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Hiroshi Amano’s secret

A film by Jeanne Labrune

adapted from « La Fiancée du Roi » by Michel Huriet

Drama ‐ Feature film

Country Japan

Shooting 2014

Language French/Japanese

Length 110’



This is the story of the encounter between Hiroshi, a man unconditionally in love with his wife Keiko whom he never mentions, and Sister Thérèse, who can’t stop talking of a God that she loves and never sees. When Keiko dies, Hiroshi gives up on seeing Sister Thérèse.

She in turn gives up on God when she finds out that Hiroshi was killed by hoodlums and that he was in love with another woman.


Screenplay by Malek Bensmail & David Braun
Directed by Malek Bensmail
While Japan has just experienced a nuclear disaster, Masako, a theatre director, has only one thing on her mind: getting a play off the ground in her Tokyo theatre. The play in question is an adaptation of a manuscript left in Japan by an ulama during his travels a century ago in search of a way to modernise the Arab world. To play the theologian, Masako and her disciple Aska call on the renowned Algerian actor, Agoumi. Amidst the troubled Arab Spring, the trio gets to know each other, each with his or her own story, his or her own phantoms. Over the course of rehearsals, they talk of the ulama Ibrahim’s notes, of history, and of their countries. Their conversations take fascinating and sometimes funny turns. The play is beginning to take shape when Masako dies unexpectedly, leaving the troupe with her testament. Despite the proscription against such practices on Islamic lands, Aska and Agoumi scatter the theatre director’s ashes in Algeria.For them another journey is about to begin.

Araf – Somewhere in between

Runing time : 120 minutes
Original language  : Turc     N° RPCA  :  128 928
Araf  is the story of two young people caught in a vacuum in their lives, ZEHRA (18) and OLGUN (18). They both work 24 hour shifts in a great service station  situated by a motorway.The place they inhabit and work is a place of throw away culture, constant change, and they themselves wait for the chance to change and escape from their empty monotonous lives.
Zehra lives with her family in a village. When she is not working, like most people her life passes in front of the tv. She daydreams that one day she will escape her dull environs to go far away to live a glamorous life and fall wonderfully in love like the characters she sees on the small screen. Zehra’s work colleague Olgun lives with his parents in the nearby city. He also plans to get rich quick by winning the prize on a tv gameshow. He aims to be a powerful and impressive man in this life. On one hand he is dreaming of appearing on the gameshow and on the other he is wildy in love with Zehra and tries tirelessly to impress her. They both work in the petrol station and share the same tv fuelled dreams.
One day Zehra falls passionately in love with a lorry driver MAHUR (38) who arrives at the petrol station one winter, and the pairs’ life is turned upside down because of it. Zehra discovers her own body, sexual powers and self-confidence through this affair, and starts to slowly lose the innocence of her girlhood. Olgun notices this change in Zehra and is affected by it, he starts to try more outlandish stunts inspired by those he has seen on tv, to make himself a local hero and attract her attentions and win her back.
When Zehra learns that she is pregnant she tries to protect her unborn child in a very conservative society and she learns that only she can take responsibility for life and decide on its’ direction . Olgun’s violent reaction instigated by his incredible disappointment and wounded pride at this news causes him to end up in prison. After some time though he learns the meaning of true love and selflessness.
Throughout the passing of the film these two young people learn the stark truths of life, grow to maturity and embracing each other discover the real escape route from this limbo, albeit very far from the one of their intial dreams…
Written and directed by  Yesim Ustaogly
Cast  :
Zehra      Neslihan Atagül
Olgun      Baris Hacihan
Mahur    Ozcan Deniz
Derya      Nihal Yalcin
Rifat        Ilgaz Kocatürk
Haydar    Can Bazak
Meryem   Yesemin Conkar
Crew  :
Producers  : Yesim Ustaoglu, Serkan Cakarer, Catherine Dussart, Michael Weber
Associate producers  : Hisami Kuroiwa and  Meinolf Zurhorst
Director of photography  : Michael Hammon
Sound and mixing : Bruno Tarrière
Editors : Mathilde Muyard and Naim Kanat
Music by  : Marc Marder
A European Co-production between :
Ustaoglu Film Yapim/Turky, CDP / France, The Match Factory /Germany, ZDF/ARTE/ Germany
TRT / Turky
Supported by T.C. Kültür ve Turizm Bakanligi/Turky, Centre National du cinéma et de l’image animée/France, Medienboard Berlin-Brandenburg/Germany, Eurimages

Goltzius & The Pelican Compagny

A film by Peter Greenaway
Format :  35mm – Couleur – Dolby
Shooting Language :  English
Synopsis :
In the winter of 1590 the Dutch printer and engraver Hendrick Goltzius, approaches the Margrave of Alsace at Colmar for funds to set up a printing press to make and publish illustrated books. He proposes that the first two books manufactured by this new printing press should be dedicated to the Margrave and his court and should be an illustrated Old Testament featuring six tales of an erotic nature, and the second should be an illustrated Metamorphosis of Ovid featuring the infidelities of Jupiter. To tempt the Margrave further, Goltzius and his printing company will offer to perform dramatisations of these erotic stories for his court. The Margrave, a noted liberal priding himself on his religious and cultural tolerance, with a large library, and an educated interest in books and the new technologies of printing, is tempted. He agrees before witnesses, that if he is stimulated and excited he will reward Goltzius and his company with the asked-for funding. Goltzius with his Pelican Company of printers and their wives and mistresses, all associated with theatrical entertainments, proceed. Their first dramatisation is of the Genesis Story of Adam and Eve, with God creating Adam and then Eve, the temptation of the Devil and Eve persuading Adam to eat the apple. The performance takes place before a selected section of the Margrave’s family and court and a collection of differing religious representatives, a catholic priest, a Calvinist protestant and a Jewish rabbi. The dramatisation is skilfully accompanied by spectacular effects of God and his angels, the Devil in the tree of knowledge, and the wonders of the garden of Eden, with the finale of the expulsion of Adam and eve from the garden accompanied with a winter snow-storm blasting through the palace.  The audience are surprised, shocked and delighted by the frankness and magic of the performance and the religious representatives are stunned into hot debate about questions of representing God. The Margrave is amused, and is titillated by the actress Susannah, playing Eve, who in turn sees an opportunity to become the Margrave’s mistress and retire from acting. Goltzius’s second play is a dramatisation of the story of Lot and his Daughters. The Pelican Company stage the play in the palace’s boiler-rooms to simulate the fires of Sodom and Gomorrah, the act of Lot’s wife turned into a pillar of salt is replicated, and the frankness of the dramatisation, deeply disturb the court and the clerics, who accuse Goltzius of blasphemy and order the arrest of the Pelican Company’s playwright Boethius, who retorts with skilful arguments about the validity of the performance, hinting at his own Anabaptist, if not outright atheistically opinions. The Margrave meanwhile has become excited and enamoured of the actress Adela who played Lot’s second daughter, and who is Boethius’s mistress, thus creating intense jealousy in the actress Susannah. The third Goltzius dramatic offering is the story of David and Bathsheba. Boethius challenges the court and the clerics with Old Testament hypocrisy, and the Margrave, determined to sleep with Boethius’s wife, and eager to get him out of the way, agrees to his arrest, charged with heresy. The Pelican Company, disrupted but determined to continue, persuade Boethius to write the fourth drama in his prison cell and they perform the Old Testament story of Potiphar’s Wife where the powerful wife of an Egyptian official seduces a reluctant Joseph who is played by the Margrave’s younger brother. It is a blackmailing stratagem arranged by Goltzius to get the Margrave to release Boethius, by humiliating the Margrave in seeing his brother humiliated on stage. Goltzius’s fifth story is the Old Testament tale of Delilah’s seduction of Samson, and the large and physically powerful Jewish rabbi is coerced into playing Samson, who is not so unwilling since he is to play opposite the actress who played Potiphar’s wife who excited him. The outcome of the Samson and Delilah story is the emasculation of Samson whereby the rabbi has every hair on his body shaved. The distraught rabbi furiously and revengefully denounces the Calvinist’s seduction of the Margrave’s brother to the Margrave and in a parody of the Samson and Delilah story, pulls down the Pelican Company’s pavilion. Boethius’ mistress, in a bid to get her lover Boethius released, agrees to perform the sensuous role of Salome in the New Testament story of the Death of John the Baptist with the Margrave being permitted to play Herod, if Boethius can play John the Baptist.  In the subsequent performance, Boethius’ mistress publicly scorns the Margrave, and makes love to Boethius in public in front of him. In a furious jealous rage, and to fulfil the biblical story, the Margrave, playing Herod, orders the beheading of John the Baptist played by Boethius. But this is no enacted simulation but the real thing and Boethius is beheaded.Consternation breaks out, the Margrave is shunned, his Catholic representative buys off Goltzius and his Pelican Company by signing the funding of the printing press contract, and the Pelican Company are swiftly driven out of Colmar in a snowstorm.  On the road south to Italy, Boethius’ mistress in the carriage unrolls a parcel to reveal Boethius’ bloody decapitated head which she has stolen, and which she now ardently kisses and caresses. The carriage rushes into a dark tunnel in the Alps. Goltzius takes his Pelican Company to Italy.
Fiche technique :
Written and directed by Peter Greenaway Cast  : GOLTZIUS – Remsey Nasr ADAELA – Kate Moran THE MARGRAVE – F.Murray Abraham BOETHUIS – Giulio Berruti SUSANNAH – Anne Louise Hassing EBOLA – Lisette Malidor EDUARD – Flavio Parenti SAMUEL – Pippo Del Bono PORTIA – Halina Reijn RICARDO del MONTE – Vincent Riotta JOHANNES CLEAVER – Stefano Scherini RABBI MOAB – Francesco De Vito MARIE – Nada Abrus Crew : Director & Writer Peter Greenaway Producer Kasander Film Kees Kasander Line Producer Kevan Van Thompson Co-Producer F&ME Mike Downey Co-Producer F&ME Sam Taylor Co-Producer CD Productions Catherine Dussart Co-Producer MP Film Production   Igor A. Nola Production Manager         Vlaho Krile Production Coordinator CRO Nikolina Koceic Production Coordinator NL Julia Ton Unit / Location Manager Miroslav Pogelsek “Pajdo” Production Designer Ben Zuijdwijk Art Director Ivo Hušnja Casting Director NL Allard Van Der Werff Director of the photography  Reinier Van Brummelen Costume Designer CRO Blanka Budak Costume Designer NL Marrit Van der Burgt Make up designer Peter de Visser Sound recordist Ivica Sljivarić “ Šljiva” A Coproduction between : Kasander Film BV/Germany, CDP / France, Portpic Ltd/Angleterre, MP Films/Croatie

Master of the Forges of Hell

Duch, Master of the Forges of Hell
A Documentary film by Rithy Panh
Language Khmer
Running time  103’
 In Cambodia, between 1975 and 1979, the Khmer Rouge regime caused the death of approximately 1.8 million people, representing a quarter of the population of Cambodia.
Kaing Guek Eav aka Duch has led the M13, a prison controlled by the Khmer Rouge, for four years before being appointed by the Angkar (the Organisation), to the centre S21 in Phnom Penh. As the secretary of the S21 Party, he has ordered this death engine where died, according to the remaining archives, at least 12 380 people. But how many others disappeared, “crushed, reduced to dust”?
In 2009, Kaing Guek Eav aka Duch, was the first Khmer Rouge leader presented before the Extroardinary Chambers within Courts of Cambodia (CETC).
After pleading guilty, Duch has requested his realeased.
On February 3rd 2012, he was sentenced on appeal to life imprisonment.
Fiche technique
Written and directed by  Rithy Panh
Producer Catherine Dussart CDP
Ina/Production Christophe Barreyre & Frédéric Schlesinger
 Cinematographer Prum Mésar & Rithy Panh
Sound  Sear Vissal
Original Music Marc Marder
Production Director(Cambodia) Cheap Sovichea
Editor Marie-Christine Rougerie & Rithy Panh
Sound editing and mix Myriam René
A Co-production CDP, Institut national de l’audiovisuel, France Télévisions, Bophana Production/Cambodia
With the participation of Fonds Sud Cinéma, Ministère de la Culture et de la Communication CNC,
Ministère des Affaires Etrangères et Européennes (France)
with th support  La Procirep – Société des Producteurs, L’Angoa
© CDP / Ina / France Télévisions / Bophana Production   – 2011 / All rights reserved
Cannes Film Festival – Sélection Officielle
Toronto International Film Festival (Canada)
Doc Lisboa (Portugal)
Rotterdam IFF 2012 (Pays Bas)
RIDM 2012 (Canada)
FIFDH (Swiss)
African Festival (Italy)
It’s All True – Int, Doc, Film Festival (Brazil)
Istanbul IFF   (Turkey)
BAFICI   (Argentina)
Jeonju   (Corea)
Five Flavours (Poland)
Viennale (Austria)
Centre André Malraux Sarajevo
Prix de la Fédération Internationale des Droits de l’Homme  Genève 2012
Présentation au Prix URTI par France 3

The Sea Wall


A feature film by  Rithy Panh

Running time   1H55′

RPCA N° 118 169

Language  French/Cambodian


The mother, doned out by the administration after investing all her savings in a barren concession because flooded by the big tides of the Pacific and her two children Joseph, age 20 and Suzanne, age 16, live with difficulty, in the middle of this concession, ceaselessly threatened to be deprived of it by the administration of the land registry. What to make ? The energy and the hope are the reason for living of the mother who calculates, organizes, with a sort of accurate, cunning and lucid madness, so much she is afraid of the definitive departure – that she knows inevitable – of her children.   Anger  love, sensuality, resignation, laughs, death  are the heart of the film.

Fiche technique

A feature film by   Rithy Panh

Screenplay by   Michel Fessler and Rithy Panh

Adapted from    Marguerite Duras « Barrage contre le Pacifique »  (Editions Gallimard)


The mother   –   Isabelle Huppert

Joseph   -  Gaspard Ulliel

Suzanne   -  Astrid Berges

Mr Jo   -  Randal Douc


Production manager    -  Pierre Wallon

Director of Photography     –   Pierre Milon

Art Director    –   Yan Arlaud

1st Asst. Director    -  Pascal Guérin

Costume designer     –   Edith Vespérini

Editor      –   Marie-Christine Rougerie

Music  -  Marc Marder


with the participation CANAL +, CINÉCINEMA et de FRANCE 2

Centre National de la Cinématographie and BOPHANA Production


and the support of  TAX SHELTER du Gouvernement fédéral belge and programme MEDIA de l’Union Européenne


Festival de Toronto (Canada)

Festival de Rome (Italie)

Festival International de Mar del Plata (Argentine)

Festival International de Cinéma Contemporain de la ville de Mexico (Mexique)

Hong Kong Festival

Institut Français de Vienne (Autriche)

Istanbul International Meeting of Cinema & History Films Festival (Turquie)

Institut Français de Budapest (Hongrie)

Festival du Film Francophone d’Athènes (Grèce)

Paper cannot wrap up embers




A film by Rithy Panh


Running time  90′    


A face illuminated by red light… • Why don’t you go back to the village now? • I don’t want to… I’m ashamed. • No-one knows what has happened to you. If you like, I’ll help you… Go back to the village. • No. I’m ashamed. No-one knows what I do here in Phnom Penh. But I know. • I’d like to make a film about your life, a portrait of you. The film is situated as close as one can get to the life – and thus the spiritual death – of a prostitute. The ultimate social decay ends with the irreparable injustice of a process that cannot be reversed: the destruction of a body. For me this is a stand I have to make, an attempt to make amends. Going back over my inability to react when I was faced with something intolerable. This film project stems from there. For me, distress is intermingled with anger. I have a grudge against the people who go to see the “tarts“, the people who sell their children, the 1500 non-governmental organisations that are there to help Cambodia in its development, the Apronuc and its blue helmets who have brought AIDS with them, the indifference, the grinding poverty, the people whose consciences are clear. And so the film will resemble this rage, fragmented, and with a cutting edge like that of the shattered debris of a dream.

Image gallery


A film by Joël Farges Film

With Alexei Chadov and Jacques Gamblin

Running Time : 1H40′ N° visa 112 054


In 1889, riding his small horse: Serko, Dimitri leaves the Asia confines of the Russian Empire and heads to Saint Petersburg, the seat of the Tsar, to plead the cause of his people: the Evenk. So begins one of the most courageous voyages ever undertaken: more than 9000 kilometres in less than 200 days, with temperatures that sometimes drop below minus forty, crossing through hostile territories and also doing surprising encounters…A true story that, to this day, continues to fascinate the world’s horsemen.

Image gallery

The Ugly Swans

The script of this film is inspired by a story by brothers Strougatski, and it is about a ghost town  with a boarding school for gifted children with strange teachers known as “aquatics” and who looks like mutants and aliens. The weather in this city is constantly changing for no apparent reason. It looks like a total deluge. Different comissions come to study this phenomenon. Among the children of the boarding school, there is the daughter of writer Victor Banev who is starting research to clarify the destiny of these children and the fate of humanity that directly depends of it.


The dream to find an old uncle in America, everyone did it, but find his ancestors, his true roots, it can take a life time. So, go to a specialized agency is more natural  for Baruk Pintzik, Andrew Gritsyne, Irène Uber or Samuel Goldman who have been leaving to the four corners of the world for the two past generation.

The Burnt Theatre

Running time  1H25′

Theatrical release November 2005


Phan – Peng Phan

Bopha – Chheang Bopha

Doeun – Thén Nan Doeun

Hoeun – Ieng Hoeun

Rotha – Kév Rotha

Image Gallery


A film by  Rithy Panh

Screenplay by  Rithy Panh and Agnès Sénémaud

Coproduction  INA/ARTE France

French Distributor  : Les Acacias Cineaudience            International sales : INA

Presse et Festivals

Cannes Film Festival  2005  

Pune International Film Festival . International Festival de Bankok

22nd International Festival de Jerusalem

American Asian Film

42nd Antalya Golden Orange Film Festival

Festival des Films du Monde

International Film Festival of Sao Paulo

Asian Film Festival – Rome  (Italy)

Festival of Fim Francophone Namur

International Film Festival of Rio (Brasil)

House of World Culture  …/…

Kiss Me Not on the Eyes

A film by Jocelyne Saab

With Hanan Turk and Mohamed Mounir

Lenght : 1H52′

N° visa 110 072


Dunia, a 23-year-old Egyptian woman, has studied literature in Cairo and now wants to become a professional dancer.

While auditioning for an oriental dance contest, she meets Dr. Bachar, a renowned and attractive intellectual. Dunia’s forthright manner and her talk of pleasure and the ordeals of being a woman in Egyptian society appeals to Dr. Bachar.

After tasting intellectual pleasures with him, Dunia discovers physical pleasure in his arms.


Dunia – Hanan El Turk

Beshir (Dr Bachar) – Mohammad Mounir

Inayate – Aida Riad

Mamdouh Fathi – Abdel Wahab

Arwa  – Sawsan Badr

Le Maitre – Walid Aouni

Jamalate  – May Al Shandi

Yasmine – Nashwa Al Arabi


Sundance – World Competition . Prix du jury du Meilleur Scénario, avec la participation du  CNC-Sopadin

Prix Atelier d’Écriture of Festival de Carthage . International   World Competition 

International Festival of Film to Montréal, . Compétition Grand Prix des Amériques,

International Festival of Film to Fribourg  (Switzerland)           

Prix du Public et Prix “E-Changer” du jury des jeunes, 2006

 Prix de la Province de Milan, 2006, International Festival d’Algarve, Portugal,

Prix Mediterrar du meilleur long-métrage, International Festival du Film du Caire, 

 International Festival of Film de Dubaï,                       

 International Festival Cinema Costume & mode 2006,

 Prix Special du jury-Meilleur Costume

Ouverture et Compétition Officielle Festival de Singapour,  Best Actress Silver Screen Award 

Ouverture Festival franco-arabe Ammam                        

 Festival de Delhi, Natfilmfestival Danemark

Brisbane Film Festival Australia

Seoul Film Festival . International Festival de Bogota

 International Festival of Bombay,

 International Festival of Los Angeles

International Festival of Calcutta,

 International Festival d’Alaska

Festival de Films Francais de Lisbonne

 International Festival of Carthage

 International Festival of Chennai,Trivanderum           

Festival de New York, Rochester,

 Festival de Seville, Antalia Medfilmfestival                       

 Festival de la Semaine du Cinéma Français Damas

La petite chartreuse


A film by Jean-Pierre Denis Cast: Olivier Gourmet, Marie-Josée Croze, Bertille Noel-Bruneau Running Time: 1h30


Etienne, a bookstore owner with an outstanding memory, is a loner with two passions in life – literature and mountains. But one day he accidentally runs over eight-year-old Eva. Finding himself between Eva and Pascale, the young mother, who is unable to cope with her responsibilities, Etienne, the “story teller”, surrogate father, is going to achieve the miracle of Prince Charming…


Etienne Vollard – Olivier Gourmet Pascale Blanchot – Marie-Josée Croze Eva Blanchot -  Bertille Noël-Bruneau Anna, la libraire – Marisa Borini Baldi – Yves Jacques Consoeur, brocanteuse – Elisabeth Macocco Une infirmière à l’hôpital – Lison Riess Un médecin de l’institution – Claude Koener Mireille – Marie-Claude Vermorel

Images gallery


Director – Jean-Pierre Denis Producer – Catherine Dussart (CDP) Coproducers: Rhone-Alpes Cinéma, France 2 Cinéma International Sales: Eric Lagesse (Pyramide International)

Eleven Minutes, Nine Seconds, One Image : September 11


Variety du 6 septembre

An omnibus movie made by 11 of the world’s au courant directors, “11’09″01 — September 11″ is a sober, thought-provoking response to a tragedy of worldwide import and a much better film than one might expect from the pre-release publicity. Included among the 11 segments in the Galatee Films/StudioCanal production, which are linked only by theme, are many emotionally moving pieces that powerfully evoke the tragic day without being exploitative. The gist of the film, if one can be found in such diverse works, might be the deep sense of horror felt around the world from the terrorist destruction of the World Trade Towers and Pentagon a nd broader, global implications of such an act. Though it commands the viewers’ attention for most of its two-hour-plus running time, it is hardly an easy film to watch and contains some very anguishing moments that will put off casual moviegoers. However, its release in most territories through arthouse distributors can count on the news interest pic is bound to stir up.

Clearly the filmmakers’ concerns are much more complex than simply staging a made-for-TV memorial homily. Although at least two segments voice criticisms of American foreign policy, reports that the film is anti-American in focus are greatly exaggerated.

The most controversial and confused episode is that of Egyptian vet Youssef Chahine, who sets up actor Nour el-Sharif as his alter ego, a filmmaker called Youssef Chahine. He is too upset over the events in New York to go through with the press conference for his film, scheduled the following day.

Instead he takes a solitary walk in which he imagines talking to a young American soldier killed in Beirut in 1983 and buried at Arlington National Cemetery. With this ghost, Chahine visits the home of a Palestinian suicide bomber of the same age, whose family is proud of his sacrifice.

The point is not to condone the bomber, however. Rather clumsily Chahine recalls the suffering of the Palestinian people and the deaths caused by America, from Hiroshima to Vietnam. He’d like to reconstruct the World Trade Towers, but the dead cannot be resurrected.

Other episodes, like French helm er Claude Lelouch’s moving anecdote about a man who sets out to lead a group of tourists through the Towers and comes back covered with ashes and in shock, or the Mexican Alejandro Gonzalez Inarritu’s anguishing flashes on bodies falling from the Towers, use the power of cinema to make familiar images reverberate again.

Indian director Mira Nair recounts a true story of Sept. 11, that of a New York Pakistani family whose missing son, Mohamad Salman Hamdani, was suspected by police of being one of the terrorists. Only months later when his body was discovered among the wreckage was he revealed to be a heroic police cadet who had rushed to the scene to help.

The double edge of Nair’s story, in which Americans are not only victims of terrorism but are in some measure culpable, finds an echo in one of the most shocking segments, that of militant English director Ken Loach.

Chilean exile Vladimir Vega writes an open letter to the American people from his London home, offering condolences for their loss, and recalling that 28 years earlier, on precisely Sept. 11, 1973, elected Chilean president Salvador Allende was murdered in General Auguste Pinochet’s coup d’etat, financed and approved by President Nixon and his Secretary of State Henry Kissinger. It ranks among Loach’s finest film work.

Four other episodes focus, in completely different ways, on how local tragedies took precedence over the one in America. In the film’s opener, young Iranian director Samira Makhmalbaf shows a camp of Afghan ref ugees (there are 3 million living in Iran, she tells us) whose main worry is that America is going to start bombing them.

An educated young teacher tells them that “bricks won’t shelter you from an atomic bomb.” Instead she convinces her pre-school age pupils to stand at the foot of the smoking brick kiln and observe a minute of silence in honor of those killed on Sept. 11.

Another excellent tale, whose sadness is masked by its humor, comes from Burkina Faso’s Idrissa Ouedraogo. A young boy who can’t afford to buy pencils for school or medicine for his dying mother thinks he spots Osama bin Laden on the street. Knowing his capture is worth $25 million, he enlists his friends to corner him with bows and arrows.

Danis Tanovic from Bosnia links Sept. 11 with the massacre of Srebrenica, a tragedy that the heroine won’t allow America’s to overshadow, while Israel’s Amos Gitai puts it in relation to the “smaller” one of a terrorist bombing in Tel Aviv.

Sean Penn’s story features a touching solo perf by Ernest Borgnine as a widower who is so completely wrapped up in the personal tragedy of losing his wife that he doesn’t notice the collective drama going on outside his window.

Japanese master Shohei Imamura wraps up the film with an odd and apparently unrelated story. A Japanese soldier returns from the horrors of WWII convinced he is a snake. “There is no such thing as a holy war,” film concludes.

Deborah Young

Tycoon – Oligarch

   A film by Pavel Longuine

With Vladimir Mashkov, Andrei Krasko, Maria Mironova,Sergei Oshkevich Running Time : 2H08′ N° de Visa: 104 116Theatrical release April 2003


Russian superstar Vladimir Mashkov is formidable in Tycoon, a savvy, fast-paced political thriller about the rise and fall of a new Russian businessman. A box-office smash in Russia, the film offers an inside view of a country in which gangsters and greedy politicians conspire to expand their fortunes and eliminate their enemies. Opening on the day when young billionaire Platon Makovski (Vladimir Mashkov) is murdered, story flashes back to Gorbachev’s Russia in the late 1980s. Five intelligent Russian students abandon their academic careers for the emergent private business sector. As the rules for private enterprise in Russia are barely in place, the young opportunists make their mark – and their millions – from an array of quasi-legal dealings. At 44, leader of the pack Platon finds himself the richest man in Russia and is ruthless in his desire to stay on top. Trouble starts when Russia’s secret servicemen and beyond decide they want a slice of the ever-growing pie…


Platon – Vladimir Mashkov Chmakov -  Andrei Krasko Maria – Maria Mironova Viktor – Sergei Oshkevich


International Film Festival of Locarno    International Film Festival of Toronto (Canada) San Francisco Film Festival (USA) French Film Fest  Stockholm (Suède) French Film Fest  London (Angleterre) Munich Film Festival (Allemagne) Galway Film Festival (Irlande) Cervino Film Festival (Italie) Tubingen French Film Festival Cinemania Forum SottoDiCiotto (Italie)

Fiche technique

Director – Pavel Lounguine Screenwriters – Alexandre Borodianski, Pavel Lounguine, Yuli Dubov Adapted from the novel by Yuli Dubov Directors of photography – Alexey Federov, Oleg Dobronravov Music -  Leonid Diesyatnikov Sound – Alain Curvelier Editor -  Sophie Brunet. Producers – Catherine Dussart, Vladimir Grigoriev Associate producer – Galina Semtsova French Distributor  : Pyramide            International sales : FPI             Vidéo : M6 tycoon_fl2

The Wedding

   A film by Pavel Lounguine

With Marat Basharov, Maria Mironova, Andrei Panine, Alexandre Semtchev, Vladimir Simonov, Maria Goloubkina N° Visa 97.532 Running Time 1H54′Theatrical release September 2000


Schistes is a small coal mine village near Moskow. Today is a big day for Michka Krapivine : he marries Tania Simakova that he always loved, even if she came back after several years spent in Moskow as a “mannequin”. By luck, the same day, wages, that had not been given for six months, will be given ; but people have to wait their turn on the place, in the middle of the crowd where everybody knows that there won’t be enough money for all and where everybody wants to be served first. In the Krapivine family, nobody is happy about this marriage. Krapivine’s father, village’s hero, covered with medals by communism, feels forced to feed all these “invited persons” and therefore fears to lose his pension up to the last kopeck. The grand-father looks defavourably on “this fany whore” entering is family and Antonina, Michka’s mother, weeps on her son’s destiny. Michka is only anxious about one thing : to give a present to his future wife : he will spend his salary for that. But his salary, it’s his father who takes it to pay the “steaks” of the wedding. Faced to this injustice, all the coal mine team subscribe to allow him to buy a present. To avoid another deduction by his father, Michka entrusts the money to his closest friend Garkoucha. Unfortunately, Garkoucha drinks the money. Thanks to the few savings of his mother, Michka can eventually buy a few flowers. He comes happily to Tania’s home. The former lover of Tania, Borodine, a rich businessman, has come to take her back to Moskow.Tania doesn’t want and refuses his beautiful present. From then on, the police chief, Borzov, whose power and ambition are served by corruption, will make the most to avoid the wedding by trapping Michka and sending him to jail… away from Tania. Events will then follow one another with sometimes fun and sometimes tragedy in order to save Michka from jail… thanks to love, generosity and friendship.


Marat – Basharov Michka Maria – Mironova Tania Andrei – Panin Gacoucha Alexandre – Semtchev Borzov Vladimir – Simonov Borodin Maria – Goloubkina Sveta Natalia – Koliakanova Rimma Elena – Novikova Zoika Andrei – Panine Garkusha

Image Gallery


Screenplay – Alexandre Galine & Pavel Lounguine Director of Photography – Alexander Burov Editors – Sophie Brunet Production Designer – Ilia Amursky Sound – Alain Curvelier Music – Vladimir Chekassine Producer Catherine Dussart CDP Coproduction Film Studio Mosfilm Service, Arte France Cinéma, West Deutscher Rundfunk, Lichtblick Cologne, Canal +, Centre National de la Cinématographie and Filmbüro Nw Worldwide Distributors Pyramide Productions Theatrical Distributor Skouras Films French Distributor  : Pyramide            International sales : FPI TV Broadcast  : Canal + / ARTE


Official Selection Cannes Film Festival 2000 – Award : Interpretation’s Prize of all the Actors   Lichtblick International film Festival Moscow International film Festival (Russia) Montreal International film Festival (Canada) Toronto International film Festival (Canada) Pusan International film Festival (Russia) Russian Film Festival in NY (USA) London International film Festival (UK) Tromso International film Festival (Norway) Goteborg International film Festival (Suèden) Cleveland International film Festival (USA) Hong Kong International film Festival Istanbul International film Festival (Turkey) Seattle International film Festival (USA) Karlovy Vary International film Festival (Tcheque Republic) Haifa International film Festival (Israël) Transilvania International film Festival

A Matter of Taste

A film by Bernard Rapp With Bernard Giraudeau and Jean-Pierre Lorit


Frédéric Delamont is an industrial magnate in his fifties. He is at the peak of his success, refined, original, and phobic when, in a restaurant, he meets Nicolas Rivière, a young man prone to odd jobs and adversity. Frédéric thus offers Nicolas a large salary to become his personal food taster. That which started as a light, unusual gastronomic adventure will soon reveal itself to be a much more dangerous game for both men…


Frédéric Delamont – Bernard Giraudeau Nicolas Rivière – Jean-Pierre Lorit René Rousset – Charles Berling Le juge – Jean-Pierre Léaud Béatrice – Florence Thomassin Flavert – Artus de Penguern Le docteur Rossignon – Laurent Spielvogel Caroline – Elisabeth Macocco Le docteur Ferrières – Anne-Marie Philipe

Fiche technique

Production Catherine Dussart & Chantal Perrin Coproduction France 3 Cinéma, CDP, Studio Canal, Rhône-Alpes Cinéma Studio Images 6, Gimages 2, Procirep Centre National de la Cinématographie (C.N.C.) Internationale Distribution Pyramide Distribution

Press and Festivals

“A matter of Taste” is only the second feature for director Bernard Rapp, a top French television journalist. Co-written by Rapp with fine screenwriter Gilles Taurand (“Dry Cleaning,” Andre Techine’s “The Wild Reeds,” among others), the film was nominated for five Cesars, the French Oscars, including best picture, best actor and best screenplay. Awards 2000 Cognac Festival du Film Policier, France (Unravel Award, Critics Award, Grand Prix) ; 2000 Karlovy Vary International Film Festival, Poland (Special Mention).

Sekal has to die


The story takes place in 1943 in Moravia under the protectorate of “Böhmen und Mähren”, which was established after the occupation of Czechoslovakia. As the village of Lokotice is not occupied by the Germans, the horrors of the war have apparently no impact on everyday life. Nevertheless, the villagers are living in the fear of Sekal, the natural son of one of them. Youra Baran, pursued by the Gestapo took refuge in this small village, where people show him a tenacious distrust. Paralyzed by the fear of losing their property, the rich farmers make a decision: Sekal must die… They choose Youra, the foreigner, to kill him. Sekal is not an easy opponent. Youra kills him and dies beside his victim – the farmers won’t help him, they do not wish to have witness…

Dormez, je le veux !


Cora, a passionate teenager, looking for absolute, can not stand the mediocrity around her, her family, and of the future that awaits. She is seeking and dreaming. The chance of a holiday lecture, a treatise on hypnosis, opens her new horizons. She is passionate by the fascinating power of this science. Her meeting with Katz, the “king of hypnosis” is decisive; she found in him a guide, a guru. She begs him to take her as an assistant and soon shares his life. During their tour of the country, she discovers realities of life.