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CINÉMA DU RÉEL 2021

El Cinéma du réel se convierte en CanalRéel

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- La 43a edición del festival internacional de documentales se pasa a internet del 12 al 21 de marzo con un nutrido programa que incluye una competición internacional de 21 títulos

El Cinéma du réel se convierte en CanalRéel
Les Prières de Delphine, de Rosine Mbakam

Este artículo está disponible en inglés.

Having been forced to improvise and adapt last year on account of the eruption of the health crisis, the Parisian team behind the Cinéma du Réel International Documentary Film Festival, steered by Catherine Bizern, has planned meticulously for this year’s 43rd edition, which has been renamed CanalRéel and will be accessible live, online, from 12 to 21 March via the festival’s website (3 Euros per person for films, with capacity for 400 people per seance). The event is due to be pre-opened by an invitations-only Special Screening of the film which triumphed within the Berlinale’s Encounters competition: We [+lee también:
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entrevista: Alice Diop
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by Alice Diop (which will also be available to the public during the festival’s pre-closure).

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Stealing focus on the international competition agenda are 21 films, 11 of which are feature-length. Shining bright among the three world premières in the showcase is the Belgian-Cameroonian production Delphine’s Prayers by Rosine Mbakam, while FREIZEIT or: the opposite of doing nothing [+lee también:
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by Germany’s Caroline Pitzen and Feast [+lee también:
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entrevista: Tim Leyendekker
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by Dutch director Tim Leyendekker (unveiled in Rotterdam’s Tiger competition) stand out in terms of the four international premieres. Also worth a mention are Landscapes of Resistance [+lee también:
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entrevista: Marta Popivoda
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by Serbia’s Marta Popivoda (unveiled in competition in Rotterdam), Taming the Garden [+lee también:
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entrevista: Salomé Jashi
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by Georgia’s Salomé Jashi (in competition at Sundance and subsequently screened in the Berlinale Forum) and The Filmmaker’s House [+lee también:
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by British director Marc Isaacs (discovered in Sheffield). The other feature films competing in this category consist of three American works (bearing the names of Fern Silva, Ephraim Asili and Shengze Zhu), one Japanese title (directed by Yoichiro Okutani) and one coming courtesy of the Singaporean duo Liao Jiekai - Sudhee Liao.

20 titles, all screening in world premieres, form the basis of the French competition section, which will notably present nine feature films: Garage, Engines and Men [+lee también:
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by Claire Simon, Longing for an Island [+lee también:
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by Laetitia Farkas, Before the Sky Came to Light by Denis Gheerbrant, Foedora by Judith Abensour, Four White Nights by the duo Nicolas Klotz - Elisabeth Perceval, Venice Beach, CA by Marion Naccache, Living with Imperfection by Antoine Polin, Dear Hacker by Alice Lenay and The Inventory Will Be Drawn up at 11 a.m. in the Presence of the Poet’s Wife by Martin Verdet.

Set for a Special Screenings showcase, we find Golda Maria [+lee también:
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by Hugo and Patrick Sobelman (well-received at last year’s Berlinale), The New Gospel [+lee también:
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entrevista: Milo Rau
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by Switzerland’s Milo Rau (unveiled during Venice’s Giornate degli Autori) and the French-Moroccan co-production Ziyara by Simone Bitton (selected for the IDFA). And that’s without forgetting the 13 films jostling in the A First Window selection, the full retrospective of Pierre Créton’s works, the various Filmmakers in Their Garden sessions (dedicated to Joaquim Pinto, Jonas Mekas, Hilal Baydarov, Margaret Tait, Robert Huot, Rose Lowder and Sophie Roger) and the traditional Popular Front(s) line-up, which, this year, revolves around our role as citizens.

Meanwhile, from 16 to 19 March, the professional ParisDOC sidebar will host several online round tables (notably on the topic of new actors and funding, not to mention online distribution), but it will first and foremost shine a light on the 8th edition of the work-in-progress event and its nine selected feature films. Among them, we can mention Brazza by French director Antoine Boutet, Uprising by his compatriot Laurie Lassalle, Of Dogs and Dogs (working title) by Belgium’s Laurent Van Lancker and A Thousand Fires by Saeed Taji Farouky (produced by France, Switzerland, the Netherlands and Palestine), but also three titles presented by three European festivals invited to the event by Cinéma du Réel: The Moment of Transition by Italy’s Chiara Marotta (chosen by the Turin Film Festival and the Piemonte Doc Film Fund), Kapr Code by the Czech Republic’s Lucie Králová (selected by the Ji.hlava International Documentary Film Festival and the Czech Film Fund) and Water Has No Borders by Georgia’s Maradia Tsaava (in collaboration with CinéDOC-Tbilisi and the Georgian National Film Center).

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(Traducción del francés)

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