Segunda-feira, 11 de Agosto de 2008


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In 1980, François-Jacques Ossang and Jack Belsen formed the rock group M.K.B. Fraction Provisoire (Messagero Killer Boy), which has released nine albums including the original soundtracks of his films. He has also published some ten books, includ-ing the novels ³Génération néant² (1993) and ³Au bord de l¹aurore² (1994). ³No Place For Me² is his third feature film, after ³L¹affaire des divisions Morituri² and ³Le Trésor des îles chiennes².

Sky's Black Out!(2008), from F.J. Ossang
Everything Gets Tossed, my Friend(2006), from Yvonne Kerouedan
July Trip(2006), from Wael Noureddine
Silêncio(2006), from F.J. Ossang
Ça sera beau (From Beyrouth, with Love)(2005), from Wael Noureddine
No Place for Me(1998), from F.J. Ossang
Trésor des îles Chiennes (Le)(1991), from F.J. Ossang
Affaire des divisions Morituri (L')(1985), from F.J. Ossang
Je meurs de soif, j'étouffe, je ne puis crier...(1979), from Gérard Courant

OSS/100 Films & Documents
2 bis, rue Dupont de l'Eure
75020 Paris
Phone number : +33
Fax number : +33
Email address :
publicado por Aufgang Luz Nebulosa às 14:11
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Rue Madame

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publicado por Aufgang Luz Nebulosa às 04:22
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Pedro Hestnes
publicado por Aufgang Luz Nebulosa às 04:17
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Domingo, 10 de Agosto de 2008


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Destaque Especial para projecto “Diagnóstico” da Jump Cut, entrevista a produtora Ana Jordão.

Quatro curtas-metragens de quatro realizadores, com uma mesma premissa - doença.

Segunda-feira, um filme de Miguel Gonçalves Mendes.
Candidíase um filme de Cláudia Rita Oliveira
Síndrome de Stendhal, um filme de Patrick dos Santos Mendes
Eu, luto, um filme de Pedro Filipe Marques

Pedro Virtuoso fala da história dos Dead Combo e da sua sonoridade cinematográfica que os caracteriza.

Putos a Roubar Maças do realizador Alexandre Azinheira é o mais recente vídeo dos Dead Combo.

Actualmente podemos ver os Dead Combo como actores e músicos na nova longa metragem do realizador Edgar Pêra "Rio Turvo”.
Publicada por Fotograma
publicado por Aufgang Luz Nebulosa às 11:34
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Georgia & Russia

By Jeffrey Stinson, USA TODAY
LONDON — Fighting broke out Friday between Russia and a strong U.S. ally in the region, the Democratic Republic of Georgia. The violence could significantly destabilize Russia's ties with the West — and even influence the actions of U.S. troops in Iraq. USA TODAY's London correspondent, Jeffrey Stinson, answers some questions about the conflict.

Q. What are Georgia and Russia fighting over?

A: Georgia launched a military strike on the province of South Ossetia, aiming to reclaim it after 16 years of semi-independence. In response, Russia sent tanks in. Moscow says Georgian forces had killed Russian peacekeepers there and were committing acts of "ethnic cleansing" of native Russians living there.

Q: Why does Moscow care what Georgia does in its own provinces?

A: Georgia, which borders Russia, is a former Soviet republic. It declared its independence in 1991 after the collapse of communism. Many of the 70,000 people in South Ossetia speak Russian and carry Russian passports. Relations between the two have been tense, as Moscow tries to reassert influence over nations that border it. Georgia has aligned itself with the West and wants to join NATO — a desire the Bush administration supports.
FIND MORE STORIES IN: United States | George W Bush | White House | Europe | Afghanistan | Olympics | Britain | Pentagon | Beijing | Moscow | Iraq | Russians | Soviet | Cooperation | South Ossetia | Organization for Security | Georgians | Orthodox Christian | Russian Prime Minister Vladimir Putin | Ossetians

Q: Why is this happening now?

A: Georgia insists it had no choice but to act after what it says are increasing attacks from separatists. Georgia President Mikhail Saakashvili claims Moscow took advantage of situation to "invade" his country while the world's attention was focused on the Olympics in Beijing.

Q: How bad could hostilities get?

A: It depends on how large a response Russia wants to muster. Russia has an active and equipped armed force of 1.02 million, according to the International Institute for Strategic Studies of London. The institute numbers Georgia's active servicemen and women at 21,150.

Q: How have the United States and the rest of the world reacted?

A: The United States, NATO and the Organization for Security and Cooperation in Europe have called for a halt in hostilities and for Georgia, Russia and South Ossetia to sit down and talk. The U.S. State Department says it supports Georgia's territorial integrity, while calling for an immediate cease-fire. The White House says President Bush and Russian Prime Minister Vladimir Putin have talked about the situation while both are attending the Olympics.

Q: Is there a chance that the United States and the West could be drawn into a confrontation with Russia over this?

A: Georgia is not a member of NATO, so there are no obligations to come to its defense. Georgia so far has asked for diplomatic, not military, assistance from the West. The Pentagon says it has only 125 defense personnel and contractors in Georgia that provide military training for Georgian forces deployed in Iraq.

Q: Could hostilities here affect U.S. military efforts in Iraq and Afghanistan?

A: Georgia's president said Friday he is bringing home the 2,000 troops it had stationed in Iraq. That is a significant blow to coalition forces because Georgia was the third-largest contributor of troops behind Britain and the U.S. Apart from that, direct U.S. military involvement seems unlikely. Although Georgia may look close to Iraq and Afghanistan, it has little in common. Like Russians, Georgians and Ossetians are largely Orthodox Christian.
publicado por Aufgang Luz Nebulosa às 06:21
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Sábado, 9 de Agosto de 2008

Time Travel

"We do not move in one direction, rather do we wander back and forth, turning now this way and now that. We go back on our own tracks . . .' That thought of Montaigne's reminds me about something I thought of in connection with flying saucers, humanoids, and the remains of unbelievably advanced technology found in some ancient ruins. They write about aliens, but I think that in these phenomena we are in fact confronting ourselves; that is our future, our descendants who are actually traveling in time."

Andrei Tarkovsky
publicado por Aufgang Luz Nebulosa às 04:25
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Description of a Struggle Screening @ SFJFF

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Description of a Struggle Screening @ SFJFF

by blindlibrarian

description of a struggle within description of a memoryOn August 9, 2008 at 11:30am at the Roda Theatre in Berkeley, Chris Marker’s 1960 essay film / documentary about Israel, Description of a Struggle, will be screened as part of the San Francisco Jewish Film Festival. It is being shown in conjunction with an homage documentary entitled Description of a Memory directed by Dan Geva. Quoted descriptions for both from the SFJFF website are below.
Description of a Struggle

A young boy joyfully rides a pushcart down the hilly streets of Haifa, a humped camel crosses a street, and an innocent girl paints an unseen picture in what may best represent the emergence of a new country and its unknown future. These are the arresting images captured by internationally acclaimed filmmaker Chris Marker (La Jetée, Sans Soleil) in his 1961 travels to Israel. Winner of the Golden Bear at the 1961 Berlin Film Festival, Marker’s remarkable documentary thoroughly examined, critiqued and predicted the newly created state’s past, present and future. Striking in the beauty of its images, ranging from the vastness of the desert landscape and the tranquility of the sea to the hubris of Tel Aviv, Description of a Struggle allows a rare and memorable glance at an Israel in the making.
Description of a Memory

Camel CrossingNearly 50 years after Chris Marker’s landmark 1961 documentary about Israel, Description of a Struggle, Dan Geva’s film engages with and pays tribute to its progenitor. Clearly Marker’s film left a lasting impression on the Israeli-born Geva, who uses images from the original film as a springboard to uncovering the many changes that have taken place in the physical and political landscapes of Israel and in its inhabitants. Attempting to answer questions originally raised by Marker, Geva tracks down some of the people featured in Marker’s film (what did happen to that young girl at the easel?), with surprising and emotionally complex results. Description of a Memory is an intimate portrait of the nature of change in a multifaceted land where history and memories intertwine to create an odyssey both personal and universal.
Be sure to check out the trailer, which shows the author studying Marker’s earlier film on a screen within the screen.

I have no memory of the first time I saw your film. To recall the beginning, I’ll have to rewind to the moment before it all began.

Combat Intérieur

Commentaires 1Marker’s commentary opens by posing, insightfullly, prophetically, the problematic of an ultimate (and unfilmable?) struggle (”…perhaps the only decisive one”): le combat intérieur:

Nation élue, nation errante, nation matyre, nation ressuscitée, Israël a connu le combat sous toutes ses formes.

Il en découvre aujourd’hui une nouvelle — le combat qu’un jeune État plein de forces doit mener contre lui-même pour rester fidèle, dans la victoire, à ce qui fut sa gloire dans l’oppression.

Sous les images de la vie quotidienne en Israël, se livre à chaque instant ce combat intérieur, moins apparent que celui des armes, et peut-être le seul décisif.

Chris Marker, Commentaires 1. Paris: Éditions du seuil, 1961, 116.
Rough Translation

Chosen nation, wandering nation, martyred nation, revived nation, Israel has know struggle in all its forms.

It is discovering a new one today - the struggle that a powerful young state must engage in with itself in order to remain faithful, in victory, to that which was its glory in oppression.

Beneath the images of daily life in Israel, this interior struggle – less apparent than that of armaments, and perhaps the only decisive one – reveals itself in each moment.
publicado por Aufgang Luz Nebulosa às 04:20
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European Filmmaker

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by Y-E-F @ 2008-07-28 - 11:57:52

fj ossang

As I said F.J. Ossang received Underground Spirit Award at 15th European Film Festival Palic 2008.
Here's interview he gave:

The many-sided personality of F.J. Ossang simply captivates with its greatness and distinctiveness. The smile, faith in people, feeling that the underground spirit will never cease to exist and relaxed view of the world are some of the issues Ossang brought up during our short but very enjoyable conversation.

You are the winner of the Underground Spirit Award which is given for the first time this year for an outstanding achievement and, it may be said, persistence in the independent production. What does this award mean to you?

Of course, I was very happy when Petar Mitrić invited me, and after a couple of phone calls, we arranged my visit. This award is particularly dear to me because it comes from such a specific programme, the Young European Filmmakers, which cherishes the role of an individual in the universal fight for freedom.

What would be your message to young filmmakers that you have mentioned? How to remain persistent in the independent production?

It is important to explore, feel and learn about the world and people. Travelling, exchange of experience and discovering new and unknown spheres are very important aspects of modern understanding the world and people living in it.

You are a very important author in the independent production and it seems that music is an important segment of your films. What kind of music do you search for and what music leads you through making a film?

-- I’ve been a punker ever since ’77. Bands like The Clash, Sex Pistols or Richard Hell & The Voidoids from New Your have always been huge inspiration. However, it’s not only music that matters. Literature, philosophy and poetry have also greatly influenced creating my approach to the film art. Anyway, important influences are always those that broaden your perspective. Rock’n’roll is, of course, important as the very essence of the 20th century. I think the 20th century was a century of punk. I don’t mean only punk from the late 70s, but the entire French avant-garde from the beginning of the century.

You worked with late Joe Strummer from The Clash. He also played in your film Doctor Chance. What’s your experience like regarding that cooperation?

-- At the end of the 70s I was a friend of Vince Clark who wrote Brand New Cadillac, a song which was later released on The Clash’s album London Calling and which so convincingly depicts the connection of the 50s with the punk, the way the literature of William Burroughs, the father of punk, or Jack Kerouac and the Beat Generation illustrate its connection with the 60s. Vince died in the early 90s, but while he was still alive, he suggested that I should work with Joe. When I called Joe and explained what it was all about, he immediately asked me for the script, came to Paris in three days and then the nights were ours. It was a very pleasant and inspiring experience with this man who was born in Ankara, lived in Mexico, Cairo, Spain and all around the world, and who, having come to Britain in the late 60s, said “What a bigoted country!”, hahahaha!

The 20th century and its modernist spirit greatly mark your films. How do you get along in this postmodernist era?

-- I don’t think this is a postmodern era. Actually, every century begins with a couple of years’ delay, so, in my opinion, this century is just beginning and we can’t say yet what it’s going to be like. I also think that postmodernism is an ancient thing, outdated in a way. I’m a modernist, haha, a new modernist. I love modernism! Rimbaud said: “We have to be modern.” That’s why I like the 20s, the Dadaists, Futurists, Surrealists... Their uncompromising tone is music to my ears. So, I think this century is just beginning and we have to open our eyes. Right now. The Olympics in China. Everything is starting now.

Yesterday I watched the films Petar Mitrić selected for the Young European Filmmakers, eight or nine animated films by different authors from different countries, from France to Croatia. Similar ideas seem to connect all the films – small man alienation, everyday work slavery, corporations ruling the world. What do you think, are the middle class and old bourgeoisie dying out and is the world being left to a handful of super rich people, while the rest of the despised are going to move to some kind of the underground as a new conscience of the world?

-- I think everything is underground. New centuries are very innovative in their early years. Look at the 20th century. Symbolism of the art movements from the early 20th century is huge. Therefore, I repeat, open your eyes, stand up and deliver! Hahahahah! There is also that link with the representatives of the Beat Generation who didn’t like hippies. Remember Burroughs’ words: “You can’t win a war fighting with flowers.” I want to say that that everything is connected and overlapping - modernists, futurists, beats, punkers, they are all fighters for freedom.

You have travelled a lot and you had the opportunity to meet different people and cultures. Do you think that people have the power to make life better and more tolerable?

-- I was born in a small place in the French mountains. As a young man I was very interested in international literature which clashed strongly with my way of life. I think travelling is very inspiring. When the situation is chaotic, international friendships become more alive. The idea of internationalism was also very close to me. I like to make films because they are so different from poetry. They speak different languages. Poetry is an intimate thing limited to one’s native language, whereas films communicate in a universal language. I like to be a stranger while I’m making a film. The world is huge in its diversity. I think it’s stupid to say that the world is small. Actually, in a way, the world is the same. Instead of coming here two days ago, I might have landed in Argentina. Everything is different compared to, for example, the time of the World War One that I don’t really like, but I think it’s impossible to predict what the world is going to be like in this century. Perhaps we need total chaos which would bring forth something new. For instance, after the World War One, that total chaos which could have cleaned everything didn’t occur and a couple of years later we had Hitler. We can’t really know. If somebody had told us about the present day in ’89, we wouldn’t have believed them. The future is unwritten. The world is constantly changing. Who knows what will be?
publicado por Aufgang Luz Nebulosa às 04:12
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Sexta-feira, 8 de Agosto de 2008


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publicado por Aufgang Luz Nebulosa às 14:10
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Sexta-feira, 1 de Agosto de 2008


Once a Punk, Always a Punk : interview with F.J. OSSANG

F.J OssangThe first films of this child of the 80s created a universe often compared to that of Marc Caro’s Bunker de la Dernière Rafale (Bunker of the Last Gunshot) and of Lars Von Trier’s Element of Crime. Indeed, in L’Affaire des Divisions Morituri (1984) and Le Trésor des Iles Chiennes (1990), we find the same post-apocalyptic horizons, the same modern gladiators dressed in Gestapo coats, and most of all, an esthetic and a narrative style that borrow as much from the silent films of Murnau as from the New Wave, or even from the surrealistic literary imagination of the likes of Ballard or Burroughs.
However, in contrast to his illustrious fellow filmmakers, Ossang didn’t simply turn the accumulation of references into a forceful concept for one or two films. Ossang makes this kind of cinema because he can’t do otherwise. He is fed by cinematic references that sometimes obsess him and reinjects them into his films with a surprising naiveté and frankness. For example, in Docteur Chance (1997), the characters find themselves in an unlikely setting deep in the Chilean desert standing in front of a movie theater showing Murnau’s Sunrise. Unlike Von Trier and Caro, Ossang, in a few – too few – movies, has continued making the same type of film, while the other two directors have taken more “modern” paths, in line with changing times. As a poet, Ossang has sustained his love for literature, and has even made certain sacrifices in his filmmaking career to keep writing poems, as well as homages to writers who have impressed him. His latest work, WS BURROUGHS vs FORMULE MORT, has just recently been published. Similarly, FJ Ossang is one of the last great punk cavaliers and still plays in his band M.K.B. (Messageros Killers Boys) Fraction Provisoire and more recently in BMW (Baader Meinhof Wagen), with its brilliantly cold and generous punk sound reminiscent of 1970s Germany. It is no coincidence that music is closely linked to his filmography: l’Affaire des Divisions Morituri includes the all members of the legendary band Lucrate Milk; and in Docteur Chance, FJ Ossang takes the liberty of having Joe Strummer play the character Vince Taylor. Such authenticity inevitably takes its toll and FJ Ossang hasn’t shot a feature film in 10 years. Let’s hope that his project La Succession Starkov will come out soon on the big screen.

How does someone born in France’s Massif Central become an artist?
I grew up in a no-man’s land. I was born in Cantal, thus with the fog and the mountains, and that’s why, very quickly, I got interested in the planet. At 14, I was passionate about mechanics and then I had a motorcycle accident at 15 that ended my career as a future driver. And oddly, I went from mechanics to poetry. I began publishing rather young, around 17, and then put together a literary review called la revue C in 1977. At the same time, the punk movement was under way. I put together a first band called DDP, De la Destruction Pure, and then in 79-80, I began MKB Fraction Provisoire.

You said somewhere that you were interested in pre-1967 cinema… Why 67 ?
After 67, it seems to me there was a break. But pushing it a bit, you can go up to 78-79, the complete cinematic works of Debord, Eraserhead, Apocalypse Now. And that’s when I began calculating time, between that year and the birth of cinema, the arrival of talkies, and 1978, and I said to myself that it was really time to go into the third act. A third act still to come.

In your short film Silencio, the title seems like a misnomer, since the music by Throbbing Gristle is extremely important. How did this choice come about?
Actually, I had the opportunity to go back to Portugal with a 16mm camera nearly 10 years after my previous movie. I don’t like to work with video. And I filmed a little at random, with a particular interest in windmills. I couldn’t quite figure out how to make a movie out of these images. Then I was invited to mix music one evening in an event called “the Cinema of Poets” at the Cinémathèque with Lydia Lynch, and I put on “Convincing People” by Throbbing Gristle. And coming back home and thinking about it, I understood that TG’s shamanistic industrial music would fit perfectly.

Could you tell us about your next project, La Succession Starkov ?
It’s a kind of cross between Eurydice and water skiing. Yes, a little like Orpheus and Eurydice. Orpheus who goes to the underworld to find Eurydice and bring her back from the beyond. I’ve water-skied a lot and found that there were no good scenes with water-skiing, even in James Bond movies. So I decided to put in water-skiing.

By Jean Jacques Rue.
publicado por Aufgang Luz Nebulosa às 03:35
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