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Cahier africain

Heidi Specogna, 2016

Corniche Kennedy

Dominique Cabrera, 2016

The House by the Sea

Robert Guédiguian, 2017

Buster Keaton: The Short Films Collection: Silent Echoes

None, 2011

A Very Curious Girl

Nelly Kaplan, 1969

The Oak

Lucian Pintilie, 1992

The Great Flamarion

Anthony Mann, 1945

Sophia Antipolis

Virgil Vernier, 2018

Hanezu

Naomi Kawase, 2011

Godless

Ralitza Petrova, 2016

Dementia 13

Francis Ford Coppola, 1963

Cold War

Pawel Pawlikowski, 2018

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Egon Schiele: Death and the Maiden

Dieter Berner, 2016

The Guest

Duccio Chiarini, 2018

L'ordre et la morale

Mathieu Kassovitz, 2011

In Syria

Philippe Van Leeuw, 2017

Glory

Kristina Grozeva, 2016

The House by the Sea

Robert Guédiguian, 2017

Dhogs

Andrés Goteira, 2017

The We and the I

Michel Gondry, 2012

Wondrous Boccaccio

Paolo Taviani, 2015

The Towrope

William Vega, 2012

The Best Intentions

Bille August, 1992

Rafiki

Wanuri Kahiu, 2018

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Review: Wandering Girl

Only barely teenage Angela (Sofia Paz Jara) has some memories to share, after having grown up with him after her mother’s death during childbirth. Reluctant at first, she is soon stuck in a car with her stepsisters, headed to see some aunt or other living “in the middle of nowhere”. “Do I have subtitles?”While the pace is unhurried, it certainly fits the storyline, as in the end, Wandering Girl does feel like daydreaming in a hot, stuffy car – with a final destination looming somewhere on the horizon, yet mentioned only with hesitation. But in Wandering Girl, all of these things become objects of utter fascination, indicating what’s yet to come: womanhood. Written and directed by Rubén Mendoza, Wandering Girl is a Colombian-French co-production staged by Daniel García, of Día Fragma Fábrica de Películas SAS, and co-produced by Ciné-Sud Promotion.

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I Am Not a Witch: The ordeal of a young African girl set against the tone of satire

Without detracting from the horror of this phenomenon, Nyoni decides to use her fictional film to emphasise its absurdity, leaning most notably on shifts (visual, sonorous, symbolic, referential shifts) which highlight the hopeless archaisms of modern-day Zambia in a striking way. And so, it is on the trendy notes sweeping dance evenings everywhere ("American Boy" by Estelle), that we discreetly experience the most harrowing moment of the film. And if that isn’t brilliant …! Produced by the United Kingdom (Soda Pictures) and France (Clandestine Films), and co-produced by Germany (unafilm), the film is being sold internationally by Kinology. (The article continues below - Commercial information)(Translated from French)

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The House by the Sea: Accepting past regrets

As usually happens in the case of long-delayed family reunions of any kind, the accusations start to fly among the hors d’oeuvres. But even when dealing with the most tragic of circumstances, the movie feels strangely upbeat: while Guédiguian talks about past regrets, he also shows how to accept them. Which is not to say it’s all about wistful glances directed towards the sea. “I’m bored of your endless depression,” snaps one character at one point, but Guédiguian himself doesn’t wallow. The House by the Sea was produced by Agat Films and France 3 Cinéma, with backing from the Provence-Alpes-Côte d'Azur region, and the Cinémage, Indéfilms and Cinéventure Soficas.

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Afterimage: Andrzej Wajda pays tribute to his favourite painter

(The article continues below - Commercial information)Right from the opening frames of the movie, Wajda invites us to interpret this story from two different angles. Strzeminski (Boguslaw Linda) is painting in his flat-cum-workshop as a crew of workmen attaches an enormous portrait of Stalin to the outside wall of his building. But the filmmaker eventually decided not to focus on the extremely difficult relationship that existed between the two artists. We should also note the fine work of DoP Pawel Edelman (The Pianist , Venus in Fur , Carnage , Katyn , Aftermath ). Produced by Akson Studio, Afterimage was co-produced by the National Audiovisual Institute, TVP, EC1 and the Tumult Foundation, and received backing from the Polish Film Institute.

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