Claire Simon’s The Competition (Le Concours) begins, significantly, with the image of a locked gate—that of the Fondation Européenne pour les Métiers de l’Image et du Son, or, as it’s more popularly known, La Fémis. One of the most prestigious film schools in the world, offering hands-on training from working professionals, every year La Fémis attracts hundreds upon hundreds of applicants hoping to fill only forty annual slots. This new film by Simon, one of France’s premiere nonfiction filmmakers, offers a unique look into the process whereby those lucky forty are selected—a process involving examiners from the French film industry which is highly personal and idiosyncratic and subject to the vagaries of taste and personal prejudice.

Simon’s film, as that opening image belies, is concerned with documenting the actual workings of cultural gatekeeping—for the filmmaking apparatus is unwieldy and expensive, and the privilege of access to its operations isn’t easily earned. In a series of illuminating vignettes, The Competition allows us to witness every stage of the process whereby which young men and women are evaluated for their fitness as suitable raw materials to be shaped La Fémis, from written examinations to in-person interviews. Observing the observers, in every scene Simon subtly draws out the dynamics pertaining to gender, class, and race at work in the room, a reality of human variability at odds with the French Republican ideal of a neutral égalité.

Funny, penetrating, and surprisingly suspenseful, the timely The Competition is not only a unique opportunity to see the inner workings of an institution at the very heart of the French film industry, but an invitation to look at the assumptions and roadblocks that shape any national film industry, and higher education in general. A masterful work of nonfiction that urges us to consider the system that nurtures or pushes aside would-be filmmakers, and encourages us to think about why we see the films that w

Le Concours AKA The Graduation [Claire Simon 2016] 576p.mkv

General
Container:  	Matroska
Runtime: 	2 h 0 min
Size: 	1.78 GiB
Video
Codec: 	x264
Resolution: 	1024x576 
Aspect ratio:  	16:9
Frame rate: 	25.000 fps
Bit rate: 	1 950 kb/s
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Audio
#1:  	French 2.0ch AC-3 @ 160 kb/s

https://nitro.download/view/52409624740C568/Le_Concours_AKA_The_Graduation__Claire_Simon_2016__576p.mkv

Language(s):French
Subtitles:English hard subs

The post Claire Simon – Le concours AKA The Competition (2016) first appeared on Cinema of the World.

Quote:
Jean-Luc Godard is cinema, its quintessence. Just turned 91, he has made more than 140 films. We hate him as much as we worship him. Where does his aura come from? From legendary films of course, but also from Godard himself. He is a public figure as much as a man shrouded in mystery. Everything and its opposite, he has taken all possible paths. It is not easy to seize such a legendary, enigmatic giant. Godard’s itinerary follows one direction only: a constant renewal of his art. He sees the creative act as a necessary act of criticism and deconstruction.” I always start from the negative. I am a positive man who starts from the negative”. The artist reinvents himself tirelessly, and inevitably destroys himself. This portrait wants to take us beyond the clichés of a myth that has sometimes become caricatural, to meet a man more sentimental than it seems, a man inhabited, sometimes surpassed, by his art. Because yes, Godard is human. Not just a machine who thinks and creates images.

Godard.Cinema.2022.1080p.WEB-DL.AAC.2.0.H.264-KUCHU.mkv

General
Container: Matroska
Runtime: 1 h 40 min
Size: 4.49 GiB
Video
Codec: h264
Resolution: 1920x1080 
Aspect ratio: 16:9
Frame rate: 25.000 fps
Bit rate: 6 068 kb/s
BPP: 0.117
Audio
#1: French 2.0ch AAC LC @ 317 kb/s

https://nitro.download/view/99523B9A4F6BA09/Godard.Cinema.2022.1080p.WEB-DL.AAC.2.0.H.264-KUCHU.mkv

https://fikper.com/Vz1MdLHlPs/Godard.Cinema.2022.1080p.WEB-DL.AAC.2.0.H.264-KUCHU.mkv

Language(s):French
Subtitles:English

The post Cyril Leuthy – Godard seul le cinéma AKA Godard Cinema (2022) first appeared on Cinema of the World.

Quote:
At the invitation of Limosin and Bergala, Kiyoshi Kurosawa rediscovers his own films, first during the shooting of his French film in Paris and then in Tokyo. From his first militant films in Super 8 to his undisputed masterpieces, the Japanese director confides his obsessions, his repulsions, his delightfully heterogeneous tastes as a cinephile, his pleasures and fears as a filmmaker.

5.13GB | 1h 14m | 1920×1080 | mkv

https://nitro.download/view/C25985D1C08079E/Kurosawa,_au_dos_des_images_(2018).mkv
https://nitro.download/view/9A406F307563104/Kurosawa,_au_dos_des_images_(2018)_v2.srt

Language(s):Japanese
Subtitles:English,French(muxed)

The post Alain Bergala & Jean-Pierre Limosin – Kurosawa, au dos des images (2018) first appeared on Cinema of the World.