THE BUSINESS OF POP AND AVANT-GARDE CULTURE
Nikkatsu, Japan’s oldest film production house, was founded exactly 100 years ago on September 10, 1912. to mark the occasion, various films have been reissued and some extremely rare films released, in homage to a sin- gular entity that stands as a testament to both Japanese film history and the evolution of a fascinating society. Nikkatsu, which has seen the biggest names in cinema (imamura, Suzuki, Kumashiro, Kurahara, Mizoguchi and more) pass through its portals, is perpetually at the cutting edge, anchored in each passing era and enshrined in the annals of a complex society in constant flux. this retrospective takes a playful, compelling journey into some of the world’s most progressive pop culture, and in doing so offers a number of must-sees: one of Japan’s first films (Momijigari) along with its first forays into sound (Mizoguchi’s homecoming); two films by the great Kureyoshi Kurahara, filmmaker par excellence of rebellious youth, as well as two featuring the amazing Yujiro ishihara (the biggest star of his day); a masterpiece of “roman porno” (Noboru tanaka’s Secret Chronicle: She-beast Market), still shocking today; and plenty more. after Paris, london and New York, the prestigious retrospective is making a pit stop in Montreal—clearly cause for celebration!
une présentation du festival du nouveau cinéma et de fantasia en collaboration avec la Cinémathèque québécoise. l’accès aux copies d’archives de la Nikkatsu est rendu possible grâce à la collaboration de la Cinémathèque québécoise. Presented by the festival du nouveau cinéma and fantasia, in collaboration with the Cinémathèque québécoise. access to Nikkatsu’s archives has been made possible thanks to the collaboration of the Cinémathèque québécoise.— Julien fonfrède
MOMIJIGARI - WOMAN FROM THE SEA
Philippe Grandrieux crafts films that vibrate with the plundered contents of dreams from which there appears no escape. like a scalpel-wielding maniac, his images stalk viewers long after our eyes have remembered to blink, our heart rates returned to normal and our minds cast out their demons. his films—Sombre, la vie nouvelle, un lac, il se peut que la beauté ait renforcé notre résolution, White epilepsy—exist in a kind of microcosm, the violent shake of the camera making the images seem to recoil from each other like oppositely charged subatomic particles. his images slide along over soundtracks built on ambient explosions, synthesized and alien, breathed in and out to underpin the stories with an agitated heartbeat before staggering to our ears like the dying note of a languid and gloomy melody. this is the art of the body in space, piled in a dangerous and suffocating intimacy, caught in a cinema of cruelty that, in rethinking the notions of otherness and discord, challenges the notions of filmmaking, interaction and confrontation. to confront a film by Grandrieux is to be hit by a violent shock while gazing on a star. it’s the work of a fallen angel, touched by grace.— Serge Abiaad
A Hors Champ/festival du nouveau cinéma presentation, with the support of the Conseil des arts de Montréal.
What did Chris Marker leave behind? very few photographs of himself, but many images of the world; a science fiction masterpiece, a few brilliant political films and, above all, a visionary’s sense of history that permeates even his most obscure works; unforgettable biographical films about prominent figures and arresting photograms of anonymous people. in short, an incomparable legacy of film essays (a genre some would argue he invented) and an uncanny ability to project life onto the screen. Marker humbly hid behind the various personas he took on over the years: the nationalist, the resistance fighter, the philosopher, the communist, the poet, the pedagogue, the photographer, and the digital alter ego (his Second life avatar). Marker’s life was a collage of sorts, much like his films. his work championed exploration and encouraged us to revel in life’s interstitial spaces. Simply put, he offered us adults images as rich and unforgettable as our childhood memories. thank you, Chris, and keep up the good work in the great beyond.— Apolline Caron-Ottavi
IN PARTNERSHIP WITH LA CASA OBSCURA
The Cinémathèque québécoise plays host to William Klein and his dissident eye, an event including 23 films and 22 photographs and photograms from a dedicated, groundbreaking artist.* an american expat in Paris, Klein became a fashion photographer for vogue in the mid-fifties. later, he published photo essays that focused on major international cities and skewered the way post-war society was evolving. from 1957 to 1997, he made art house films, reports for french television, documentaries and fiction features. for his film work, he adopted formal strategies that borrowed from the aesthetics of his photographs (intimate close-ups, off-centre framing and bodies distorted by a wide-angle lens). his films championed rights and freedoms and especially condemned Western imperialism. Klein captured the May 1968 protests in france, took a stand against the vietnam War and delved into the worlds of politics, fashion, sports and entertainment. he encountered celebrities of the day and called on talented up-and-comers to help create his “delirious fictions.” Get ready to discover a maverick, a humanist and truly one of the 20th century’s leading artists. - Guest Curator: Marie-Ève fortin
The William Klein, l’œil dissident series is presented by the festival du nouveau cinéma and the Cinémathèque québécoise, in collaboration with Montreal’s bureau de la mode, the Consulat général de france à Québec and the René-Malo Chair at UQAM.
An exhibition presented by the festival du nouveau cinéma and the Cinémathèque québécoise in collaboration with Montreal’s bureau de la mode, with the support of the Concordia university Research Chair in film Studies, encadrex and the howard Greenberg Gallery.
HOLLYWOOD CALIFORNIA: A LOSER'S OPERA
Filmmaker Carole Roussopoulos died in 2009 after a lifetime of filming women. in this well-founded and significant tribute, De Riedmatten employs fascinating archival footage to show how she used her camera to bring to light the struggles of the oppressed: factory workers, gay rights activists and particularly feminists, whose movement she documented from its earliest days to its waning in the 1980s. the only filmmaker to have captured the meetings, events and speeches of france’s human rights movement, she’s also the first to have used the then-emerging medium of video as a political tool. With her friend, actress Delphine Seyrig, she launched the production company les insoumuses, co-directing films like S.C.u.M. Manifesto and Maso et Miso vont en bateau, legendary today for their humour and radical outlook. She also produced stunning portraits of militant women, their poignant simplicity a tribute to her listening skills and deep empathy. Carole Roussopoulos, une femme à la caméra bring us a woman for whom social engagement, filmmaking and personal life were as one. Portrait of an inspiring personality not to be missed.
On June 28 of this year, just as Stephen Dwoskin’s latest film age is was to premiere at the locarno film festival, the cinema community learned of the sudden death of the 73-year-old experimental filmmaker. Dwoskin had suffered from polio since the age of nine. he began his career as a photographer and designer before becoming immersed in New York’s underground cinema scene alongside such peers as Jonas Mekas and Ron Rice. in 1961, he directed asleep, using cinema to both explore and transcend his own experience of physical pain. films like alone or outside in ; explicitly personal works like behindert ; the surreal and erotic further and Particular, inspired by Georges bataille: his entire output combined the intimate with the universal, the sexual with the interior and formal study with absolute sincerity, the better to consider the other in all its dimensions, as well as our way of looking at it. — Helen Faradji
Gilles Gagné, the flamboyant fashion designer, stylist and critic, passed away on March 12, 2012. his dazzling personality won’t quickly be forgotten by those who knew him. To pay him tribute, we will screen a surreal segment shot in New York’s St. Regis hotel and featuring Salvador Dali as well as an episode of Caméra ‘90 about fashion’s enfant terrible.
envoûtant / déstabilisant / raffiné / homme de luxe / grand connaisseur du luxe / cultivé /
rapide / provocateur / artiste /
extrême curiosité / bluffer / flamboyant / attiré par la jeunesse / séduit par le talent / extravagant / égocentrique / bigger than life /
Charismatique. Powerful. Modern and brilliant. ahead of his time. Perfectionist. Demanding and challenging.
You all know how fascinating he was. that was my Gilles. xxx — Dick Walsh