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MICHEL TREGANRÉTROSPECTIVE PEDRO COSTAAfter “In Vanda’s Room” (2000), why did you make another film in the Fontainhasneighbourhood?I wanted to work with the same people again, Vanda and the young people who cameto her room. Their lives had changed, the fiction was there. Vanda always says that shehas done stupid things and that before she was like this or like that. When she saysthat, we are in fiction and at the same time not, because the previous film exists.Everybody here tells something about the present and they stage themselves. The boywho is dying in the hospital: it’s a little fiction, he is very well in reality. He tells aboutwhat happened in Vanda’s room: I was very poor, I was begging, my father haddisappeared, and mother wasn’t around. He had a text, like everybody. It’s a fiction film.(...) Ventura says a beautiful phrase, that comes from Cape Verde: “In the houses ofthe dead, there is always much to see.” He uses a Portuguese word that can designateboth the dead, and the dispossessed, the very poor, phantoms or zombies. Venturaimagines things that happen on these calcinated walls blackened by damp. Then, a bitunconsciously, the film almost ends in a white house that has this colour because it hasbeen calcinated. We imagine there is a fire, and all is black, figures appear. The newneighbourhood is much more violent than the old one, there’s no history, no life, theinhabitants of the old neighbourhood don’t know how to live there. Technically, it poseda problem, because it was evidently more comfortable in the old places. I was used totheir colours. There was more mystery, indirect light, shadows and cinematic life. It isdifferent in the new neighbourhood. We all asked ourselves the same question. Me:“How am I going live in this film with those walls?” Them: “How are we going to livethere?”(...) I have liked filming inside for a long time. Video allows certain things and not others.It’s necessary to waste time, we talk before the scenes, we talk for days and days.At a certain moment we film, and it’s part of the same thing, there is no clap, themovement is the same. It’s very considered, it’s a way of creating a memory, of ensuringthat the text belongs so much in these rooms that it could be said every night, everymonth, every year, every day perhaps a bit better. We improve things, the actors select,they eliminate all that is unnecessary and the scene gets stronger. Does it come fromthe practice of the Straub film? I don’t know, it comes from that, but also from previousthings. Here, I was more into the plastic aspect, I dared to do things that I didn’t do inVanda. It was a room and that was enough. It is also a bit of a miracle that the filmworks like that. Vanda was made thanks to the desire for it to be made, that it absolutelyhad to be filmed. That desire was not only mine, but also that of Vanda, her sister, andthe others. For this movie, there was another type of faith, if one can say that. Thebelief that it is possible to tell things in the cinema like we did before. The idea of a filmthat comes from a certain realism but also from B-movies, which is a bit contradictory:Straub and Tourneur, the cinema of horror and the New Wave.Emmanuel Burdeau and Thierry Lounas, interview with Pedro Costa, “Mon regard etcelui des acteurs étaient le même”, Cahiers n° 619.140
TARRAFALPORTUGAL2007Couleur35 mm17’V.O.CréoleS.T.FrançaisRÉTROSPECTIVE PEDRO COSTATarrafal : territoire de l’île de Santiago au Cap-Vert où, en 1936, le Portugala créé une colonie pénale pour les prisonniers politiques. Cette colonie étaitconnue sous le nom de “camp de la mort lente”.“Quand je suis arrivé il n’y avait pas une seule maison. A l’époque on nepouvait pas venir ici la nuit.Ils tabassaient les gens ?Ils les tabassaient, ils les tuaient.Les blancs ou les noirs ?Les blancs, c’est eux qui faisaient ça.”“Quand mon père est mort, j’étais en taule. Ils m’ont donné une perm pouraller au cimetière. Je me suis approché de ces hommes qui enterrent lesgens, les fossoyeurs, j’ai pris une pelle et j’ai enterré mon père”.Pedro Costa, “Synopsis de Tarrafal ”, court métrage du film collectif L’Etatdu monde produit par la Fondation Gulbenkian.Tarrafal : a territory of the island of Santiago in Cape Verde where, in 1936,Portugal created a penal colony for political prisoners. This colony was knownunder the name of “ the camp of slow death”.“When I arrived there wasn’t a single house. At that time you could not comehere at night.They beat people?They beat them, they killed them.The whites or the blacks?The whites, they did that”.“When my father died, I was in prison. They gave me leave to go to thecemetery. I went up to one of those men who bury people, the gravediggers, I took a spade and buried my father.”Pedro Costa, “Synopsis of Tarrafal”, short film of the collective film State ofthe World produced by the Gulbenkian Foundation.EP141
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SOMMAIRE/CONTENTSSPARTENAIRES/PARTN
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Le Festival International du Docume
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AURÉLIE FILIPETTIPRÉSIDENTE DU CO
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JEAN-CLAUDE GAUDINMAIRE DE MARSEILL
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MICHEL VAUZELLEPRÉSIDENT DE LA RÉ
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CHRISTINE ALBANELMINISTRE DE LA CUL
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VÉRONIQUE CAYLADIRECTRICE GÉNÉRA
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JEAN-NOËL GUÉRINISÉNATEUR, PRÉS
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RICHARD BOIDINDIRECTEUR DE L’AUDI
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OLIVIER MILLEPRÉSIDENT DE LA COMMI
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BÉNÉDICTE CHEVALLIERDÉLÉGUÉE G
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FRANCK GABRIELDIRECTEUR DE LA COMMU
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JEAN-FRANÇOIS MATTEICONSEILLER MUN
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BERNARD FAVIERPRÉSIDENT DU GNCRÉD
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PRIXAWGrand Prix de la Compétition
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APICHATPONG WEERASETHAKULRéalisate
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ANGELA SCHANELECRéalisatrice / Fil
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ENRICO GHEZZIRéalisateur / Film Di
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JEAN ECHENOZÉcrivain (France)JURY
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NATHALIE RICHARDComédienne / Actre
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JÉRÔME BEAUJOURScénariste / Scri
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MANOUSHAK FASHAHIRéalisatrice / Di
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GILLES LAURENTIngénieur du son / S
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PATRICE NEZANProducteur / Producer
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CÉDITORIALEighteenth Festival, eig
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LOVE CONQUERS ALLRETURN OF THE POET
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AUTOHYSTORIAréalisé par / directe
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DE SON APPARTEMENTTO HIS APARTMENTS
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GHIRO GHIRO TONDOréalisé par / di
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HOréalisé par / directeb byGAËLL
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JOURNAL N O 1RETURN OF THE POET / L
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MOSTRAMEMONTRE MOI / SHOW MEréalis
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RUE SANTA FÉréalisé par / direct
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THE HALFMOON FILESréalisé par / d
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THE PERVERT’S GUIDE TO CINEMARETU
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Sachez toutavant tout le monde !Cha
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Sablé-sur-Sarthe, Sarthe, de Paul
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1. ORAKEL (Orakel von Prohlis), de
Page 90 and 91: The halfmoon files, de Philip Schef
Page 92 and 93: Journal n°1, de Hito SteyerlTentat
Page 94 and 95: Cène, de Andy Guerif
Page 96 and 97: Hic Rosa, partition botanique, de A
Page 98 and 99: Des Indes à la planète Mars, de C
Page 100: The Pervert's Guide to Cinema, de S
Page 104: La Fondation d’entreprise Ecureui
Page 107 and 108: CÈNEréalisé par / directeb byAND
Page 109 and 110: FRANCE 2007réalisé par / directeb
Page 111 and 112: HIC ROSA, PARTITION BOTANIQUEréali
Page 113 and 114: MAFROUZA - OH LA NUIT!réalisé par
Page 115 and 116: NAWNA (JE NE SAIS PAS...)réalisé
Page 117 and 118: TRABALHO ESCRAVOréalisé par / dir
Page 122 and 123: MICHEL TREGAN
Page 124 and 125: MICHEL TREGANabsolument, et quand i
Page 126 and 127: MICHEL TREGAN11 ans, est l’objet
Page 128 and 129: MICHEL TREGANthe immensity of his w
Page 130 and 131: MICHEL TREGAN“Juventude em marcha
Page 132 and 133: CASA DE LAVARÉTROSPECTIVE PEDRO CO
Page 134 and 135: NO QUARTO DA VANDAMICHEL DANS LA TR
Page 136 and 137: OÙ GIT VOTRE SOURIRE ENFOUI?ONDE J
Page 138 and 139: NE CHANGE RIENMICHEL TREGANRÉTROSP
Page 142 and 143: BILLIE HOLIDAY CHANTE “FINE AND M
Page 144 and 145: OS VERDES ANOSMICHEL VERTES TREGAN
Page 146 and 147: JAIMEMICHEL TREGANréalisé par / d
Page 148 and 149: UNKNOWN CHAPLINMICHEL TREGANréalis
Page 150 and 151: MICHEL TREGANÉcranPresto se dépli
Page 152 and 153: MICHEL TREGANScreenPresto divides i
Page 154 and 155: DAMO SUZUKI, LE CHANT DE L’IMPREV
Page 156 and 157: HOMEMADEMICHEL LA MAQUETTE TREGANr
Page 158 and 159: OPERA JAWAMICHEL TREGANréalisé pa
Page 160 and 161: MICHEL TREGANPRESTO / A TEMPOIn the
Page 162 and 163: TONITE LET’S ALL MAKE LOVE IN LON
Page 164 and 165: AU FIL DU SON - UN PORTRAIT DE YANN
Page 166 and 167: D. O. A.MICHEL TREGANréalisé par
Page 168 and 169: MICHEL TREGANPRESTO / DA CAPOImages
Page 170 and 171: SUFFERING AND SMILINGMICHEL TREGANr
Page 172 and 173: MICHEL TREGANThe proposition is a v
Page 174 and 175: HÔTEL MONTEREYMICHEL TREGANréalis
Page 176 and 177: DIE LEERE MITTETHE EMPTY CENTREréa
Page 178 and 179: CHACUN SA PALESTINEMICHEL EVERYBODY
Page 180 and 181: IMAGO MUNIDI. DAS GÜLTIGE, SAGBARE
Page 182 and 183: KURZ DAVOR IST ES PASSIERTMICHEL IT
Page 184 and 185: PASOLINI PA* PALESTINEMICHEL TREGAN
Page 186 and 187: MICHEL TREGAN
Page 188 and 189: MICHEL TREGANRevolver is a magazine
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SCHLÄFERMICHEL SLEEPERTREGANréali
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MICHEL TREGANImagine the following
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DAS MODELLLA MAQUETTEréalisé par
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JEUNES LUMIÈRESMICHEL TREGANréali
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PAULMICHEL TREGANréalisé par / di
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Das Modell, de Florian GwinnerJaime
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Au fil du son, un portrait de Yann
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Unfaithfully yours, de Preston Stur
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Performing the border, de Ursula Bi
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Arcana, de Cristobal Vicente Contai
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Black sea files, de Ursula Biemann
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Anthem, de Apichatpong Weerasethaku
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Igor Stravinsky, composer, de Janos
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Le goût des olives, de Anne Lacour
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CONSEIL RÉGIONALSPJust back from s
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GAMBITréalisé par / directeb bySA
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THE LAST MOVIEréalisé par / direc
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TABLES RONDES / ROUND TABLESTABLE R
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Monday July 2 to Friday July 13, 20
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An exhibition of work by Mariusz Gr
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PETER FRIEDL, TRAVAIL 1964-2006PETE
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PHILIPPE GRANDRIEUX:INSTALLATIONS,
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RENCONTRES: UN FILM, UN RÉALISATEU
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MICHEL TREGANVIDÉOTHÈQUE / VIDEO
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REMERCIEMENTS / ACKNOWLEDGEMENTSJEA
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INDEXINDEX DES FILMS / INDEX OF FIL
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INDEXCONTACTSI.Mille et une. FilmsT
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INDEXCONTACTSIEchakhch Latifa (à c
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INDEXCONTACTSIPierre Grise Distribu
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