Euzhan Palcy
Rétrospective
Euzhan Palcy dirigeant des enfants sur le plateau d'Une saison blanche et seche, 1989 © DR ©
Rue Cases-Nègres © Rene Marran – JMJ International Pictures ©
Euzhan Palcy directing Darling Légitimus © JMJ International Pictures ©
This event is organized by the Cinemas from the Ddepartment culture and creation of the Centre Pompidou in association with the Festival d'Automne à Paris
Since the release of her first feature film, Rue Cases-Nègres, in 1983, Euzhan Palcy has continued to produce work characterized by its strong social and political engagement. It comprises more than ten films to date, alternating between fiction for the cinema and documentaries. Already highly reputed on the other side of the Atlantic, the filmmaker accompanies, for the first time in France, a retrospective of her films in the presence of numerous guests.
As a child growing up in Martinique in the 1960s, and with a shared passion, from an early age, for American cinema as well as that of François Truffaut, Euzhan Palcy has been unceasing, since her first film Rue Cases-Nègres, in her endeavours to bring to the screen the multitude of stories from Black communities in France and the United States. A graduate of the École Louis Lumière, and the first female director to be awarded a César, she also took on the status of a pioneer figure by directing, in 1989, her second feature film in Hollywood, A Dry White Season, based on the novel by André Brink, and starring Marlon Brando. "I do not film with my camera. I fix things... I attempt, in my modest way, to heal the gaping wounds of history," she explained in 2019, while guest of honor at the Créteil Women's Film Festival. At the Centre Pompidou, the filmmaker presents a lifetime of work, broadened by the incursion into the documentary format with, in particular, the triptych Aimé Césaire, une voix pour l'histoire (1994), and Parcours de dissidents (2005). In 2022, she received an honorary Oscar for her career.
Film screenings
- Wednesday 8 November 8pm I Opening night with a screening of Rue Cases-Nègres (1983, 103 minutes), in the presence of Euzhan Palcy more information
- Thursday 9 Novembre 8pm I Screening of A Dry White Season (1989, 106 minutes), in the presence of Euzhan Palcy and journalist and politician Audrey Pulvar more information
- Saturday 11th Novembre 4pm I Screening of Ruby Bridges (1998, 96 minutes), preceded by How Are the Kids? / Hassane (1990, 11 minutes), in the presence of Euzhan Palcy and filmmaker Maïmouna Doucouré more information
- Sunday 12th November 5pm I Masterclass by Euzhan Palcy - free admission subject to availability
- Sunday 12th November 8pm I Screening of Siméon (1992, 115 minutes), in the presence of Euzhan Palcy and the singer Meryl more information
- Monday 13 November 8pm I Screening of Parcours de dissidents (2005, 88 minutes), preceded by L'Ami fondamental, Aimé Césaire/Léopold Sédar Senghor (2008, 18 minutes), with Euzhan Palcy and journalist Harry Roselmack more information
- Wednesday 15 November 8pm I Screening of Aimé Césaire, une voix pour l'Histoire (1994, 3x52 minutes), presented by Rokhaya Diallo, as part of the 110th anniversary of the birth of Aimé Césaire more information
- Thursday 16 November 7pm I Screening of Les Mariés de l'Isle Bourbon (2007, 180 minutes) more information
- Friday 17 November 8pm I Screening of Siméon (1992, 115 minutes), in the presence of Euzhan Palcy more information
- Saturday 18 November 4pm I Screening of Aimé Césaire, une voix pour l'Histoire (1994, 3x52 minutes) more information
- Saturday 18 November 8pm I Screening of Rue Cases-Nègres (1983, 103 minutes), presented by Emmanuel Burdeau more information
- Sunday 19 November 3pm I Screening of Ruby Bridges (1998, 96 minutes), preceded by How Are the Kids? / Hassane (1990, 11 minutes) more information
- Sunday 19 Novembre 6pm I Screening of A Dry White Season (1989, 106 minutes) more information
In the same place
Mathilde Monnier Territoires
In Territoires, Mathilde Monnier will be taking over the galleries of the Centre Pompidou during the course of a weekend in order to bring us a piece that deals with memory and circulation, "a collection of gestures from her work over the past thirty years". In doing so, the choreographer sets up the possibility of playing out memory in the present, from now onwards, or by means of anticipation.
Apichatpong Weerasethakul Night Particles
The Thai filmmaker Apichatpong Weerasethakul is guest at the Festival d'Automne and Centre Pompidou. His exhibition, featuring around ten video installations, transforms the former solarium into a nocturnal space inhabited by biographical and architectural reminiscences.
Apichatpong Weerasethakul Rétrospective
Apichatpong Weerasethakul presents the complete retrospective of his films at the Centre Pompidou. It consists of his eight feature films, thirty or so short (and rare) films, various collective works, and two feature films produced by him.
Apichatpong Weerasethakul A Conversation with the Sun (VR)
A Conversation with the Sun (VR), the Thai filmmaker's second foray into the realm of performance, uses virtual reality to set up the conditions for a collective dream.
Ligia Lewis Still Not Still
In Still Not Still, choreographer Ligia Lewis pursues her exploration into the silences and shadows of history. In this piece, the performers play out a score over and over again, the burlesque dimension of which makes it all the more tragic.
Forced Entertainment Signal to Noise
Over its forty years of existence, with Tim Etchells at the helm, the company has never stopped reinventing itself. And it continues to do so. Amidst an oscillating form of virtual reality, six performers find themselves deprived of their voices and their entire beings. The whole thing goes beyond all understanding... Welcome to this new world.
Sébastien Kheroufi Par les villages
Sébastien Kheroufi discovered Peter Handke's Par les villages at the onset of his artistic career. It evokes a writer's return to his native village. Amidst the twilight setting in which one universe declines in favour of another, the voices of the “offended and humiliated” break their silence.