University Leiden.

You are welcome to join us on Tuesday 11 April at 19.30 h at Lipsius 028. This edition will screen two films on Popcultures and subcultures.

The first film is titled That’s Wicked (11 min) and directed by Joycelyn Lee. It follows the 15 year old Martin who introduces us to the world of beatboxing in Singapore.

The second film, The Silk Road of Pop (53 min), produced by Sameer Farooq, Ursula Engel and Stijn Deklerck shows us the vibrant music scene of the Uyghur youth in Xinjiang, China.

Afterwards, Ursula Engel (co-director of The Silk Road of Pop) will join our discussion with Bart Barendregt. Bart Barendregt is an associate professor at the Leiden Institute of Cultural Anthropology and Development Sociology. He has an interest in popular and digital culture, and has published on Southeast Asian performance, new and mobile media, and (Islamic) pop music.

Voir les séances précédentes, Transgender issues in Indonesia, Disaster and the failing state sur : http://www.kitlv.nl/framing-asia

Lav Diaz : Journeys

Lav Diaz : Journeys, 27/01/2017 – 12/03/2017, London Gallery West

London Gallery West is proud to be the first London venue to present six films by Lav Diaz, one of the greatest radical artists of contemporary cinema. For this exhibition the gallery space will be transformed into an inviting cinema environment to screen a rotating programme of Diaz’s extraordinary epics.

Independent Filipino filmmaker Diaz describes himself as a storyteller who makes films about the struggles of his people. His films tell quiet tales of everyday sorrow and resilience, and of the existential quest of a people betrayed by the postcolonial nation state. His films demonstrate a radical reworking of melodrama that extends the possibilities of cinema by combining physical cinematic realism with poetry, modernist literature, painterly landscape, musical improvisation, theatrical performance, ritual intensity and duration.

Shot mostly in black and white, Diaz makes notoriously long films with the economy of means afforded by digital. Diaz’s method of filmmaking exemplifies an organic process that merges fictional storytelling with the material density and tempo of the locality of shooting. Astonishing rhythmic pacing creates a powerful dialectic between the microscopic gestures and steadfast movements of powerless bodies, the immensity of natural and historical forces, and spectral presence.

Diaz was winner of the Golden Lion at the 2016 Venice Film Festival, the Silver Bear Alfred Bauer award at the 2016 Berlin Film Festival, among other prestigious prizes. He is a Radcliffe–Harvard Film Study Center Fellow. Retrospectives of his work have recently been held at the Jeu de Paume Museum, Courtisane Festival, and the Film Society of Lincoln Center.

A programme of talks will take place throughout the exhibition and Diaz will be in attendance in March for an international symposium on his films and artistic practice hosted by the Centre for Research and Education in Arts and Media.

For the screening programme schedule, Gallery talks and symposium see : https://www.westminster.ac.uk/news-and-events/events/lav-diaz-journeys

La femme qui est partie, Lav Diaz

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La femme qui est partie, Lav Diaz (2016)

Le dernier film de Lav Diaz, qui a remporté le Lion d’Or lors de la 73e Mostra de Venise, sort aujourd’hui, 1er février 2017, sur les écrans en France.

Synopsis

Horacia Somorostro sort de prison en 1997 après avoir passé trente ans derrière les verrous pour un crime qu’elle n’a pas commis. Alors qu’elle retrouve sa fille, Horacia apprend que son mari est mort et que son fils a disparu. Elle comprend rapidement que son ancien amant, le riche Rodrigo Trinidad, fait partie de ceux qui ont conspiré pour la faire arrêter. Trinidad vit désormais reclus chez lui, dans la terreur d’être victime d’un enlèvement. Horacia commence alors à fomenter un plan pour se venger…

Lire la critique de Pierre Murat et voir la bande-annonce officielle sur : http://www.telerama.fr/cinema/films/la-femme-qui-est-partie,512185.php