{"id":37070,"date":"2017-05-27T18:47:36","date_gmt":"2017-05-27T23:47:36","guid":{"rendered":"http:\/\/www.davidbordwell.net\/blog\/?p=37070"},"modified":"2017-05-28T14:04:57","modified_gmt":"2017-05-28T19:04:57","slug":"three-women-of-cannes-a-guest-entry-by-kelley-conway","status":"publish","type":"post","link":"https:\/\/www.davidbordwell.net\/blog\/2017\/05\/27\/three-women-of-cannes-a-guest-entry-by-kelley-conway\/","title":{"rendered":"Three women of Cannes: A guest entry by Kelley Conway"},"content":{"rendered":"

\"Varda<\/a><\/p>\n

Visages Villages<\/strong> (2017).<\/em><\/p>\n

DB here: <\/em><\/p>\n

Kelley Conway,<\/strong> friend and colleague here at Madison, has just made her first trip to the Cannes festival. All her adventures won’t fit on one entry, so\u00a0she focuses this report on encounters with three outstanding women in French film culture:\u00a0Agn\u00e8s Varda, Laetitia Dosch, and Nathalie Coste-Cerdan. Kelley is the author of several books and articles on French film. Her recent book is on\u00a0Varda<\/a>, which we reviewed here<\/a>. She wrote for us earlier this year on La La Land<\/a>, <\/strong>and last year on French films at Vancouver<\/a>.<\/em><\/p>\n

 <\/p>\n

Sneakers or heels?<\/strong><\/p>\n

\"Claire's<\/a><\/p>\n

On the red carpet,\u00a0Claire’s Camera<\/a><\/strong> creatives: Claire Denis, Hong Sangsoo, Isabelle Huppert, Kim Minheet,\u00a0and Jeong Jinyoung.<\/em><\/p>\n

The red carpet, replaced every day, is the epicenter. Standing on the edge, you\u2019re mesmerized by the ritualized movement of humans across it. First, ordinary invitation-holders cross the carpet and move up the stairs and into the Grand Th\u00e9\u00e2tre Lumi\u00e8re.<\/p>\n

Once the mortals have taken their seats, the actors, directors, and L\u2019Or\u00e9al models arrive. Women dressed in evening gowns pause and pose for the photographers while fans watch hungrily from beyond barriers and heavy security.<\/p>\n

There are different styles of traversing the carpet. Dior-clad Rihanna took her time, striking vampy poses worthy of Theda Bara and apparently savoring every minute of the experience. No-nonsense legend Claire Denis moved briskly toward the stairs wearing a simple black pantsuit. Agn\u00e8s Varda and JR, the photographer\/muralist and co-director of Visages Villages<\/em>, clowned it up.<\/p>\n

\"Varda<\/a><\/p>\n

Sometimes, in a gesture that is oddly moving, the director and actors who worked together on a film link arms, pose collectively, and stride the red carpet as one.<\/p>\n

\"Varda<\/a>The videographers track the stars right into the theater. Once you get in and find a seat, you can follow other celebrities\u2019 carpet progress thanks to a live feed. We watch them sit down and then we stand up, treating them to a standing ovation before and after the projection.<\/p>\n

The whole thing seemed a little overwrought and absurd until I saw tears in eyes of Hong Sang-soo, Agn\u00e8s Varda, and Laetitia Dosch, an actress you will soon adore. Cannes is a huge promotional machine and a herculean feat of event management, but flashes of humanity shine through.<\/p>\n

Even bystanders are subject to a dress code. For afternoon screenings, I was allowed to wear my sneakers. For the evening screenings of the films in competition, heels are de rigueur for women. Men are allowed to retain their sneakers, but I set aside this injustice and contemplate other elements of the Cannes experience.<\/p>\n

The mise-en-sc\u00e8ne of women on the red carpet can make Cannes appear fatally retrograde; one must look to the screen and behind the scenes for evidence of the modern woman. Let\u2019s take a look at three women (and there are many more, of course) who deserve a kind of scrutiny that exceeds the red carpet d\u00e9fil\u00e9: Agn\u00e8s Varda, Laetitia Dosch, and Nathalie Coste-Cerdan. What have these women, a director, an actress, and an educational executive, contributed to Cannes?<\/p>\n

 <\/p>\n

The Director: Through the Eyes of Varda and JR in Visages Villages<\/em><\/strong><\/p>\n

\"Factory<\/p>\n

Visages Villages<\/em>, which just won the Golden Eye Documentary prize at Cannes, is ostensibly a portrait of several small French villages. But it\u2019s mainly a chronicle of a journey, an artistic collaboration, and a friendship between 30-something JR and 80-something Agn\u00e8s Varda. JR is the hugely talented street artist and Instagram sensation, well known for his photographs and installations, notably his transformation of I.M. Pei\u2019s glass pyramid at the Louvre in 2015.<\/p>\n

\"JR<\/a><\/p>\n

\"Jacky<\/a>As with Varda\u2019s Les Glaneurs et la glaneuse<\/em> and Les Plages d\u2019Agn\u00e8s<\/em>, we accompany the filmmaker, this time with her new collaborator in their \u201cphoto truck,\u201d as they travel through France, gleaning ideas and experiences. We meet retired coal miners, cheese makers, factory workers, a mail carrier, a waitress, and the stalwart wives of three dockers in Le Havre, and we watch Varda and JR create and display epic photographs of them. The resulting images render ordinary humans and their remote communities extraordinary.<\/p>\n

As in her past work, Varda urges us to take a good look at people and places we have previously overlooked, exercising her extraordinary gift for making us care about strangers. But the film is not merely an empathetic social document on rural France. Visages Villages<\/em> affirms the allure of art and art-making, or rather the \u201cpower of the imagination,\u201d as Varda describes the focus of their film. We witness the various stages in the duo\u2019s collaboration: planning, considerable horsing around, execution, and discussion of the outcome.<\/p>\n

The film reminds me of Chronique d\u2019un \u00e9t\u00e9<\/em> (1961), which also sought to document the lives of ordinary people while chronicling a collaboration (between Jean Rouch, Edgar Morin and their friends). In Visages Villages<\/em> the result of the collaboration is, typically, the creation of a monumental photograph of a person placed in an unlikely setting: the wall of a decaying building in an isolated village, a container at the port of Le Havre, a barn on a lonely farm. As Varda did with Mona in Vagabond<\/em>, the lonely single mother of Documenteur<\/em>, and the widows of Noirmoutier, Varda and JR imbue their subjects with dignity, while maintaining a respectful distance.<\/p>\n

Visages Villages<\/em> models a way of seeing and a way of being. JR and Varda laboriously plan and execute an installation consisting of a photo Agn\u00e8s made in 1954 of the late photographer Guy Bourdin. JR and his crew construct a scaffold and paste the photo on the side of a massive bunker from W.W.II that had fallen from a cliff onto a Normandy beach.<\/p>\n

\"Bourdin<\/a><\/p>\n

We watch the whole thing come together beautifully via time lapse, only to learn that it was washed away by the tide within 24 hours. Instead of grieving the short life of the work of art, the pair move on, ready for their next adventure, which is how Varda has lived her whole life, fearlessly seeking new projects, curiosity and generosity intact.The human eyes and the spectre of Jean-Luc Godard are important motifs and Varda finds a way to merge them. A visit to Varda\u2019s ophthalmologist, where she receives an injection to treat her macular degeneration, results in JR pasting a close-up of her eye on the cylindrical body of a gas truck.<\/p>\n

\"Eye<\/a><\/p>\n

JR propels Varda through the Louvre in a wheelchair, paying homage to Godard\u2019s Bande \u00e0 part<\/em> and reminding us that looking at art has always been one of Varda\u2019s passions. Near the end of the film, JR consoles Varda in Rolle after her old friend Godard callously stands her up, by finally offering her (but not us!) a glimpse of his eyes liberated from his habitual sunglasses.<\/p>\n

In the hands of anyone else, this portrait of provincial people and an unlikely friendship might have resulted something thin and inconsequential. Instead, it\u2019s a poetic window into the process of creation, an ode to the elevation of the ordinary, and a primer on the way to live.<\/p>\n

 <\/p>\n

The Actress: Jeune femme<\/em> <\/strong>(aka Montparnasse Bienvenue<\/em>, directed by L\u00e9onor S\u00e9rraille with Laetitia Dosch)<\/p>\n

\"Jeune<\/a><\/p>\n

Two moments of stunning direct address bookend this beautifully acted, droll and moving film about a 31-year old woman on the verge of a nervous breakdown. The film opens with a scene of Paula (Laetitia Dosch) pounding furiously, first with her fists and then with her head, on the door of her unresponsive ex. While getting bandaged at a clinic, she rants extravagantly in direct address: \u201cI was everything to him and now I\u2019m nothing.\u201d The final shot of the film reveals Paula staring directly at the camera again, this time calm and resolute, restored to a position of strength and hard-earned wisdom. Jeune femme<\/em> is about a woman who comes to Paris to track down her ex, only to find a better version of herself.<\/p>\n

I spoke with actress Laetitia Dosch about what it was like to create the role of Paula. Dosch worked in French boulevard<\/em> theater and attended the prestigious two-year \u201cClasse Libre\u201d program of the acting school Cours Florent before enrolling at the Swiss National Conservatory, where she received a classical and avant-garde formation. Director L\u00e9onor S\u00e9rraille had recently won a screenwriting grant from the CNC and was looking for an actress to play the role of Paula when she saw footage of Dosch on YouTube. She wrote Dosch a letter and they soon began working together. S\u00e9rraille was busy during the day, but the two women found time to meet nearly every evening for six weeks. They discussed the character, explored Paris together, and saw films.<\/p>\n

\"Dosch<\/a>Dosch\u2019s explosive performance in Jeune Femme<\/em>, which is both highly verbal and often idiosyncratically physical, might lead one to assume that significant improvisation occurred during the shoot, but no. S\u00e9rraille\u2019s script was meticulously written, even \u201c\u00e9crit au millimetre<\/em>,\u201d Dosch said, which she appreciated, because it helped her \u201cfigure out how the character thinks.\u201d The film charts the transformation of a slightly manic, spurned woman into a person who realizes she\u2019s better off without her older, famous, photographer boyfriend, for whom she was a muse.<\/p>\n

Our flawed protagonist leads a precarious existence. Essentially homeless at the beginning of the film, she benefits from the generosity of a lovely woman she meets on the subway by failing to correct the woman\u2019s mistaken impression that Paula is her long-lost childhood friend from Lyon. She confiscates her ex-boyfriend\u2019s cat and eventually abandons it at a vet clinic. But she cobbles together a life, babysitting a depressed little girl whose existence she brightens with cotton candy and aria singing; making repeated attempts to reconnect with her estranged mother; selling lingerie at a mall in Montparnasse, and making new friends, notably a single dad from Senegal with a degree in economics who works as a security guard at the mall. When circumstances force her to make some big decisions, she surprises us. As Dosch described her character, \u201cThis is the story of a muse who stopped being a muse, or rather became her own muse.\u201d<\/p>\n

It\u2019s worth contemplating Jeune femme\u2019s<\/em> conditions of production. The crew was comprised mainly of women, most of whom graduated from France\u2019s prestigious national\u00a0film school, F\u00e9mis. The film was awarded an avance sur recettes<\/em> by the CNC (Centre National du cin\u00e9ma et de l\u2019image anim\u00e9e), which afforded S\u00e9rraille the time to write the screenplay. Institutions such as F\u00e9mis and the CNC are the backbone of France\u2019s celebrated cinema ecosystem. A portion of each film ticket sold goes to the CNC, which in turn, distributes the funds to nourish the entire system of film education, production, and exhibition.<\/p>\n

Here, more than anywhere else in the world, state resources flow in the support of screenwriters, directors, and even exhibitors who make and show films that might not exist or thrive without aid. In 2016, for example, the French art et essai<\/em> (art house) exhibition sector accounted for 22.4% of all film attendance in France and benefited from nearly 15 million euros in aid from the CNC.\u00a0French films retain a relatively high local market share. They attract 35.8% of admissions, while 52.9 % go to American releases.<\/p>\n

 <\/p>\n

The Education Executive: Nathalie Coste-Cerdan<\/strong><\/p>\n

\"Coste-Cerdan<\/a><\/p>\n

F\u00e9mis is an important part of the system. Nathalie Coste-Cerdan, until recently the Director of Canal +, is now the General Director of F\u00e9mis. Created as IDHEC in 1945, F\u00e9mis was restructured and renamed in 1986. The school, which graduates fifty students each year, is funded by the CNC and supervised by the French Ministry of Culture and Media and the Ministry of Higher Education. The current president of the school is Raoul Peck, who directed most recently I am Not Your Negro<\/em>. Prestigious grads include No\u00e9mi Lvovsky, Arnaud Desplechin, Fran\u00e7ois Ozon, C\u00e9line Sciamma, Marina de Van, and Rebecca Zlotowski.<\/p>\n

Because the school is supported by the CNC, French students pay next to nothing (433 euros per year) for this four-year education. Foreigners must pay 10,670 euros per year, but this is still a bargain by American standards. Students must have a B.A. or M.A. before entering one of the six main programs at F\u00e9mis, which are directing, producing, screenwriting, sound, cinematography, and editing.<\/p>\n

The school keeps adding programs. A new two-year program trains people who want to work in distribution and exhibition. Another new program, La R\u00e9sidence, trains recent high school graduates in film production for one year and is aimed at enhancing diversity at the school. Yet another new program, also lasting one year, was created to train students in the writing of television series because \u201cambitious television series are not so common in France,\u201d admitted Coste-Cerdan.<\/p>\n

I attended a panel organized by the CNC at its beachfront headquarters at the Cannes Film Festival to hear about film education in France and elsewhere. Representatives from F\u00e9mis, Cin\u00e9-Fabrique in Lyon, and films schools in Poland and Argentina compared their schools\u2019 structures, fees, curricular goals, and, especially, their efforts to support international exchanges. Coste-Cerdan asserted, \u201cIt\u2019s impossible to be a national film school today without being international.\u201d In line with this trend, F\u00e9mis accords 10% of its spots to foreign students, creates special programs for foreign students, and runs exchange programs with film schools in other countries.<\/p>\n

\"Femis<\/a><\/p>\n

Seeking to \u201cencourage international co-productions, be on the cutting edge of the industry, and open students\u2019 minds to other points of view,\u201d the school sends each and every F\u00e9mis student abroad to study in a partner institution. F\u00e9mis students study screenwriting at Columbia University, documentary film at the Beijing Film Academy in China, or sound design at VGIK in Russia. F\u00e9mis sends students to, and accepts students from, CalArts, Tokyo University of the Arts, INSAS in Bruxelles, the Universidad del Cinea in Buenos Aires, and the Korean Academy of Film Arts in Seoul, among others.<\/p>\n

One F\u00e9mis program, linked with the Filmakademie of Baden-W\u00fcrttemberg, offers a one-year course designed for aspiring producers. The training takes place in France, Germany, and England and includes sessions at the Cannes, Berlin, and Angers film festivals.<\/p>\n

F\u00e9mis also offers yet another innovative tactic, a three-week program for European documentary filmmakers who wish to develop a documentary film based on archival material. Here, aspiring documentary makers get help with re-writing, the preparation of a dossier for financiers, tips for dealing with producers and broadcasters, and pitching skills.<\/p>\n

The results have been encouraging. The \u201cGulf Summer University\u201d at F\u00e9mis has had luck attracting nine students from the Gulf region for its 5-week training program. Recently, a young Chinese woman from the Beijing Film Academy came to Paris and made a \u201cpoetic, philosophical\u201d documentary about the Chinese community in Belleville. Coste-Cerdan characterized the exchange programs as, among other things, an exercise in \u201csoft power,\u201d designed to export the ideals of French film system elsewhere and also to challenge French students by exposing them to other cultures.<\/p>\n

 <\/p>\n

Cannes is a mecca of glamour and an enforcer of hierarchies, of course, but it\u2019s also a place where one can have a serious conversation about now to improve international film education. It\u2019s a place where one can see comedies like Noah Baumbach\u2019s The Meyerowitz Stories (New and Selected<\/em>),<\/em> which is really good, by the way, but also films like Abbas Kiarostami\u2019s gorgeous 24 Frames<\/em> and Karim Moussaoui\u2019s En attendant les hirondelles<\/em>, a superb Algerian film. It\u2019s also a place where one can see director John Cameron Mitchell, whose How to Talk to Girls<\/em> played at Cannes this year to mixed reviews, serve as DJ and perform with a punk band at the \u201cQueer Party.\u201d It\u2019s also a place where a taxi driver raved about the dialogue in the films of Michel Audiard and color design in Pedro Almod\u00f3var.<\/p>\n

I\u2019d like to come back here some day, but I want to wear my sneakers on the red carpet, even at night.<\/p>\n

\n

Thanks to Agn\u00e8s Varda, Laetitia Dosch, Fran\u00e7oise Pams, Pierre-Emmanuel Lecerf, and\u00a0Nathalie Coste-Cerdan for their kind cooperation.<\/p>\n

The 1162 French film theaters categorized as art et essai<\/em> received, on average, 12,820 euros each in 2016. See\u00a0\u201cLa R\u00e9forme de l\u2019art et essai,\u201d Le Courrier art et essai<\/em>, n. 256, May 2017, 12.<\/p>\n

Red carpet photos by Zimbio<\/a>\u00a0and\u00a0Pascal Le Segretain\/Getty Images<\/a>; Coste-Cerdan photo from Times Higher Education Supplement<\/a>.\u00a0Other photos\u00a0by Kelley Conway.<\/p>\n

P.S. 28 May 2017:<\/strong> Jeune Femme<\/em> won the Cam\u00e9ra d’Or prize for best first film.<\/p>\n

\"Sneakers<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Visages Villages (2017). DB here: Kelley Conway, friend and colleague here at Madison, has just made her first trip to the Cannes festival. All her adventures won’t fit on one entry, so\u00a0she focuses this report on encounters with three outstanding women in French film culture:\u00a0Agn\u00e8s Varda, Laetitia Dosch, and Nathalie Coste-Cerdan. Kelley is the author […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[219,9,33],"tags":[],"class_list":["post-37070","post","type-post","status-publish","format-standard","hentry","category-directors-varda","category-festivals","category-national-cinemas-france"],"_links":{"self":[{"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/posts\/37070","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/comments?post=37070"}],"version-history":[{"count":10,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/posts\/37070\/revisions"}],"predecessor-version":[{"id":37095,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/posts\/37070\/revisions\/37095"}],"wp:attachment":[{"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/media?parent=37070"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/categories?post=37070"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.davidbordwell.net\/blog\/wp-json\/wp\/v2\/tags?post=37070"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}