Trailer for the 9th edition of MyFrenchFilmFestival

MyFrenchFilmFestival, the world’s first online French film festival, has unveiled its trailer!

Family stories, absurd and wacky adventures, films that shine a spotlight on women fighting a battle with the world around them, punchy and provocative films, oh-so-French love stories… Here are the first images from the films selected for this year’s 9th edition of MyFrenchFilmFestival

‘A Prophet’ creator takes on France’s war in Algeria

One of France’s most celebrated screenwriters is taking on its biggest taboo, the bloody conflict in Algeria, in a new war film.Abdel Raouf Dafri told AFP that he had been itching for years to broach the delicate subject.

The writer of the Oscar-nominated “A Prophet”, and the Emmy-winning television series “Braquo”, has Algerian roots but was born in the French port of Marseille, where many former French “pied noir” colonists who were forced to flee Algeria settled. The film’s title “May an impure blood…” (Qu’un sang impur…) is plucked from the most controversial line in the French national anthem, “La Marseillaise”, which ends “…water our fields”. Dafri cleverly turns it around to refer to “the blood of the colonised” who suffered under the French, which “just goes to show how universal our national anthem is”, he argued.  [ . . . ]

Read more at: ‘A Prophet’ creator takes on France’s war in Algeria – The Local

The world of tomorrow according to Juliette Binoche, Guillame Canet and Vincent Macaigne

Juliette Binoche, Guillaume Canet et Vincent Macaigne, les acteurs de Doubles vies d’Olivier Assayas, nous racontent ce qu’ils attendent de demain.

What are the double lives of Olivier Assayas’ new film? Most of his characters lead double lives. Because the life of the bourgeois often resembles caricature to bourgeois theater, their double lives are at first conjugal: Alain (Guillaume Canet) cheats his wife Selena (Juliette Binoche) with a young collaborator of his publishing house ; and Selena misleads Alain with one of his best friends, Leonard (Vincent Macaigne). The friendly lives are also double: Alain is the friend of Leonard, but also his publisher, and their friendship does not prevent the first to release the second when the potential of his new novel leaves him skeptical. Double games, double stakes …

Double lives travels with a lot of verve on the tracks of satirical marivaudage and the chronicle as amused and inspired by the mores of a social environment and an era. But the title of the film is itself double. The true object of investigation of Doubles lives , it is first of all what which doubles the life, the duplicate, deploys it in a more virtual space than current. This power of duplication is the great digital switch of the world that affects our lives in their smallest ramifications, revolutionizes the world of work, transforms relations between people. Double livesinspected with great precision and irony – but also with tenderness and delicacy of human understanding – the way everyone negotiates with the principle of transformation of the world, alternates between resistance and adaptation. To begin an issue mainly dedicated to the coming year, we wanted to bring together the three main performers of the beautiful film by Olivier Assayas to project further and ask them the question posed by the film: what are the reasons to fear or hope in the world that is coming?

Is technological progress a source of worry or excitement for you?

Guillaume Canet – On these questions, I feel pretty close to my character in Doubles Lives. I want to welcome progress with a lot of curiosity and yet it mixes a little skepticism. I want to live in my time, but I sometimes freak out at the implications in creating this digital revolution. The way art is consumed, that is to say as a content, delivered at home, among many others, interferes with the way it is conceived. It affects thought at work in every creation. To satisfy these new modes of consumption, there is an injunction to make simpler, shorter. Here, for example, I finish the postproduction of my new film, and the mixer explains to me, about a replica which I wanted it to be really whispered, that it will go to the trap with the compressed sound smartphones. What are we doing ? Do we consider it or not?

Vincent Macaigne – I think that in terms of VOD, you would have to invent media where the films disintegrate as you see them … (laughs). No, but I’m not kidding! On streaming sites, I myself watch bits of movies, which do not really exist as works, and from which I take fragments. When the ritual of the hall jumps, bending to the rhythm of the one who thought the work becomes something more restrictive. And yet, for me it really is what defines the aesthetic experience: to bend to the rhythm of another. Basically, I find it odd that the viewer has control of the progress of the work. It creates a somewhat strange spectator grammar. But yet, I do it. For example, I watch some series focusing only on one character. All the related intrigues, I pass them in fast forward, and I stop only when my character comes back (laughs) .

Continue at LesInRocks

French director controversy over ‘women aged 50’ quip

French director and writer Yann Moix has caused controversy after saying he “could not love a 50-year-old woman” and “only goes out with Asian women”.

Mr Moix, aged 50 himself, made the statements in an interview with magazine Marie-Claire, published on January 4.

He said: “I am telling you the truth. Aged 50 [myself], I am incapable of loving women aged 50. I think that’s too old. When I am 60 years old, I will be able to; 50 will then appear young to me.”

He continued: “It doesn’t disgust me, it just wouldn’t occur to me. [Women aged 50] are invisible to me. I prefer younger women’s bodies, that’s all.”

He also said that he only goes out with Asians, specifying “Koreans, Chinese, Japanese”, adding: “Many people would not admit that, as it is racial bias. Maybe that is sad for the women I go out with, but the Asian race is rich, large and infinite enough, that I do not feel embarrassed.”

His comments have caused controversy on social media.

Journalist and author Mona Chollet said: “Yann Moix is a sad man, confirmation in Marie-Claire.”

Source: French director controversy over ‘women aged 50’ quip