The 2006/07 Tournées Festival Book - FACE | French American ...

THE TOURNÉES FESTIVAL
We invite you to apply for a grant from The Tournées Festival, a
program of FACE, designed to help bring contemporary French
cinema to your college or university campus.
The Tournées Festival was conceived to encourage schools to begin
their own self-sustaining French film festivals. Since its inception, the
program has partnered with hundreds of universities and made it
possible for more than 250,000 students to discover French-language
films. The Tournées Festival distributes approximately $140,000 in
grants annually. The program is made possible with the generous
support of the French Ministry of Foreign Affairs, the Centre
National de la Cinématographie, the Grand Marnier Foundation,
the Florence Gould Foundation and the Franco-American Cultural
Fund (SACEM, the Writers Guild of America, the Directors Guild of
America and the Motion Picture Association).
This booklet includes descriptions of the latest releases selected by
FACE and a complete list of eligible films featured in previous years.
You will also find the information necessary for your application on
pages 2 and 3. Schools will continue to be awarded a grant of $1,800
to show five films. We continue to have two application deadlines,
one on July 31, 2006 for those who wish to program films in the fall
semester, and one on October 1, 2006 for those scheduling their
films for the spring semester.
We are delighted to be able to propose a varied selection of films, a
wide array of genres, many French co-productions, and films by
directors ranging from established figures to unique new voices.
We hope you will be inspired by the selection of films on the
following pages, and we look forward to receiving your application.
A bientôt!
Elisabeth Hayes, Executive Director
Delphine Selles, Program Officer
The Tournées Festival Book was designed by Laurent Auffret.
FACE wishes to thank Wassila Ali Azouz, Marie Bonnel, Agatha
Ciancarelli, Adrienne Halpern, Annette Insdorf, Lucie Loi, Richard Peña,
Patrick Renault, Rachel Spiegel and Jean Vallier for their collaboration
on The Tournées Festival program.

TABLE OF CONTENTS
ELIGIBILITY & GUIDELINES 2
FEATURE FILMS - SEASON 2006/07
5 x 2 4
François Ozon
AALTRA 5
Benoît Delépine & Gustave de Kervern
APRES VOUS 6
AFTER YOU - Pierre Salvadori
CACHE 7
HIDDEN - Mickael Haneke
LE CHIGNON D'OLGA 8
OLGA’S CHIGNON - Jérôme Bonnell
CLEAN 9
Olivier Assayas
COMME UNE IMAGE 10
LOOK AT ME - Agnès Jaoui
CRUSTACES ET COQUILLAGES 11
COTE D'AZUR - Olivier Ducastel & Jacques Martineau
DE BATTRE MON CŒUR S'EST ARRETE 12
THE BEAT THAT MY HEART SKIPPED - Jacques Audiard
DELWENDE: LEVE-TOI ET MARCHE 13
DELWENDE - S. Pierre Yameogo
LE DERNIER JOUR 14
THE LAST DAY - Rodolphe Marconi
L’ENFANT 15
THE CHILD - Jean-Pierre & Luc Dardenne
LA FACE CACHEE DE LA LUNE 16
FAR SIDE OF THE MOON - Robert Lepage
LA FEMME DE GILLES 17
GILLES' WIFE - Frédéric Fonteyne
INNOCENCE 18
Lucile Hadzihalilovic
L’INTRUS 19
THE INTRUDER - Claire Denis
LA MARCHE DE L'EMPEREUR 20
MARCH OF THE PENGUINS - Luc Jacquet
MONDOVINO 21
Jonathan Nossiter
NATHALIE 22
Anne Fontaine
PAS DE REPOS POUR LES BRAVES 23
NO REST FOR THE BRAVE - Alain Guiraudie
LA PETITE JERUSALEM 24
LITTLE JERUSALEM - K arin Albou
LES PETITS FILS 25
GRAND SONS - Illan Duran Cohen
QUAND LA MER MONTE 26
WHEN THE SEA RISES - G illes Porte & Yolande Moreau
ROIS ET REINE 27
KINGS AND QUEEN - A rnaud Desplechin
LES TEMPS QUI CHANGENT 28
CHANGING TIMES - André Téchiné
WILD SIDE 29
Sébastien Lifshitz
ALTERNATIVE CHOICE LIST 30
DISTRIBUTOR CONTACT INFORMATION 32
ABOUT US 33

ELIGIBILITY & GUIDELINES
2
ELIGIBILITY REQUIREMENTS
To be eligible for a grant, you must be affiliated with an American university
or college with non-profit status. Qualifying candidates must show films for
which they are seeking the support of The Tournées Festival as part of a festival
and screenings of all films must take place within a one-month period. The
festival should consist of at least five films as this is the number of films that
The Tournées Festival grant covers. The films may also be presented as part of
a larger festival of French or international films. The Tournées Festival grant is
provided for a maximum of five consecutive years.
APPLICATION PROCEDURES
1 | Selecting the films:
Choose five films among the “Featured Films” and “Alternative Choice” titles
and prepare a tentative schedule for the screenings. Films must be shown in
16mm, 35mm or DVD format. Not all films are available on DVD, so choose
according to both your school’s projection equipment and the availability of
the films. Since DVDs are generally available later than film, we encourage
you to check our website (www.facecouncil.org) on a regular basis for updates
on DVD releases. In this brochure, DVD formats are indicated when they
already exist. Also note that some 35mm films are in CinemaScope. Make sure
that your projectionist is aware of the different formats. Please note that The
Tournées Festival grant does not cover films shown in VHS. Films are in French
with English subtitles (unless otherwise noted).
2 | Applying:
Complete the application form (available at www.facecouncil.org/tournees)
and send it to FACE. Be as detailed as you can about your proposed festival
and screening dates. If you receive a grant, we realize that the dates you
initially choose may change and we simply ask that you provide us with the
updated information. Please explain why you are interested in this program, if
you will be work ing with other academic departments, and if you already
show foreign films on your campus.
There are two postmark deadlines for applications:
July 31, 2006 and October 1, 2006. Choose to meet the deadline that is most
convenient for you. We will only accept one application per institution per
year. Late applications will not be considered. You will receive notification
within three weeks of the respective deadlines.
IF ACCEPTED: HOW TO ORGANIZE THE SCREENINGS ON YOUR CAMPUS
3 | Contacting the distributors:
Contact the U.S. distributor of each film and arrange for the reservation,
shipping, and payment of projection rights for all films, including DVDs. As
some titles may not be available for booking until late fall, check with the
distributor before finalizing your program dates. You can organize your film
festival whenever you like during the academic year, between September 1,
2006 and June 30, 2007. Be sure to inform the distributors that you are
participating in The Tournées Festival.
4 | Raising additional funds:
The Tournées Festival Grant may not cover all your expenses. In addition to the
rental fees (which range from $200 to $600 per film) you will be charged a
shipping fee for film prints. Rental rates are subject to distributors’ discretion
and are out of our control. However, they may be negotiable.

3
We recommend that you collaborate with other academic departments or
student groups, or seek private commercial sponsors in your community in an
effort to find additional funding. You may also charge admission for your
screenings.
5 | Publicizing your screenings:
Try to show your films to as large an audience as possible. Publicize them in
your community. Contact other academic departments, cultural institutions,
and high schools nearby that might be interested in French films. Place an ad
in your local or student newspaper. Put posters up on your campus. Create a
festival website.
The Tournées Festival postcard: you are to use the 500 oversized postcards that
FACE will provide. This promotional tool will enable you to promote your
Tournées Festival, including your larger festival of French or international films.
FACE will provide several label templates on its website so that you can easily
include all your festival information on the back of the postcard.
ALL PUBLICITY MATERIALS MUST INCLUDE
THE FOLLOWING CREDIT LINE(S):
“ The Tournées Festival was made possible with the support of
the Cultural Services of the French Embassy and
the French Ministry of Culture (CNC).”
In the event that The Tournées Festival films are being shown as part of a larger
festival, the following must be included after each Tournées Festival film description:
“presented as part of The Tournées Festival.”
PLEASE NOTE: Your grant is contingent upon the distribution of 500 postcards
and mention of the above credit line(s). We would be grateful if you could
also add our sponsors to your promotional materials:
“The Florence Gould Foundation, the Grand Marnier Foundation
and the Franco-American Cultural Fund.”
6 | Submitting post-screening materials:
Once you have completed your festival, send us the following documents
before July 1, 2007:
- copy of the distributor’s invoice (or a box office report);
- completed post-screening form;
- copy of your festival budget;
- 5 copies of your adapted The Tournées Festival postcard;
- copies of your publicity materials (2 examples of each document);
- any reviews or newspaper articles related to the screenings.
Please be as detailed as possible when answering the questions on the postscreening
form. We will use your post-screening form to evaluate your participation
in The Tournées Festival if you apply the following year. You will receive
the grant within a month after we receive your materials.
Log on to www.facecouncil.org/tournees for quick and easy access to a range
of resources. The site includes a list of all eligible films with descriptions and
credits, links to reviews, distributor contact information, publicity stills, and
downloadable forms.

5 x 2
Director: François Ozon
Screenplay:
François Ozon
Emmanuèle Bernheim
Cast:
Marion: Valéria Bruni-Tedeschi
Gilles: Stéphane Freiss
Awards:
Best Actress (Valéria Bruni-
Tedeschi), Pasinetti Award,
Venice Film Festival (2004)
Running time: 90’
Production: France, 2004
Rated R (strong graphic
sexuality & language)
Gauge: 35mm, DVD (color)
Distributor:
ThinkFilm
4
A depiction of an emotionally-charged divorce, 5x2 tells the
story of the intense but ill-fated relationship of a couple. In
François Ozon’s inventive portrait of a modern marriage, a
series of vignettes are played out in reverse chronological
order as Marion and Gilles are seen at various moments of
their relationship. When they host a dinner party, an air of
intimacy born of too much wine causes them to reveal sexual
secrets that underscore their differences. During a momentous
moment of their marriage, Gilles fails to show up at the
hospital when their son is born. On their wedding night, Gilles
falls asleep early and Marion has an affair with a stranger. And
finally, they first meet at a resort where Gilles is vacationing
with his long-time girlfriend. The film ends as Marion and
Gilles walk off into the sunset. In his new film, François Ozon
transforms a conventional love story into an interesting study
of human behavior. As he explains, “… Starting at the end and
working gradually backwards to the first encounter seemed
like a good way of reaching a true, lucid reading of a couple’s
story. I wanted the audience to see the range of different
emotions two people experience in the course of their lives
together.”
“Mr. Ozon… has an evident fondness for combining earnest melodrama with
self-conscious gimmickry. … The real ingenuity of ‘5x2’ lies in his mastery of
emotional shorthand. He tells us very little about the characters and seems
to have encouraged [the actors] not to be too obvious or revealing.”
A.O. Scott, The New York Times

AALTRA
Screenplay:
Benoît Delépine
Gustave de Kervern
Cast:
Ben: Benoît Delépine
Gus: Gustave de Kervern
Awards:
FIPRESCI Prize (Benoît
Delépine & Gustave de
Kervern), London Film
Festival (2004)
Running time: 92’
Production: Belgium, 2004
Rating: Not rated
Gauge: 35mm, DVD (B&W)
Distributor:
Film Movement
5
Director: Benoît Delépine & Gustave de Kervern
Two neighbors in the Belgian countryside: Gus, a white-collar
worker, and Ben, a farmer, despise one another. One day in the
midst of a fight, an accident with a tractor leaves them both
paralyzed, wheelchair-bound, and spiteful. Rather than feeling
sorry for themselves, the embittered paraplegics decide to seek
revenge against the tractor’s manufacturer, Aaltra. They set out
to Finland, directing their frustrations towards people they meet
on their way. They steal money, food, and even an electric
wheelchair that belongs to an old lady. They abuse people’s
compassion towards them but when they at last reach the
company ’s headquarters, they are in for a big surprise…
Captured in sharp black-and-white photography that
complements its visual gags, A altra undermines conventional
attitudes toward the disabled with its dry wit and acerbic,
vengeful characters. In this film, the disabled protagonists are
simply normal human beings, at times a bit stupid, a bit nasty,
and often funny. Actors Benoît Delépine and Gustave Kervern,
who wrote, directed and co-star, show a distinct flair for
understated physical comedy and politically incorrect humor.
“Masters of underplaying, they [Delépine and Kervern] mine laughs in the
minimal gesture or look, without resorting to slapstick. Dialogue is pared to
a minimum, allowing for the dry visuals to take front and center. The cool,
confident camera mostly maintains a passive distance, just observing the
action and letting it cross the widescreen on its own.”
Jay Weissberg, Variety

APRES VOUS
AFTER YOU
Screenplay:
Pierre Salvadori
Benoît Graffin
Director: Pierre Salvadori
Cast:
Antoine: Daniel Auteuil
Louis: José Garcia
Blanche: Sandrine Kiberlain
Christine: Marilyne Canto
Running time: 100’
Production: France, 2003
Rating: Restricted (language)
Gauge: 35mm, DVD (color)
Distributor:
Swank Motion Pictures
6
Antoine is an overzealous headwaiter at a busy Parisian
restaurant. He enjoys taking care of people, the restaurant’s
clients and its staff. After coming to the rescue of Louis, a
perfect stranger who is about to commit suicide, Antoine
begins to feel responsible for him and genuinely wants to help
him. He brings him home, feeds him and houses him, and goes
as far as driving all night to Louis’ grandparents’ home to
intercept his suicide letter. After giving him a crash course on
wine tasting, Antoine helps him get a job as wine steward at
his restaurant. Desperate to help Louis find happiness, and
also to get him out of his hair, Antoine secretly sets out to play
cupid and to find Louis’s ex-girlfriend Blanche, the person
responsible for his depression. When Antoine finally finds
Blanche at the flower shop where she works, his act of
kindness quickly becomes a fiasco: Antoine falls in love with
her himself. The three strangers, brought together by chance,
learn that there is a fine line between helping others and
helping oneself.
“Elegantly written, well-thesped comedy is too hermetic and bittersweet to
be laugh-out-loud funny, but sustains a successful ratio of uncomfortable
situations to amusing solutions.”
Lisa Nesselson, Variety

CACHE
HIDDEN
Screenplay:
Michael Haneke
7
Director: Mickael Haneke
Cast:
Georges: Daniel Auteuil
Anne: Juliette Binoche
Pierrot: Lester Makedonsky
Majid: Maurice Benichou
Awards:
Best Director, Cannes Film
Festival (2005) Best Director,
Best film, Best Actor (Daniel
Auteuil) European Film Awards
(2005) Best Foreign Language
Film, Los Angeles Film Critics
Association Awards (2005)
Running time: 117’
Production: France / Austria
Germany / Italy, 2005
Rating: Restricted (strong
violence)
Gauge: 35mm, DVD (color)
Distributor:
New Yorker Films
Georges, the television host of a literary magazine, and his wife
Anne are living a perfect life of modern comfort and security.
One day, their world is disrupted when they receive a videotape
from an anonymous source. On it, they discover that their house
had been filmed by a hidden camera. As more tapes arrive
wrapped in drawings that are disturbingly violent and personal,
the walls of security that Georges and Anne have felt around
them begin to crumble. Georges launches his own investigation
and secrets from his past are revealed. As a young child,
Georges was confronted by his parents’ wishes to adopt Majid,
the son of their Algerian farm workers who disappeared in Paris
during the police brutality that followed the October 17, 1961
demonstration. Georges made up a lie about Majid who was put
into foster care. As this memory resurfaces, Georges is faced
with the fact that Majid’s life could have turned out differently if
he had stayed with his family. He could have received an
education but instead endured a life of poverty. A psychological
thriller that masterfully brings the viewer into the story, Caché is
as much a searing commentary on France’s bourgeoisie and its
colonial heritage as it is about father-son relationships.
“ Tempting as it is to dismiss ‘Caché’ as a liberal guilt trip in the guise of a
thriller, it is at the same time hard to deny its creepy, insinuating power. Nor
is it possible to tune out its accusatory message. Civilization and barbarism
are not antithetical, Mr. Haneke insists, but adjacent, perhaps even
identical.”
A.O. Scott, The New York Times

LE CHIGNON D'OLGA
OLGA’S CHIGNON
Screenplay:
Jérôme Bonnell
Director: Jérôme Bonnell
Cast:
Julien: Hubert Benhamdine
Alice: Nathalie Boutefeu
Emma: Florence Loiret-Caille
Gilles: Serge Riaboukine
Olga: Delphine Rollin
Awards:
FIPRESCI Prize, Chicago
International Film Festival
(2003)
Running time: 96’
Production: Belgium / France,
2002
Rating: Not rated (general public)
Gauge: DVD (color)
Distributor:
Strand Releasing
8
Julien and his sister Emma lost their mother a year ago. They
still live with their father Gilles in the house where they grew
up in the Beauce region. They all live with the pain of their
mother’s death, but they are incapable of talking to each other
about it. Set in a small town where most people have left for
their summer holiday, Julien roams aimlessly and falls in love
with a young saleswoman Olga whom he spots in a bookstore.
He unsuccessfully tries to get her attention until he finds out
she is married and has a child. His childhood friend Alice is
trying to get over a painful and abusive relationship. She and
Julien soon find out that they have deep feelings for each
other. In this first feature film, Jérôme Bonnell was able to
create his own personal universe, fresh and full of tenderness.
“Bonnell made a solid and endearing film, where time stops to leave room
for each one of the characters to mature and grow at their own rhythm.”
Thierr y Chèze, Studio Magazine

CLEAN
Screenplay:
Olivier Assayas
Malachy Martin
9
Director: Olivier Assayas
Cast:
Emily: Maggie Cheung
Albrecht: Nick Nolte
Elena: Béatrice Dalle
Irène: Jeanne Balibar
Awards:
Best Actress (Maggie
Cheung), Cannes Film
Festival (2004)
Running time: 110’
Production: English / French /
Italian / Spanish / Portuguese,
2004
Rating: R (drug content,
language & brief nudity)
Gauge: 35mm, DVD (color)
Distributor:
Swank Motion Pictures
Emily, whose musician partner died of an overdose in Canada,
spends six months in prison on drug charges. When she gets
out, she has one goal in mind: to get her son Jay back. He is
being raised by her parents-in-law and Emily has realized that
she has to turn her life around and come clean. This will not be
easy as few people in her life believe in her and trust her and
many think that she ruined her partner’s life. Emily moves to
Paris, quits the music scene, goes through a methadone
program, and applies for odd jobs to survive. Little by little,
despite expectations that she will fail, Emily changes. She gains
the trust of her father-in-law who travels to Paris to meet with
her and give her a second chance at raising her son. Clean is
about the rock scene and drugs, but more importantly, about a
person’s ability to change. As Olivier Assayas explains, “I wanted
to come back to something more natural… closer to the
essence of my cinematic style that presents human relations in a
more real and heart-warming context.”
“Clean is a movie about a woman who begins in a state of severe disequilibrium
and finds herself… in an opposite state: balance, clarity, relative
peace. The fact that it is not solely her triumph makes it no less moving,
and it certainly makes it far more honest than almost every other movie
you’re likely to see about spiritual regeneration.”
Kent Jones, Cinema Scope

COMME UNE IMAGE
LOOK AT ME
Screenplay:
Agnès Jaoui
Jean-Pierre Bacri
Director: Agnès Jaoui
Cast:
Lolita: Marilou Berry
Sylvia: Agnès Jaoui
Etienne: Jean-Pierre Bacri
Pierre: Laurent Grevill
Karine: Virginie Desarnauts
Awards:
Best Screenplay, Cannes Film
Festival (2004)
Best Screenwriters,
European Film Award (2004)
Best Screenplay, Stockholm
Film Festival (2004)
Running time: 110’
Production: France/Italy, 2004
Rating: PG-13 (brief language &
a sexual reference)
Gauge: 35mm, DVD (color)
Distributor:
New Yorker Films
10
This newest character-rich comedy centers on 20-year-old
Lolita, a stocky, dark-haired aspiring singer acutely aware that
she doesn’t fit into a world ruled by skinny blondes.
Compounding her low self-esteem is her inconsiderate father
Etienne, a jaw-droppingly boorish literary celebrity whom she
worships and despises. Orbiting in Etienne’s sphere of
influence is a retinue of devotees and wannabes, including a
voice coach (played by director Agnès Jaoui) who plots on
behalf of her struggling novelist husband. Brimming with
music, food, and parties, Look At Me paints a vibrant portrait of
the Parisian social whirl, but one which doesn’t gloss over the
undercurrent of backbiting and backstabbing that flows just
beneath the glittering surface. The film ends with a heartwarming
country-church recital that affirms the transcendent
power of art.
“Jaoui sets her wryly observant sights on family, artistic ambition and the
tyranny of physical appearance, and the result is a bright, briskly moving
film whose modest scale belies the universality of its themes.”
Ann Hornaday, Washington Post

CRUSTACES ET COQUILLAGES
COTE D'AZUR
11
Director: Olivier Ducastel & Jacques Martineau
Screenplay:
Olivier Ducastel
Jacques Martineau
Cast:
Béatrix: Valéria Bruni-Tedeschi
Marc: Gilbert Melki
Didier: Jean-Marc Barr
Mathieu: Jacques Bonnaffé
Charly: Romain Torres
Awards:
Label Europa Cinemas (Olivier
Ducastel & Jacques
Martineau), Berlin International
Film Festival (2005)
Running time: 93’
Production: France, 2005
Rating: Not rated
Gauge: DVD (color)
Distributor:
Strand Releasing
Marc takes his wife Béatrix and their two children to the seaside
house of his youth on a summer vacation. The Mediterranean
wind blows, the sea and the heat of summer stoke their desires.
Their daughter Laura leaves for Portugal with her biker
boyfriend. Their son Charlie, age 17, is left to roam around with
his best friend Martin. Sensitive to the charged atmosphere that
exists between Charlie and Martin, Béatrix imagines that her son
is gay. Charlie tries to explain to his parents that he is not gay
but, as he will soon discover, they are more enthralled by their
own love affairs. Béatrix’s lover Mathieu shows up, inventing all
sorts of excuses to steal time with her. Marc’s old flame, the
local plumber appears reviving Marc’s repressed homosexuality.
Complications escalate in a series of misunderstandings but the
story has a happy ending. This typical vaudeville has fast
rhythm, witty dialogue and an energetic storyline that
concludes with an erotically-charged musical number about the
aphrodisiac powers of shellfish.
“Co-writers and directors Olivier Ducastel and Jacques Martineau have
made a romper that doesn’t shy away from sexual frankness or
Mediterranean laissez-faire.”
Desson Thomson, Washington Post

DE BATTRE MON CŒUR S'EST ARRETE
THE BEAT THAT MY HEART SKIPPED
Director: Jacques Audiard
Screenplay:
Jacques Audiard & Tonino
Benacquista, adapted from
James Toback’s “Fingers”
Cast:
Tom: Romain Duris
Robert: Niels Arestrup
Miao-Lin: Linh-Dan Pham
Aline: Aure Atika
Chris: Emmanuelle Devos
Fabrice: Jonathan Zaccaï
Awards:
Best Film, DIrector, Music, Editing,
Supporting Actor, Promising
Actress, Cinematography, César
Awards (2006) Best Film Music,
Berlin Film Festival (2005)
Running time: 107’
Production: France, 2005
Rating: Not rated (brief scenes of
violence)
Gauge: 35mm, DVD (color)
Distributor:
New Yorker Films
12
In this stylish reinterpretation of James Toback’s 1978 cult neonoir
film Fingers, Jacques Audiard has combined equal parts
Bach and rock, in a groundbreaking Gallic transformation of a
thoroughly American genre: gangster-seeking-redemption
film. Twenty-eight-year-old Thomas appears destined to follow
in the footsteps of his slumlord father. Tom is a sleazy real
estate manager who expels squatters from low-rent buildings.
An unexpected encounter with the agent of his late mother
who was a classical musician reignites a long-buried desire for
life as a concert pianist. When the agent proposes an audition,
Tom finds a special teacher and propels himself back into his
almost forgotten world of classical music, even as he continues
to strong-arm deadbeats and other thugs under pressure from
his father. As the conflict between his parents’ widely
disparate spheres intensifies, Tom feels his longing to be a
musician undermining his place in the shadows of the Paris
underworld. Will he find liberation? This City of Lights thriller
has a richly orchestrated mélange of menace, yearning, and
grace.
“A blistering film you feel in the pit of your stomach, a jumpy, edgy piece of
work that thrust us into a personal maelstrom so tortured and intense, the
emotions could be spread with a knife.”
Kenneth Turan, Los Angeles Times.

DELWENDE: LEVE-TOI ET MARCHE
DELWENDE
13
Director: S. Pierre Yameogo
Screenplay:
S. Pierre Yameogo
Cast:
Napoko: Blandine Yameogo
Diarrha: Célestin Zongo
Pougbila: Claire Ilboudo
Bancé: Daniel Kabore
Elie: Thomas Ngourma
Raogo: Jules Taonssa
Awards:
Regard Hope Award, Cannes
Film Festival (2005)
Prize of the Ecumenical
Jury-Special Mention,
Cannes Film Festival (2005)
Running time: 69’
Production: Burkina Faso
France / Switzerland, 2005
Language: Moore, French
Rating: Not rated (general public)
Gauge: 35mm, DVD (color)
Distributor:
New Yorker Films
This mother-daughter tale focuses on the injustice of some
traditional African practices and women’s struggle for equality.
A small village in Burkino Faso is devastated by the sudden
death of many of its children. Fearing the worst, Diarrha sends
his daughter Pougbila to get married in another village despite
the objections of his wife Napoko. She learns that their
daughter has been raped, possibly by her own husband and
therefore she accepts the arranged marriage despite her own
reservations. Following a village tradition, the elders conduct a
witch-hunt to find the person responsible for all the deaths. The
blame falls on Napoko and she is chased out of the village.
Upon learning of her mother’s fate, Pougbila embarks on a
journey to find her. Her travel leads her to the capital,
Ouagadougou, where she finds her mother in a shelter for
women accused of witchcraft. Intent on exposing the truth, she
brings Napoko home and forces the elders to confront the truth:
Diarrha took advantage of a local village tradition in order to
direct the blame towards his wife. Based on a true story,
Delwende examines some traditional customs in Africa and the
role women play in exposing the injustices perpetrated against
them.
“Firmly feminist in outlook and culture-changing in its aspirations,
‘Delwende’ combines aspects of Greek tragedy with a critical eye toward the
misuse of tradition… Like Sembene, Yameogo is enamored with strong
women, and in his lead actresses he’s found a terrific conduit for expressing
their nobility and force.”
Jay Weissberg, Variety

LE DERNIER JOUR
THE LAST DAY
Director: Rodolphe Marconi
Screenplay:
Rodolphe Marconi
Cast:
Marie: Nicole Garcia
Simon: Gaspard Ulliel
Louise: Mélanie Laurent
Marc: Bruno Todeschini
Running time: 105’
Production: France, 2004
Rating: Not rated
Gauge: DVD (color)
Distributor:
Strand Releasing
14
Simon, a sensitive young artist, travels to meet his parents at
their seaside home for the Christmas holiday and in the train,
he meets Louise who invites herself over for Christmas.
Simon’s parents, Marie and Jean-Louis, assume Louise is his
girlfriend. The father clearly has no attachment to his son,
preferring his daughter. Simon grows attached to Louise, but
she prefers his best friend, Mathieu. When Marie receives a
phone call from Marc, an ex-lover who also happens to be in
the region, old family stories resurface. Frustrated in her
marriage to Jean-Louis, Marie reconnects with Marc. She soon
discovers that he has not only come to be with her, but also to
meet Simon who, as it turns out, is really his son. Marie learns
that Louise is Marc’s daughter. Marie tells Simon that Marc,
not Jean-Louis, is his father. Marc has already left town and
Louise left with Mathieu. Simon is left alone to deal with the
news, which he is incapable of bearing on his own.
“The search for identity. This is the recurring theme which runs through
Rodolphe Marconi’s films. In that respect, his last opus ‘The Last Day’ is, without
exaggeration, the best accomplishment.”
Thomas Baurez, Studio Magazine

L’ENFANT
THE CHILD
15
Director: Jean-Pierre & Luc Dardenne
Screenplay:
Jean Pierre & Luc Dardenne
Cast:
Bruno: Jérémie Renier
Sonia: Déborah François
Awards:
Golden Palm, Cannes Film
Festival (2005)
Running time: 95’
Production: Belgium / France,
2005
Rating: Restricted
(brief language)
Gauge: 35mm, DVD (color)
Distributor:
New Yorker Films
Dispossessed twenty-year-old Bruno lives with his girlfriend
Sonia in an Eastern Belgian steel town. They live off Sonia’s
unemployment benefits, panhandling, and the petty thievery of
Bruno and his gang. Their lives change forever when Sonia gives
birth to their child Jimmy. She returns home from the hospital
to learn that Bruno has sublet their apartment to total strangers.
The two are forced to make do under a highway bridge. Bruno
feels little attachment to their baby and Jimmy becomes little
more to him than a new source of wealth. Desperate for money,
Bruno sells Jimmy through the black market. Upon learning
what Bruno did, Sonia faints and ends up in the hospital.
Realizing his terrible mistake, Bruno sets out to get his baby
back. He eventually does but is forced to come up with the
money that his black market contact lost in the failed deal.
After stealing the day’s earnings from a small store, Bruno and
his young associate are caught during a chase with the police.
Transformed by his newly discovered sense of responsibility to
his son, Bruno steps forward and takes responsibility for the
crime and lands in prison, whereas his young partner goes free.
“The brothers have a style and set of interests as instantly recognizable as
any filmmaker in the world - visceral camerawork, impeccable performances,
a concern for Belgium's dispossessed, an unlikely affinity for Robert
Bresson.”
James Hoberman, The Village Voice

LA FACE CACHEE DE LA LUNE
FAR SIDE OF THE MOON
Screenplay:
Robert Lepage
Director: Robert Lepage
Cast:
Philippe/André: Robert Lepage
The Mother: Anne-Marie Cadieux
Carl: Marco Poulin
Awards:
FIPRESCI Prize, Berlin Film
Festival (2004)
Best Adapted Screenplay,
Genie Awards (2004)
Best Film, Namur Festival of
Francophile Film (2004)
Running time: 105’
Production: Canada, 2003
Rating: Not Rated
Gauge: 35mm, DVD (color)
Distributor:
TLA Entertainment
16
Before Galileo, it was believed that the moon was a polished
mirror, its surface a reflection of the globe. In the 1960s, a
Soviet lunar probe exposed the far side of the moon (which
can never be seen from Earth) as scored and disfigured by the
storms of celestial debris. From this discovery, writer-director
Robert Lepage crafts an engaging metaphor of mysterious
dualities, juxtaposing sibling rivalry with the US-Soviet space
race. Estranged brothers Philippe and André (both played by
Robert Lepage) relive childhood disputes as they dispose of
the belongings of their recently deceased mother. André, a
television meteorologist, has little in common with his older
sibling Philippe. Philippe is a forty-ish doctoral student who
has repeatedly failed to defend his dissertation on human
narcissism and space exploration. He is deeply hurt by the
scientific community’s refusal to acknowledge his work. When
he receives an invitation to go to Russia to present his
theories on the competitive exploration of the cosmos,
Philippe hopes that he will finally gain some recognition. This
captivating cinematic journey probes issues of competition
and reconciliation while searching for meaning in the universe.
“Employing plenty of the director’s signature seamless pans across time and
space, Lepage lyrically fuses childhood memories with present-day sibling
rivalry, archival footage with crisp video… Lepage spins a rich, moving film
that acknowledges humanity’s power to break out of Earth’s daily gravity; in
the process, he leaves audiences floating.”
Mark Peranson, The Village Voice

LA FEMME DE GILLES
GILLES' WIFE
17
Director: Frédéric Fonteyne
Screenplay:
Philippe Blasband, Frédéric
Fonteyne & Marion Hänsel,
based on the novel by
Madeleine Bourdouxhe
Cast:
Elisa: Emmanuelle Devos
Gilles: Clovis Cornillac
Victorine: Laura Smet
Awards:
Golden Tulip, Istanbul
International Film Festival
(2005) Best Belgian Director,
Joseph Plateau Awards (2005)
Best Actress (Emmanuelle
Devos), Mar del Plata Film
Festival (2005) CICAE Award,
Venice Film Festival (2004)
Running time: 103’
Production: Belgium/France, 2004
Rating: Not Rated
Gauge: 35mm, DVD (color)
Distributor:
The Cinema Guild
Set in the 1930’s, Gilles’ Wife is a haunting tale of passion and
sacrifice in a small mining town. The wife of a metal worker and
devoted mother, Elisa’s well-ordered world is turned upside
down when she begins to suspect her husband Gilles of having
an affair with her younger sister Victorine. Determined to save
her marriage, Elisa undertakes a strange and disquieting battle
to recover what she has lost, in the hopes of regaining once
again Gille’s attention. Steeped in rich period details, which
recreate the atmosphere of classic French cinema of the 1930’s,
the film explores Elisa’s emotional upheaval over the course of a
year. Her suspicion grows but she does not confront her
husband, and when Gilles breaks down and admits to having an
affair, she supports him. Elisa’s determination to win him back
leads her to spy on her sister Victorine on his behalf. When she
discovers that her sister is falling in love with another man,
Elisa’s marriage regains some sense of normalcy until Victorine
announces her plans to marry that man. Gilles, who is still
infatuated with V ictorine, is enraged, wreaking havoc and
leading to a desperate outcome. Virginie Saint-Martin’s
cinematography involves powerful compositions and Vermeerlike
lighting. She deftly captures Elisa’s inner workings.
“Like the best of legendary ‘poetic realist’ films, but done with more sexual
frankness and visual realism, ‘Gilles’ Wife’ mixes naturalism with theatrical
grace. What compels the viewer throughout is both the power of the acting
… and the beauty of the images.”
Michael Wilmington, Chicago Tribune

INNOCENCE
Director: Lucile Hadzihalilovic
Screenplay:
Lucile Hadzihalilovic, based on
the novella “Mine-Haha, or The
Corporal Education of Young
Girls” by Frank Wedekind
Cast:
Iris: Zoé Auclair
Bianca: Bérangère Haubruge
Mlle Eva: Marion Cotillard
Mlle Edith: Hélène de
Fougerolles
Awards:
Young Director’s Prize, San
Sebastian Film Festival (2004)
Best Film & Best
Cinematography, Stockholm
Film Festival (2004)
Running time: 115’
Production: France / Belgium
United Kingdom, 2004
Rating: Not Rated
Gauge: 35mm, DVD (color)
Distributor:
Leisure Time Features
18
A subterranean rumbling resonates in the heart of a forest.
Hidden by foliage, a metal grate reveals underground
passageways leading to a boarding school separated from the
outside world by a huge wall. A group of young schoolgirls
opens a coffin only to find six-year-old Iris. Bianca, the oldest
student, introduces Iris to this strange world where there are
neither men nor adults except the old servants and two young
teachers: Mesdemoiselles Edith and Eva. Iris quickly discovers
the rules of the school where teaching centers on dance,
physical education and biology. Obedience is paramount and
any boarder who rebels or escapes is condemned to serve the
others forever. Nothing overly dramatic happens in Innocence,
but the anxiety and fear the film provokes force the viewer to
wonder what will take place next. Everything indicates that
these girls are being groomed for something. Is it a rite of
passage preparing them for puberty and adulthood, or
something sinister? Lucile Hadzihalilovic creates a world
oscillating between realism and fantasy through astute
lighting, intense colors, and virtually no background music.
“Hadzihalilovic steadfastly resists the temptation to explain the strange
universe she presents. Those expecting answers may be frustrated but the
spell cast by her haunting film lingers long after the closing credits, like a
damp mist after a storm.”
The Hollywood Reporter

L’INTRUS
THE INTRUDER
19
Director: Claire Denis
Screenplay:
Claire Denis & Jean-Paul
Fargeau, based on the novel by
Jean-Luc Nancy
Cast:
Louis: Michel Subor
Sidney: Grégoire Colin
Young Russian woman: Katia
Golubeva
The Pharmacist: Bambou
Queen of the Northern
Hemisphere: Béatrice Dalle
Running time: 130’
Production: France, 2004
Rating: Not rated
Gauge: 35mm, DVD (color)
Distributor:
Wellspring Media
Louis Trebor, a mysterious loner, lives in an isolated cabin in the
woods on the French-Swiss border. An enigmatic figure and an
emotionally distant father who seems to prefer the company of
his dogs, Louis has little contact with his grown son Sidney.
Louis’ contacts seem limited to an affair with a local pharmacist
and an unspoken attraction to a beautiful, aloof dog breeder.
An ailing heart forces Louis to leave his snow-covered
wilderness to retrieve money in a bank vault in Geneva to
purchase a new heart on the black market. After recovering
from transplant surgery in Asia, Louis discovers he is being
shadowed by a mysterious, unnamed Russian woman. He begins
a boat voyage south, slowly making his way back to his former
home on a remote island near Tahiti. The Intruder is a mysterious
and enthralling story about fresh starts and the possibility of
escape, a tale of both inner and outer travels. Like all of Claire
Denis’ films, it explores the literal and metaphorical borders
where natives and intruders intersect, searching for signs of
home within and beyond the barriers of countries, cultures, and
families.
“An immersion in pure cinema! Beautiful and terrifying in their intensity, the
images will make you gasp.”
Stephen Holden, The New York Times

LA MARCHE DE L'EMPEREUR
MARCH OF THE PENGUINS
Screenplay:
Jordan Roberts
Luc Jacquet
Director: Luc Jacquet
Voice Over:
Morgan Freeman
Awards:
Oscar Best Documentary,
Academy Awards, USA (2006)
Best Documentary National
Board of Review, USA (2005)
Best Documentary,
Southeastern Film Critics
Association Awards (2005)
Running time: 65’
Production: France, 2005
Language: English
Rating: G
Gauge: 35mm, DVD (color)
Distributor:
Swank Motion Pictures
20
In the Antarctic, every March since the beginning of time,
penguins embark on a quest to find a mate and start a family.
This courtship takes them hundreds of miles across the
continent in freezing temperatures with icy winds and deep,
treacherous waters in the most isolated region on earth. They
risk starvation and attack by predators, but their courage never
falters. After finding a mate the penguins race against the
clock to reproduce, protect their eggs from the icy ground, and
walk hundreds of miles for food. When the egg is hatched, the
male and female continue to take turns protecting their chick
so that the other one can eat. This continues until the chicks
are grown and independent enough to feed on their own.
Director Luc Jacquet and his crew spent thirteen months in
the Antarctic filming the penguins, with no possibility of sea
or air transportation. Though they had to endure -40˚F
temperatures and 100-mile-an-hour winds, their constant
presence allowed them to capture the full and remarkable
variety of penguin behavior. March of the Penguins includes
underwater footage of the penguins’ winter activities never
before captured in such breathtaking detail.
“It’s impossible to watch the thousands of emperor penguins huddled
together against the icy Antarctic blasts… without feeling a tug of anthropomorphic
kinship. The feeling that these creatures are brave, indomitable
souls surviving unimaginable physical hardship for the sake of their families
is inescapable.”
Stephen Holden, The New York Times

MONDOVINO
21
Director: Jonathan Nossiter
Screenplay:
Jonathan Nossiter
Documentary with
winemakers and wine
consultants in France, Italy,
the USA, England and
Argentina
Running time: 135’
Production: English / French
Italian / Spanish / Portuguese,
2004
Rating: PG-13 (brief pin-up
nudity)
Gauge: 35mm, DVD (color)
Distributor:
ThinkFilm
For thousands of years, wine has been an important tradition in
many countries. Never has so much pride – and money – been
at stake as today. Never have the battle lines been so clearly
drawn between the old world and the new, between peasants
and millionaires, and between local, artisanal styles of wine
production and multinational, mass-produced ones. The
ultimate film about wine, Mondovino was filmed over a threeyear
period in France, Italy, the United States, Argentina and
Brazil. Juxtaposing mom-and-pop wine growers with conglomerates,
Jonathan Nossiter, a trained sommelier and wine writer,
intertwines multiple family dramas – some of which play like
soap operas. Through interviews of amateurs, winegrowers,
businessmen, and critics, he uncovers the complex tapestry of
conflicts, conspiracies, and alliances that stem from the
production, distribution, and consumption of wine. Mondovino
gives voice to those who create, critique, sell, and distribute
wine, offering a surprisingly varied, and sometimes controversial
glimpse into something many people enjoy but few people
know much about.
“While not all of the many arguments laid out are fully developed, the
consistently fascinating material provides an uncommonly eloquent,
provocative statement against globalization that’s sure to stimulate
thinking audiences.”
David Rooney, Variety

NATHALIE
Director: Anne Fontaine
Screenplay:
Philippe Blasband
Jacques Fieschi
Anne Fontaine
Cast:
Catherine: Fanny Ardant
Marlène/Nathalie: Emmanuelle
Béart
Bernard: Gérard Depardieu
Running time: 105’
Production: France / Spain, 2003
Rating: Not Rated
Gauge: 35mm, DVD (color)
Distributor:
Koch Lorber Films
22
Catherine is an attractive bourgeois woman with a successful
career and a seemingly solid marriage to Bernard, her husband
of 25 years. Their lives seem to be going well until Catherine
discovers that Bernard is having an affair. Rather than seeking
revenge, she hires Marlène, a prostitute, to sleep with Bernard
in order to discover his sexual fantasies and desires. What
begins is a mesmerizing relationship between two women.
Catherine wants to know the most intimate details and
Marlène provides her with regular reports. In turn, Catherine
dictates what Marlène should or should not do with Bernard.
Expecting to be in control of the situation, Catherine finds out
that she is less in charge than she thought. A woman’s take on
a classic love triangle, N athalie is a film about desire, fantasy,
manipulation, and suspense.
“As a rather naughty slice of erotica it [‘Nathalie’] works brilliantly, with
Ardant and Béart making a fascinating partnership. ‘Nathalie’ plays around
the edges of sexual explicitness by describing rather than showing.”
Jamie Russell, BBC

PAS DE REPOS POUR LES BRAVES
NO REST FOR THE BRAVE
Screenplay:
Alain Guiraudie
Frédéric Videau
23
Director: Alain Guiraudie
Cast:
Basile / Hector: Thomas Suire
Igor: Thomas Blanchard
Johnny Goth: Laurent Soffiati
Bodowski: Vincent Martin
Running time: 104’
Production: France / Austria, 2003
Rating: Not Rated
Gauge: DVD (color)
Distributor:
TLA Entertainment
Take a coming-of-age story, mix in French existentialism and
plenty of wit, spice liberally with vivid imagery, and the
refreshingly original, No Rest for the Brave is what you get. The
film follows the adventures of Basile, an angst-ridden French
teenager who is convinced that he will die if he falls asleep.
This leads him on a road trip that becomes a hallucinatory
odyssey as he encounters murder, sex and intrigue. Whether
Basile’s excursion is reality or fantasy, innocent or malevolent,
grand ideas mesh with bizarre occurrences to create a
fascinating, surreal journey of discovery, chance, and mystery.
This first feature film is both a gangster road movie and a
comedy. In Alain Guiraudie’s own words, "surrealism is by
definition engaged in social reality. Dreams are fed by reality,
and in turn shine a new light on reality. Cinema must not
content itself with copying life. It's necessary to sublimate the
daily grind and to bridge the gap between reality and utopia.
We have to try, in any event."
“ The movie seems to unfold in a parallel universe, a rural France where
sleepy hollows are named for far-flung metropolises, spelled to conform
with French pronunciation as if in an Oulipian game (Buenauzerez, Riaux de
J annerot)… That said, ‘No Rest’ remains grounded in a particular social and
economic reality.”
Dennis Lim, The Village Voice

LA PETITE JERUSALEM
LITTLE JERUSALEM
Screenplay:
Karin Albou
Director: Karin Albou
Cast:
Laura: Fanny Valette
Mathilde: Elsa Zylberstein
Ariel: Bruno Todeschini
Djamel: Hedi Tillette de
Clermont-Tonnerre
Mother: Sonia Tahar
Awards:
SACD Screenwriting Award,
Cannes Film Festival (2005)
Running time: 96’
Production: France, 2004
Rating: Not Rated
Gauge: 35mm, DVD (color)
Distributor:
Kino International
24
La Petite Jerusalem is the nickname of Sarcelles, a low-income
housing neighborhood near Paris. Among the high number of
Jewish immigrants who live there, a Tunisian family of eight
shares a cramped apartment: Laura (a French-born, 18-year-old
student), her sister Mathilde, their mother, Mathilde’s husband
Ariel, and the couple’s four children. Independent and strongwilled,
Laura refuses Ariel’s orthodoxy and her mother’s
superstition. Instead, she throws herself into the study of Kant
which leads her to take evening walks. On one such walk, she
meets an Algerian-Muslim immigrant named Djamel. While
Laura’s life is disrupted by their love affair, her sister Mathilde
finds out that her husband is cheating on her. Mathilde turns
to a religious counselor who opens her eyes to the possibility
of sexual pleasure within marriage and to the different ways in
which religious faith can be enacted. Her struggling marriage
is revived, but Laura’s relationship with Djamel becomes
complicated by his family’s disapproval of her. All this is
taking place while tensions between Muslim and Jewish
communities are rising. In her first feature film, Karin Albou
delicately depicts the intimate lives of two women while
raising questions of religious interpretation, freedom, sexuality
and family relationships.
“Her [Karin Albou’s] camera prowls, nimble and alert, attentive to the heft
and texture of things. Close attention is paid to sound design, physiognomy
and the suggestive capacities of unpredictable edits.”
Nathan Lee, The New York Times

LES PETITS FILS
GRAND SONS
25
Director: Illan Duran Cohen
Screenplay:
Ilan Duran Cohen
Cast:
Mamie Régine: Reine Ferrato
Guillaume: Guillaume
Quatravaux
Maxime: Jean-Philippe Sêt
Serge: Brice Cauvin
Awards:
Horizons Award, Venice
International Film Festival
(2004)
Running time: 64’
Production: France, 2004
Rating: Not rated
Gauge: DVD (color)
Distributor:
Strand Releasing
Guillaume often goes to Paris to visit his grandmother Régine
who raised him. He has a hard time dealing with his mother’s
death which occurred two years ago. Although he loves his
grandmother, he is often frustrated by her. She is patient with
him, accepting him as he is. She is also comfortable with his
homosexuality and does not mind that he is seeing an older
man. Nevertheless, she worries about him and expresses her
concern to her late daughter (his mother), whose ashes rest on
the balcony. When Régine hires a housekeeper, Maxime, to help
her, Guillaume is suspicious at first and then jealous of this
young man who has gained his grandmother’s trust. Although
Maxime tries not to get involved, he nonetheless helps
Guillaume deal with his mother’s death and reunites him with
his grandmother. Filmed entirely in the grandmother’s
apartment, the viewer is drawn into the intimate life of the
protagonists and cannot help but be affected by the film’s
emotional honesty, integrity, and humor.
“‘Grand Sons’ is a film of small pleasures, many of which are found in the
performances of Ferrato and Quatravaux, who are utterly natural and seem
to improvise off each other effortlessly. You really feel like you’re spying on
their most private moments in that claustrophobic apartment.”
Don Willmott, Filmcritic.com

QUAND LA MER MONTE
WHEN THE SEA RISES
Screenplay:
Gilles Porte
Yolande Moreau
Director: Gilles Porte & Yolande Moreau
Cast:
Irène: Yolande Moreau
Dries: Wim Willaert
The Policeman: Olivier
Gourmet
The Journalist: Jackie Berroyer
Awards:
Best First Film, Prix Louis
Delluc ( 2004) Best First Film,
Best Actress, César Awards
(2005)
Running time: 90’
Production: Belgium / France, 2004
Rating: Not Rated
(very brief nudity)
Gauge: 35mm (color)
Distributor:
New Yorker Films
26
When the Sea Rises tells the story of Irène (Moreau), a 45-yearold
actress travelling from one small town to another with her
one-woman show, “Dirty Business.” Slyly funny in her masked
onstage persona, Irene is a genial pro at touring alone,
phoning home to her husband and child and sleeping in a new
hotel each night. Things change when a scooter-driving
vagabond named Dries fixes her stalled car. After accepting an
invitation to her show, Dries soon appears at every stop on her
tour as her “randomly selected” audience participant. What
develops is a remarkably natural and tender affair between
two true eccentrics, their exuberance and playfulness mixing
with a mature, mutual longing.
“Approaches the eloquence of Fellini’s Strada. As you study Ms. Moreau’s
features, the actress reveals so many layers of emotional complexity that her
face becomes a map of the world careworn, childlike and profoundly
beautiful.”
Stephen Holden, The New York Times

ROIS ET REINE
KINGS AND QUEEN
27
Director: Arnaud Desplechin
Screenplay:
Arnaud Desplechin
Roger Bohbot
Cast:
Ismael: Mathieu Amalric
Nora: Emmanuelle Devos
Elias: Valentin Lelong
Abel: Jean-Paul Roussillon
Jennsens: Maurice Garrel
Mme Vasset: Catherine Deneuve
Awards:
Best Actor (Mathieu Amalric),
César Awards (2005)
Best Film, French Syndicate of
Cinema Critics (2005)
Prix Louis Delluc (2004)
Running time: 150’
Production: France, 2004
Rating: Not Rated (brief nudity)
Gauge: 35mm, DVD (color)
Distributor:
New Yorker Films
Arnaud Desplechin once again traverses the uncharted distance
between comedy and tragedy with this exhilarating work of
intersecting lives and family connections. Invoking everything
from Shakespeare and Hitchcock to Moby Dick, the film is a
heartbreaking, hilarious melodrama of the intrigues and
entanglements of ex-spouses Nora and Ismaël. Ismaël is a
disheveled, neurotic musician who descends into a comic
nightmare when he is committed to a mental hospital by a
mysterious third party. He spars with the steely clinic psychiatrist,
bursts forth with impromptu break-dancing sessions, and
attempts to woo a still-fragile suicide survivor. Vivacious art
dealer and single mother, Nora is struggling to rise above the
calamities of her own romantic life and the looming death of
her ailing father by marrying an icy Parisian businessman.
Because her young son dislikes her fiancé, Nora tries to convince
Ismaël to adopt the child. With its vivid references to
mythology, literature, and cinema, K ings and Queen is an
astonishingly original and thoroughly entertaining take on
modern relationships.
“Desplechin gives these characters the time to develop, to display their
nuances, to establish their relationships with each other, to talk out their
destinies.”
Stephen Hunter, Washington Post

LES TEMPS QUI CHANGENT
CHANGING TIMES
Screenplay:
Laurent Guyot
André Téchiné
Director: André Téchiné
Cast:
Cécile: Catherine Deneuve
Antoine: Gérard Depardieu
Natan: Gilbert Melki
Nadia/Aïcha: Lubna Azabal
Sami: Malik Zidi
Running time: 90’
Production: France, 2004
Rating: Not rated
Gauge: 35mm, DVD (color)
Distributor:
Koch Lorber Films
28
Antoine arrives in Tangiers from Europe to supervise the
building of an audiovisual center. The secret aim of his
journey is to link up with Cécile, whom he has continued to
love with a silent passion for more than thirty years. Cécile
emigrated to North Africa and married Natan, a Jewish-
Moroccan doctor. Sami, their son, arrives at his parents’ place
with his girlfriend Nadia, who is raising Saïd, a young child.
Sami and Nadia help each other to pursue their separate
passions. Nadia tries to reconnect with her twin sister, Aïcha,
who lives in Tangiers. Aïcha has distanced herself and refuses
to see Nadia. Sami attempts to reconcile his relationship with
Bilal with his love for Nadia. Antoine tries to win over Cécile
and reignite the passion she once felt for him. While at first
she thought he was crazy and immature, Cécile feels restless
and begins to question her life. When a terrible accident
sends Antoine into a coma, Cécile stays at his bedside in
Tangiers while Natan moves to Casablanca.
“For his eighteenth film, André Téchiné has reunited a mythic couple from
French cinema (….) Without being a masterpiece, ‘Changing Times’ is a fine
film for Téchiné, generous, and sentimental.”
MCinema.com – March Kressman

WILD SIDE
29
Director: Sébastien Lifshitz
Screenplay:
Stéphane Bouquet
Sébastien Lifshitz
Cast:
Stéphanie: Stéphanie Michelini
Mikhail: Edouard Nikitine
Jamel: Yasmine Belmadi
The Mother: Josiane Stoléru
Awards:
Best Feature Film, Manfred
Salzgeber Award, Berlin (2004)
Special Jury Award, Gijon Film
Festival (2004)
Grand Jury Award, Outstanding
International Narrative Feature,
L.A.Outfest (2004)
Running time: 93’
Production: France / Belgium
United Kingdom, 2004
Rating: Not Rated (STRONG
Sexual Content)
Gauge: 35mm, DVD (color)
Distributor:
Wellspring Media
Stéphanie (whose birth name is Pierre) is a transsexual
prostitute who plies her trade in Parisian discos, parks, and hotel
rooms. She lives with Jamel, a 30-year-old North African who
also turns tricks. One night, Stéphanie meets Mikhail, an illegal
Russian immigrant. He soon falls in love with her and she
decides to live with both partners. Summoned to her childhood
home in the north of France by her dying mother Liliane,
Stéphanie tries to provide comfort to a woman who has
difficulties accepting her son’s unconventional sexuality.
Stéphanie is soon joined by Mikhail and Jamel. Together they
form a nurturing web of comfort and support which helps her
gradually make up with her mother. Her childhood is revealed
through flashbacks: a childhood mark ed by the early death of
her father and her sister Caroline, to whom she was deeply
attached. Liliane finally dies in her sleep. Stéphanie buries her
mother and closes the family home, destroying all of Liliane’s
possessions. Back in Paris, Stéphanie, Mikhail and Jamel are
faced with an uncertain future: they live on the margins of a
society that is uncomfortable with people like them. The
camerawork of Agnès Godard (Beau Travail, Strayed) renders the
film deeply melancholic, sensual, and poetic.
“ Whether the camera is trained on the human body, the architecture of Paris,
the fields of northern France or dancers gyrating in a disco, the movie gives you
the feeling of rediscovering the world, moment by moment, in a revelatory
waking dream. It is a world of layered mysteries, primitive and seething with
latent violence, but exquisitely beautiful.”
Stephen Holden, The New York Times

ALTERNATIVE CHOICE LIST
* CinemaScope
30
8 femmes 8 Women - François Ozon, 2002
35, DVD | Swank Motion Pictures
10ème C hambre - Instants d’audience The 10th District Court: Moments of Trial
R aymond Depardon, 2004 35, DVD | Koch Lorber Films
A la petite semaine Nickel and Dime - S am Karmann, 2003
35 | French Feeling Films
A tout de suite - B enoît Jacquot, 2004
35 | The Cinema Guild
Abouna - Mahamet Saleh Haroun, 2002
35, DVD | Leisure Time Features
Amen - Constantin Costa-Gavras, 2002
35, DVD | Kino International
And now... ladies and gentlemen - Claude Lelouch, 2002
35, DVD | Swank Motion Pictures
L’Auberge espagnole - Cédric Klapisch, 2002
35, DVD | Criterion Pictures USA
Bon voyage - Jean-Paul Rappeneau, 2003
35, DVD | Sony Pictures Classics
Bord de mer Seaside - Julie Lopes Curval, 2002
35, DVD | First Run Features
Brodeuses Sequins - Eléonore Faucher, 2004
35, DVD | New Yorker Films
Carnages Carnage - Delphine Gleize, 2002
35*, DVD | Wellspring Media
Les Choristes The Chorus - Christophe Barratier, 2004
35, DVD | Swank Motion Pictures
Confidences trop intimes Intimate Strangers - Patrice Leconte, 2004
35, D VD | Swank Motion Pictures
Demonlover - Olivier Assayas, 2002
35, DVD | New Yorker Films
D epuis qu’Otar est parti Since Otar Left... - J ulie Bertuccelli, 2003
35, DVD | Zeitgeist Films
La Dernière lettre The Last Letter - Frederick Wiseman, 2002
35 | Zipporah Fims
Les Egarés Strayed - André Téchiné, 2003
35, D VD | New Yorker Films
Elle est des notres She’s One of Us - Siegfried Alnoy, 2003
35 | Leisure Time Features
E n attendant le bonheur Waiting for Happiness - A b derrahmane Sissako, 2002
35 | New Yorker Films
L’Esquive Games of Love and Chance - Abdellatif Kechiche, 2003
35, D VD | New Yorker Films
Être et avoir To Be and To Have - Nicolas Philibert, 2002
35, DVD | New Yorker Films
Le Fantôme d’Henri Langlois Henri Langlois: The Phantom of the Cinematheque
J acques Richard, 2004 D VD | Leisure Time Features
Feux rouges Red Lights - Cédric Kahn, 2004
35, DVD | New Yorker Films
Le Fils The Son - Jean-Pierre & Luc Dardenne, 2002
16, 35, DVD | New Yorker Films
La Fleur du mal The Flower of Evil - Claude Chabrol, 2003
35, D VD | New Yorker Films
Le Grand voyage Grand Voyage - Ismaël Ferroukhi, 2004
35, DVD | Film Movement
Hop The Hop - Dominique Standaert, 2003
DVD | Film Movement

TOURNÉES FILMS 2002 | 2004 **
** For film descriptions and information, visit www.facecouncil.org/tournees/index.html
31
L’Homme du train Man on the Train - Patrice Leconte, 2002
35*, DVD | Swank Motion Pictures
Il est plus facile pour un chameau It’s Easier for a Camel...
Valeria Bruni Tedeschi, 2003 35, DVD | New Yorker Films
I ls se marièrent et eurent beaucoup d’enfants Happily Ever After
Yvan Attal, 2004 35, DVD | Kino International
Les Invasions barbares The Barbarian Invasions - Denys Arcand, 2003
35, DVD | Swank Motion Pictures
Laissez-passer Safe Conduct - Bertrand Tavernier, 2002
35, DVD | Empire Pictures
Ma vrai vie à Rouen My Life on Ice - O. Ducastel & J. Martineau, 2003
35, DVD | Wellspring Media
Monsieur Ibrahim Mr. Ibrahim - François Dupeyron, 2003
35, DVD | New Yorker Films
Monsieur N. - Antoine de Caunes, 2003
35, DVD | Empire Pictures
Moolade - Ousmane Sembene, 2004
35, DVD (Summer 2006, TBC) | New Yorker Films
Notre musique - Jean-Luc Godard, 2004
35, DVD | New Yorker Films
Le Papillon The Butterfly - Philippe Muyl, 2002
35, DVD | First Run Features
Pas sur la bouche Not on the Lips - Alain Resnais, 2003
35, D VD | Wellspring Media
La Petite Lili - Claude Miller, 2003
35, DVD | First Run Features
Qui a tué Bambi? Who Killed Bambi ? - Gilles Marchand, 2003
35*, DVD | Strand Releasing
R aja - J acques Doillon, 2003
35, DVD | Film Movement
S21: The Khmer Rouge Killing Machine - Rithy Panh, 2003
35, D VD | First Run Features
Scènes intimes Sex Is Comedy - Catherine Breillat, 2002
35, DVD | Swank Motion Pictures
Son frère - Patrice Chéreau, 2002
35, DVD | Strand Releasing
Stupeur et tremblements Fear and Trembling - Alain Corneau, 2003
35, DVD | The Cinema Guild
Swimming Pool - François Ozon, 2003
35, D VD | Swank Motion Pictures
L a Tr ilogie The Trilogy (Cavale On the Run, U n couple épatant An Amazing
Couple, Après la vie After Life) - Lucas Belvaux, 2002 35 | Magnolia Pictures
Tasuma - D aniel Kollo Sanou, 2003
35 | Ar t Mattan
Les Triplettes de Belleville The Triplets of Belleville - Sylvain Chaumet, 2003
16, 35, D VD | New Yorker Films
Un long dimanche de fiancailles A Very Long Engagement
J ean-Pierre Jeunet, 2004 35, DVD | Swank Motion Pictures
Une femme de ménage The Housekeeper - Claude Berri, 2002
35, D VD | New Yorker Films
Vendredi soir Friday Night - Claire Denis, 2002
35, DVD | Wellspring Media
Viva Laldjérie - Nadir Moknèche, 2003
35, DVD | Film Movement
Yves Saint-Laurent : le temps retrouvé YSL, His Life and Time - David Teboul, 2003
DVD | Empire Pictures

DISTRIBUTOR INFORMATION
32
Art Mattan
535 Cathedral Parkway, #14B
New York, NY 10025
T 212 864 1760 F 212 316 6020
www.africanfilm.com
The Cinema Guild
130 Madison Avenue
New York, NY 10016
T 212 685 6242 F 212 685 4717
www.cinemaguild.com
Criterion Pictures
8238-40 Lehigh Avenue
Morton Grove, IL 60053
T 800 890 9494 F 847 470 8194
www.criterionpicusa.com
Empire Pictures
350 Fifth Avenue, Suite 7801
New York, NY 10018
T 212 629 3535 F 212 629 3629
www.empirepicturesusa.com
Film Movement
109 West 27th Street, Suite B
New York, NY 10012
T 212 941 7744 F 212 941 7812
www.filmmovement.com
First Run Features
153 Waverly Place
New York, NY 10014
T 800 229 8575 F 212 989 7649
www.firstrunfeatures.com
French Feeling Films
475 NE 5th Street
Boca Raton, FL 33432
T 561 395 7077 F 561 395 7037
www.frenchfeelingfilms.com
Kino International
333 West 39th St., Suite 503
New York, NY 10018
T 212 629 6880 F 212 714 0871
www.kino.com
Koch Lorber Films
22 Harbor Park Drive
Port Washington, NY 11050
T 516 484 1000 F 516 484 4746
www.kochlorberfilms.com
Leisure Time Features
P.O. Box 1201
New York, NY 10009
T 212 267 4501 F 212 267 4501
www.leisurefeat.com
Magnolia Pictures
6 Porter Road
Cambridge, MA 2140
T 617 354 4606 F 617 812 0236
www.magpictures.com
New Yorker Films
85 Fifth Avenue, 11th Floor
New York, NY 10003
T 212 645 4600 F 212 645 3030
www.newyorkerfilms.com
Strand Releasing
6140 W. Washington Boulevard
Culver City, CA 90232
T 310 836 7500 T 310 836 7510
www.strandrel.com
Sony Pictures Classics
550 Madison Avenue, 8th Floor
New York, NY 10022
T 212 833 8846 F 212 833 4190
www.sonyclassics.com
Swank Motion Pictures
Nat. T 800 876 5577 F 314 289 2192
East T 800 876 3344 F 631 434 1574
www.swank.com
ThinkFilm
22 East 22nd street, 5th floor,
New York, NY 10010
T 212 444 7901 F 212 444 7901
www.thinkfilmcompany.com
TLA Entertainment
234 Market Street
Philadelphia, PA 19106
T 215 733 0608 F 215 733 0637
www.tlarealeasing.com
Palm Picture
76 Nineth Avenue, 11th Floor,
New York, NY 10010
T 212 320 3653 F 212 320 3639
www.palmpictures.com
Wellspring Media
419 Park Avenue South
New York, NY 10016
T 212 686 6777 F 212 545 9931
www.wellspring.com
Zeitgeist Films
247 Center Street, 2nd Floor
New York, NY 10013
T 212 274 1989 F 212 274 1644
www.zeitgeistfilm.com
Zipporah Films, Inc.
One Richdale Avenue, Unit 4
Cambridge, MA 02140
T 617 576 3603 F 617 864 8006
www.zipporah.com
Cover image from:
De Battre mon coeur s’est arrêté,
courtesy of New Yorker Films.
Other photographs courtesy of:
The Cinema Guild, Film Movement,
Kino International, Koch Lorber Films,
Leisure Time Features, New Yorker
Films, Strand Releasing, Swank Motion
Pictures, ThinkFilm, TLA Entertainment,
Wellspring Media.

ABOUT US
33
FACE [ F RENCH A MERICAN C ULTURAL E XCHANGE ]
Setting a new precedent in cultural relations, FACE pools private and public
resources to support innovative dialogue and exchange in the fields of
contemporary visual arts, performing arts, music, film, and higher education
between the French-speaking world and the United States. As a catalyst for
creativity and the promotion of what is new and excellent on both sides of
the Atlantic, FACE strives to develop mutual understanding and cooperation
between French and American civil societies – face to face.
A public/private partnership: FACE, an American 501(c)(3) operating
foundation, is based in New York City and works in partnership with the
Cultural Services of the French Embassy in the United States.
FACE is independently administered by an Executive Director and a Board of
Trustees comprised of French and American members.
The Cultural Services - with a proven track record of successful events and
programs - lends professional expertise and provides general managerial
support.
FACE supports programs in all the artistic disciplines as well as higher
education. In addition to The Tournées Festival, its major initiatives are:
Cinema | Ciné2000 “A la carte” grants for American film schools to assist
with departmental initiatives in the field of French cinema and to sponsor
the exchange of cinema professionals for master classes, conferences, etc.
Visual Arts | Etant donnés: The French-American Fund for Contemporary Art
celebrated its tenth year of activity in 2005. The Fund had distributed over
$1.5 million to more than 180 projects during those ten years.
Performing Arts | Etant donnés: The French-American Fund for the
Performing Arts was launched in 1999. The goal of the Fund is to encourage
institutions to produce or present theater projects and text-based theatrical
productions either by contemporary French playwrights or with the participation
of French professionals.
Performing Arts | Act French: A Season of New Theater from France took
place in the fall of 2005 in New York City. Close to 35,000 people attended
performances and theater-related events which revealed to New York
audiences a broader vision of theater and cultural diversity in France.
Music | The French-American Fund for Contemporary Music created in
2004, is a grant-giving program dedicated to stimulating French-American
cooperation in contemporary music.
Higher Education | T he Fr ench-American Fund for University
Partnerships is a grant-giving program which supports the formation of
innovative graduate-level partnerships between institutions of higher
learning in France and the United States.

The Tournées Festival,
a program of FACE, is sponsored by :
The Tournées Festival, a program of FACE
(French American Cultural Exchange), was launched in
1995 to help build a new public for French cinema by
encouraging film screenings on American college and
university campuses.
In collaboration with the French Ministry of Foreign
Affairs, the Centre National de la Cinématographie,
the Florence Gould Foundation, the Grand Marnier
Foundation and the Franco-American Cultural Fund
(SACEM, the Writers Guild of America, the Directors
Guild of America and the Motion Picture Association),
The Tournées Festival supports French film screenings
on campuses across the country each year.
FACE
972 Fifth Avenue, New York, NY 10021
Phone 212 439 1449
Fax 212 439 1455
E-mail info@facecouncil.org
❘■❬
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❙❘☎✬❊◗❚❨❲
Website www.facecouncil.org