Brochure_Ghett'Out Film Festival

Embed Size (px)

Text of Brochure_Ghett'Out Film Festival




APRIL 5-12, 2012

INTENTIONS //WHAT THE FILMS ADVOCATEThe GhettOut Film Festival will present independent artistic and original filmmakers working on the fringes of the French production-distribution system. These filmmakers work with small budgets thus limiting the visibility of their films - if they are able to get their film out at all - to small alternative movie houses. Often self-taught, belonging to minority groups, living in the heart of a multiethnic French population and generally coming from lower class neighborhoods, these filmmakers are not the egalitarian ethnic quota but, to be exact, the avant-garde of a new wave. As in Gil Scott-Herons song Get Out Of The Ghetto Blues - which gave the festival its name - this event intends to take the films out of the social and cultural distribution network ghetto to which they were consigned. The festival will bring to light independent films which probe the world and the society in which we live with a humane and political awareness. We intend to present the same film program in two different cities, Boston and New York, and to invite the filmmakers to meet a broad academic and film-loving public. We want to create dialogue between academics and independent filmmakers from both sides of the Atlantic talking about their different working methods, questioning the notion of subject and highlighting film as a tool of emancipation. The purpose is also to talk about the social, political and economic conditions determining the creation and distribution of movies. For this first edition, we have asked for the patronage of a filmmaker whose films are suffused with a freedom of expression and an independence of character in complete accord with our aspirations. Charles Burnett, author of Killer Of Sheep immediately responded to our request, emphasizing artistic lineage over and above the frontiers between the new generation of filmmakers and those who were the pioneers of the counter-culture. Falling under the scope of both art and industry, cinema involves the mobilization of significant financial resources for production and distribution, creating a dependence of the artist on the backers and the distribution circuits dominated by notions of format and profitability. One of the consequences of this system is the reproduction in the cinematographic field of class differences, perpetuating a cinema presenting a bourgeois vision incapable of apprehending the daily life and anxieties of the less privileged classes. The issue of who depicts who becomes even more crucial. The works that we have chosen are testimonies to the urgency of telling, of revealing gestures, proving that there is another way of making films based on resourcefulness, immediate energy, and strategies of bypassing financial restrictions. Huge sections of the French population normally relegated to the status of an object in political and media debate, who, to all intents and purposes, are invisible to moviegoers except as extremely simplistic stereotypical figures, become social and political actors in the eye of filmmakers from a similar social background. There is a natural empathy and identification creating a relationship of equality between the filmer and the filmed. It is a multicultural and complex France that is revealed through the images produced, underlining at the same time that identity is a collective construction, fluid by definition, which refuses attempts to reduce it to issues of blood lineage, territory or political exploitation. In the context of a systemic crisis in capitalism linked to a crisis in our system of values, filmmakers make important statements about contemporary times. They invite us to think, surrounding reality differently through their images. And when the camera films on the fringe of a society, it is performing an act of emancipation.


May They Rest In Revolt (Figures of Wars I)They hide and then run away, looking around anxiously to get away from those with the power to decide where and how they can live. Desperate, they build makeshift shelters. Filmmaker Sylvain George spent three years in Calais, between July 2007 and November 2010, observing the living conditions of the mostly undocumented migrants there. Shot in stark black and white, the film is a collage of striking fragments. Doggedly condemning the violence and inhumanity of institutions governed by police rules, George finds hope in the spirit of resistance and solidarity arising among local people to defend these outcasts unjustly deprived of their fundamental rights.Director: Sylvain George Year : 2010 Duration : 154 min Picture : Sylvain George Editor : Sylvain George Sound : Sylvain George Production : Noir Production FILMOGRAPHY Les clats (ma gueule, ma rvolte, mon nom) (2011) LImpossible Pages Arraches (2009) Ils nous tueront tous... (2009) Nentre pas sans violence dans la nuit (2005 2008) Srie des Contrefeux (20062008) No Border (Aspettavo Che scendesse la sera) (20052008)


Slums Road


Adile is twenty. He lives in the slums of Paris. His life is a mix of hanging around in the hood and fixing motorbikes. One day, his grandfather disappears and he goes out in search of himDirector: Carine May, Hakim Zouhani Cast: Tarek Aggoun, Mourad Boudaoud, Presylia Alves, Moussa Barry Year : 2012 Duration : 68 min Script : Carine May, Hakim Zouhani Picture : Benoit Torti, Marianne Tardieu Editor : Nadge Kintzinger Sound : Philippe Schillinger, Clment Maleo Music : Menahan Street Band, Otros Aires Production : Nouvelle Toile/ Hors Cadre FILMOGRAPHY CARINE MAY (co-ral) BEO 16007 (2010) Ma langue au chat (2010) Partir pour crire (2006) HAKIM ZOUHANI a tourne Oran (2009) Un pont, une histoire (2009)

+ Carine MAY Carine MAY, was born on 19th August 1978. After spending her childhood and teenage years in Aubervilliers, she decided to study journalism, then moved on to making documentaries. She still lives in Aubervilliers. After holding radio and written press workshops for youngsters, she finally decided to turn to writing and set to work on her first film scripts. Her home town is a source of inspiration and its inhabitants provide her with material. For Carine, Rue des cits is the firstborn of a joint venture. + Hakim ZOUHANI Hakim Zouhani, was born on 25th July 1978 in Aubervilliers, where he currently lives. After working on film sets in a variety of technical roles, he decided to organise various video workshops for youngsters from working-class neighborhoods. He likes to pass on his knowledge. He has wanted to tell stories for a long time. He took the plunge with Rue des cites and decided to become a producer at the same time.

+ Sylvain GEORGE Filmmaker and political activist. After studying philosophy, he made poetic, political and experimental film-essays, particularly on themes related to immigration.

The Lords Ride


DONOMAA female teacher begins an ambiguous relationship with a student, an agnostic teenager is called by God, a photographer offers herself to a stranger: do we choose to love, do we choose to be loved?Director: Djinn Carrenard Cast: Emilia Derou-Bernal, Laura Kpegli, Salom Blechmans, Skouba Doucour, Vincente Perez Year : 2011 Duration : 133 min Script: Djinn Carrnard Picture : Djinn Carrnard Editor : Djinn Carrnard Sound : Djinn Carrnard Production : Donomaprod/DACP Films

There is turmoil in a small Yeniche community in rural northern France. Fred, the unofficial leader of the nomadic clan and the best car thief around, is going through a spiritual crisis. This giant of a man was given a white dog by a nocturnal visitor. Was it a divine apparition? Will Fred ever find his way? A true cinematic curiosity, Jean-Charles Hues film defies categorization, miraculously balancing on a treacherous tightrope between fiction and documentary, anthropology and spiritual metaphor.Director: Jean-Charles Hue Cast: Frdric Dorkel, Joseph Jo Dorkel, Michal Dauber Year : 2010 Duration : 84 min Script: Jean-Charles Hue Picture : Chlo Robert Editor : Isabelle Proust Sound : Benjamin Le Loch Production : Avalon Films

FILMOGRAPHY White Girl In HerPanty (2008) Le Ngre Joyeux (2007) De C D (2005) Courts en Impro (2004)

FILMOGRAPHY Came Vica (2009) Lil de Fred (2007) Ya plus dos (2006) Pitbull carnaval (2006) Un Ange (2005) Quoi de neuf docteur (2004) Perdona mi Mama (2004)

+ Djinn CARRENARD Born in Haiti, Djinn Carrenard grew up in Togo and Guinea. After moving to Paris in 1998, he majored in philosophy. His filmography includes short films and various video clips. Donoma is his first feature film.

+ Jean-Charles HUE Video artist Jean-Charles Hue (1968, France) attended the art academy in Cergy-Pontoise in the north of France. He combines documentary and fiction in his work. He has participated in several solo and group exhibitions. Hue lives and works in Paris.


L AFRANCEEl Hadj is a postgraduate student living in Paris. Once he has finished his studies, he plans to return to Senegal and become a teacher. This is motivated by his political desire to rebuild the countrys infrastructure and not contribute to the brain drain of intellectuals to Europe, as well as his personal desire to go home. But when he begins a love affair with Delphine (a white French woman), he enters into an existential crisis questioning not only his own positionality but that of Senegal, and indeed Africa. He is tired of being a foreigner in France and tired of the stereotypical labeling he experiences: Im sick of being a black. Im Senegalese. But as a man who has spent six years of his twenties in France, what will he be in Senegal other