In the train on the way to the Festival in Vesoul, filmmakers Amos Gitai and Elia Suleiman talk about the subjects that preoccupy them: war and peace in the Middle East, their film projects, their cities, their private lives… In Vesoul, the French welcome is rather comical and the questions of war and peace in the Middle East create misunderstandings: through a kind of inverted exoticism, we end up wondering who is really the “stranger” in this story.
Tag: FRANCE
A diocesan priest endures isolation and chastisement by the prince of darkness even as his mystical experiences bring him closer to God. Seeing the world shrouded in darkness he agonizes to understand the incompleteness of his visions and why the fallen world has been abandoned by God, even as he struggles fruitlessly to help others overcome the allure of evil.
In southern France, in a quaint little town, the mayor, who also owns a castle with some cattle, is in the wine cellar with some other people–the pharmacist, the veterinary, and some of his employees. As they are drinking wine, they hear a terrible noise and the heat’s getting higher and higher. They don’t realize what’s happening: when they come out of the cellar, they realize that everything has burned, and all the buildings are destroyed.
In German-occupied Poland in 1943, a writer and a mysterious new acquaintance travel to a country estate, hoping to escape the hardships of wartime Warsaw. Amid the seemingly peaceful surroundings, the two men become absorbed in a disturbing game of manipulation, attempting to bring two young people together while the violence and moral uncertainties of the war linger just beyond their secluded refuge.
Fictionalized portrait of one of history’s great literary couples: Stein & Toklas. Summer 1930s France, Alice tends to ailing Gertrude; they visit Fernande Olivier, Guillaume Apollinaire, others; and Hemingway pops in.
Eleven directors from 11 countries each contribute an 11-minute short reflecting on the events of 11 September 2001: A village teacher in Iran tries to explain to her young students what’s happened; city kids in Burkina Faso think they’ve spotted Osama bin Laden; a deaf Frenchwoman in Manhattan writes a Dear John letter to a man who left that morning for work at the World Trade Center; a Chilean remembers Allende; events recall other deaths; a mother endures more than her son’s death. The tones vary, as do the locales. Most stories are about others coming to terms with the events of the day, but at least one confronts the viewer with tragedy and death.
Actually the comedy of unemployment, which is defined as possibly the worst, or maybe the best, thing that ever happened to this film’s group of protagonists: a middle-aged loan officer, his successful wife, a champion of professional joblessness (and mountain-climbing enthusiast), and the employment agency professional who falls passionately in love with him. This film’s honest work involves potatoes, ditch-diggers, a wheelbarrow, doomed love, jam in bed, and gunfire involving dueling employment agencies.