the essential
For this 12th edition of the Rencontres du film d’Art (RFA) at the Le Régent cinema, three evenings are dedicated to guests.
How is the theme of each evening chosen? “As in all programming, the theme is not a criterion of choice, we just pay attention to balance them, that we have enough variety between painting, dance or music,” replies the director of the Regent Thomas Miquel.
“It’s when we see the film that we say to ourselves, this one can lead us to ask questions, it is made for this unique moment of exchanges with the protagonists. The discussion around the film is broadening and we must specify that we are always there to facilitate it at the end of the session, people have the opportunity to ask questions, not the obligation, they can simply attend the exchange.
This Thursday evening, the exchange took place between the photographer director François Catonné, guest of Pascale Raynaud, the director of the International Days of Film on Art (Jifa) at the Louvre in Paris, and the spectators of the RFA in room One of the Regent. Beyond the three films screened in the evening, François Catonné presents three others in the program – all relating to painting.
Laura Tuillier this evening
This Friday evening, the director Laura Tuillier and the film and theater actor Stanislas Merhar are coming to meet the Comminge public around the documentary “Le coeur elsewhere”.
-This film is Laura Tuillier’s first feature film after several short films. The director filmed the actor as he worked to learn a role. She also followed him to his family home in Saint-Béat, plunged her camera into his chests of souvenir photos. She explains why she chose to film this actor, César for Most Promising Actor from his first role and who favored films by authors and great filmmakers.
Irene Borrego tomorrow
Tomorrow Saturday, director Irène Borrego tells both a cinema story and a family story. Who is this aunt Isabel Santaló, a painter in a bourgeois Spanish environment in the 1960s, at a time when being an artist was synonymous with being a prostitute? The rejection of his family made him reject his vocation and Irene, his niece, tries to understand by going to meet this elderly person.
Didn’t Irene herself hear herself say, during her cinema studies, “be careful, you’re going to end up like your aunt”…
Beyond this particular and close case that she seeks to discover, it is the place of the artist in this society and more broadly in societies that she invites us to reflect through a very interesting dialogue with Isabel Santalo.
