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Col*Coa: City of Lights City of Angels Free Closing Night Films + 2 April 22!

Photo of Sydney Levine By Sydney Levine | Sydneys Buzz April 20, 2013 at 8:32AM

Col*Coa is winding down, but you can still catch a few stellar films and see the award winners for free Monday, April 22, 2013. Take a look at Indiewire's own article here for Los Angeles's greatest French attraction and the Second Largest French Film Festival in the World (After Cannes!). April 15-22 were the the dates this year 2013. The showcase includes 38 features and 19 new shorts. My previous blog gives all the various showcases like Wes Anderson's choices, Alain Renais retro, shorts...
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Col*Coa is winding down, but you can still catch a few stellar films and see the award winners for free Monday, April 22, 2013.

AWARD SCREENINGS at 6:00 pm: The evening will start with the rerun of two awarded films in the Renoir and Truffaut Theaters at the DGA.  Films will be announced on Sunday April 21 on the Col*Coa website, on Facebook, Twitter and on the COL•COA info line (310) 289 5346.  Free admission on a First comes First Served basis. No RSVP needed. 

You can stay and also see the CLOSING NIGHT FILMS at 8:30 pm at the DGA. Reservations needed.  Those are both North American Premieres of two very anticipated French films.  The thriller Moebus by Eric Rochant will show for free as will the comedy Like Brothers by Hugo Gélin.

Being among the French filmmakers (and I saw way too few of the films) gave me such a surprising sense of renewal - again because of this upcoming generation.  After seeing City of Lights, the short by Pascal Tessaud which preceded the classic Jacques Demy film Bay of Angels starring a platinum blond gambling-addicted Jeanne Moreau in Cannes, Nice and Monte Carlo in 1963, we spoke at length about what is called "The New Vibe".  City of Lights stars a deeply quiet young man from "les banlieus", the notorious "suburbs" surrounding Paris where the international mix of young (and old) proletariat population is invisible to the rest of France except when the anger erupts into riots.  This first generation has the French education but not the money or jobs and it hurts.  They have picked up the cameras and with no money are creating films which express their lives in many ways like the new Latin American filmmakers or the new Eastern European filmmakers.  Tessaud gave me an entire education in the hour we talked and I will share this in time.  For now, aside from his wonderfuly trenchant film which played like a feature, which captured the Paris this young generation recognizes as The City of Lights - dancing, the kitchen of a very upscale restaurant, the dreary streets filled with construction, there is another example of The New Vibe, started by Rachid Djaïdani (a story in himself) the film Hold Back (Rengaine) leads the pack of the 20-some-odd new films of The New Vibe.  It is produced by Anne-Dominque Toussaint (Les Films des Tournelles) whose films are too numerous to name but include my favorite The Hedgehog which I wrote about at Col*Coa two years ago, Col*Coa's current Cycling with Moliere, 2002's Respiro and many many others.  Hold Back took 9 years to make and most of the team was unpaid.  The New Vibe makes films without the aid of the French system of funding; it is more guerilla-style, not New Wave, not Dogma but New Vibe.  Hold Back took Cannes by storm when it showed last year in Directors Fortnight and went on to New Directors/ New Films in New York.  The classic story of a Catholic and a Muslim who want to marry but whose family objects, this rendition the Juliet has a brother who marches throughout Paris to alert her 39 other brothers that she wants to marry outside her cultural and religious traditions.  "This fresh debut mixes fable, plucky social commentary - particularly about France's Arab community - and inventive comic setpieces" (Col*Coa)

Hold Back (Rengaine) (ISA: Pathe) goes beyond the funny but "establishmant" film Intouchable which played here last year.  It is the exact opposite of such films as Sister or even Aliyah (ISA: Rezo) which played here this year and also in Directors Fortnight last year.  Aliyah is about a young French Jewish man who must make his last drug sale in order to escape his brother's destructive behavior.  He escapes by immigrating to Israel.  These films are made by filmmakers within the French establishment and describe a proletariat existence which exists in their bourgeois minds.  They lack a certain "verite" which can only be captured by one who knows viscerally what such marginal existence is.

At the opposite end of the contemporary spectrum of films today, a real establishment film is You Ain't Seen Nothing Yet by Alain Renais (you have to be a Renais fan to love it who was so avant-garde in his day).  Those old New Wave films one could see here stand out in beautiful contrast to today's New Vibe:  Renais' Stavisky or the 1963 film The Fire Within (Le feu follet) by Louis Malle again starring the beautiful Jeanne Moreau.  I missed them both to my regret.  When I miss a film I always tell myself I can see it when it's released or on DVD or Mubi, but rarely do I get to see it.  Instead I can only read about it as here written up by Beth Hanna on Indiewire blog ToH.   The Fire Within was part of Wes Anderson's choices, one of the various showcases of Col*Coa.  Says Hanna: "Anderson's taste is impeccable: He has selected Louis Malle's 1963 lyrical depression drama The Fire Within."  It was made after the classic Elevator to the Gallows (1958) which Miles Davis scored and which also starred the young Jeanne Moreau.  She also could be seen her in Col*Coa in the classic 1963 Jacques Demy-directed Bay of Angels.  

Col*Coa really offered something for everyone this year.  Another of my favorite film genres, the Jewish film, was represented by Aliyah and The Dandelions (Du Vent dans mes mollets) (ISA: Gaumont), Stavisky, and It Happened in St. Tropez (ISA: Pathe), a classic French comedy -- though a bit dark and yet still comedic, about romance, love and marriage switching between generations in a neurotic, comfortably wealthy Jewish family.  The Dandelions was, according to my friend Debra Levine, a writer on culture including film and dance, (see her blog artsmeme), "darling, so touching, so well made, so creative ... i really liked it. Went into that rabbit hole of little girls together ... Barbie doll play. Crazy creative play. As looney as kids can be."

Ian Birnie's favorite film was Becoming Traviata.  Greg Katchel's favorite originally was Rendez-vous à Kiruna by Anna Novion, but when I saw him later in the festival his favorite was Cycling with Moliere (Alceste a bicyclette) (ISA: Pathe), again produced by Anne-Dominque Toussaint and directed by Philippe Le Guay who directed one of my favorites, The Women on the 6th Floor.  Greg also liked Three Worlds though it was a bit "schematic" in depicting the clash of different cultures which were also shown in Hold Back.

Of the few films I was able to see, the most interesting was Augustine by Alice Winokur.  It is the French response to David Cronenberg's A Dangerous Method and the British film Hysteria.  All three were about the turn of the century concern of psychologists or doctors with female hysteria.  This one concerned Jean-Martin Charcot and the neurologist's belief that hysteria was a neurological disease and he used hypnosis to get at its roots, whild in A Dangerous Method it was seen by Freud and Jung as a mental disorder and in Hysteria by Tanya Wexler (TIFF 2011) in which Dr. Mortimer Granville devises the invention of the first vibrator in the name of medical science.

Take a look at Indiewire's own article here for more on Los Angeles's greatest French attraction, the second largest French film festival in the world.  

Several American distributors will present their films at COL•COA before their U.S. release:  Kino Lorber  – You Ain’t Seen Nothing Yet, co-written and directed by Alain Resnais (Focus on a Filmmaker); MPI Media – Thérèse, the last film of director/co-writer Claude Miller starring Audrey Tautou; Cohen Media Group – In the House, written and directed by François Ozon and The Attack, co-written and directed by Ziad Doueiri; Distrib Films for two documentaries: Becoming Traviata and The Invisibles; Film Movement for two thrillers: Aliyah and Three Worlds; The Weinstein Company - Populaire

Below you can see the international sales agents for the current features showing.

11.6 / 11.6 (ISA: Wild Bunch)
Directed by: Philippe Godeau
Written by: Philippe Godeau, Agnès De Sacy

A FEW HOURS OF SPRING / Quelques heures de printemps (ISA: Rezo)
Directed by: Stéphane Brizé 

Written by: Stéphane Brizé, Florence Vignon
Cast: 
Vincent Lindon, Hélène Vincent, Emmanuelle Seigner, Olivier Perrier

ALIYAH/Alyah  ✡ (ISA: Rezo, U.S.: Film Movement

Directed by: Élie Wajeman
Written by: Élie Wajeman, Gaëlle Macé

ARMED HANDS / Mains armées (ISA: Films Distribution)
Directed by: Pierre Jolivet
Written by: Pierre Jolivet, Simon Michaël

AUGUSTINE / Augustine (ISA: Kinology, U.S.: Music Box)
Directed by: Alice Winocour 
Written by: Alice Winocour

AYA OF YOP CITY / Aya de Yopougon (ISA: TF1)
Directed by: Clément Oubrerie, Marguerite Abouet 
Written by: Marguerite Abouet

BAY OF ANGELS / La Baie des anges (U.S.: Criterion)
Directed by: Jacques Demy
Written by: Jacques Demy

BECOMING TRAVIATA /Traviata et nous (ISA: Films Boutique, U.S. Distrib Films and Cinema Guild)
Directed by: Philippe Béziat
Written by: Philippe Béziat

CYCLING WITH MOLIÈRE / Alceste à bicyclette (ISA: Pathe)
Directed by: Philippe Le Guay
Written by: Philippe Le Guay, based on an original idea by Fabrice Luchini and Philippe Le Guay

FLY ME TO THE MOON / Un plan parfait (ISA: Kinology)
Directed By: Pascal Chaumeil
Written By: Laurent Zeitoun, Yoann Gromb, Philippe Mechelen

HAUTE CUISINE / Les Saveurs du palais (ISA: Wild Bunch, U.S.: The Weinstein Company)
Directed by: Christian Vincent
Written by: Etienne Comar & Christian Vincent, based on the life of Danièle Mazet-Delpeuch

HIDDEN BEAUTIES / Mille-Feuille (ISA: Other Angle Pictures)
Directed by: Nouri Bouzid
Written by: Nouri Bouzid, Joumène Limam

HOLD BACK / Rengaine (ISA: Pathe)
Directed by: Rachid Djaïdani
Written by: Rachid Djaïdani

IN THE HOUSE / Dans la maison (ISA: Wild Bunch, U.S.: Cohen Media Group)
Directed by: François Ozon
Written by: François Ozon

IT HAPPENED IN SAINT-TROPEZ / Des Gens qui s’embrassent (ISA: Pathe)
Directed by: Danièle Thompson 
Written by: Danièle Thompson, Christopher Thompson

JAPPELOUP/ Jappeloup (ISA: Pathe)
Directed by: Christian Duguay
Written by: Guillaume Canet

LE GRAND SOIR / Le grand soir (ISA: Funny Balloons)
Directed by: Benoît Delépine and Gustave de Kervern
Written by: Benoît Delépine and Gustave de Kervern

LITTLE LION / Comme un Lion (ISA: Pyramide)
Directed by: Samuel Collardey
Written by: Catherine Paillé, Nadège Trebal, Samuel Collardey

MOON MAN / Jean de la lune (ISA: Le Pacte)
Directed By: Stephan Schesch
Written By: Stephan Schesch, Ralph Martin. Based on the book by: Tomi Ungerer

POPULAIRE / Populaire (ISA: Wild Bunch, U.S.: TWC)
Directed By: Régis Roinsard
Written By: Régis Roinsard, Daniel Presley, Romain Compingt

RENDEZVOUS IN KIRUNA / Rendez-vous à Kiruna (ISA: Pyramide)
Directed by: Anne Novion 
Written by: Olivier Massart, Anne Novion, Pierre Novion

SONS OF THE WIND / Les Fils du vent (ISA: Wide)
Directed by: Bruno Le Jean
Written by: Bruno Le Jean

STAVISKY  / Stavisky (1974) (ISA: StudioCanal)
Directed by: Alain Resnais
Written by: Jorge Semprún

THE ATTACK / L’Attentat
France, Belgium, Lebanon, Qatar, 2013
Directed by: Ziad Doueiri (ISA: Wild Bunch, U.S.: Cohen Media Group)

THE BRONTË SISTERS / Les Soeurs Brontë (ISA: Gaumont, U.S.: Cohen Media Group)
Directed by: André Téchiné
Written by: André Téchiné, Jean Gruault, Pascal Bonitzer

THE DANDELIONS / Du Vent dans mes mollets ✡ 
Directed By: Carine Tardieu 
Written By: Carine Tardieu, Raphaële Moussafir, Olivier Beer

THE FIRE WITHIN / Le Feu Follet (1963) (ISA: Pyramide, U.S.: Janus Films)
Directed by: Louis Malle
Written by: Louis Malle

THE INVISIBLES / Les Invisibles (ISA: Doc & Film, U.S. Distrib Films))
Directed By: Sébastien Lifshitz

THE MAN WHO LAUGHS/ L’Homme qui rit (ISA: EuropaCorps)
Directed by: Jean-Pierre Améris
Written by: Jean-Pierre Améris , Guillaume Laurant

Hold Back
THÉRÈSE / Thérèse Desqueyroux (ISA: TF1,  U.S.: MPI)
Directed by: Claude Miller
Written by: Claude Miller, Natalie Carter

THREE WORLDS / Trois mondes (ISA: Pyramide, U.S.: Film Movement)
Directed by: Catherine Corsini 
Written by: Catherine Corsini, Benoît Graffin

TO OUR LOVES / À nos amours (1983) (U.S. Janus)
Directed By: Maurice Pialat
Written By: Arlette Langmann, Maurice Pialat

TRUE FRIENDS / Amitiés sincères (ISA: SND Groupe 6)
Directed By: Stéphan Archinard, François Prévôt-Leygonie
Written By: Stéphan Archinard, François Prévôt-Leygonie, Marie-Pierre Huster

WELCOME TO ARGENTINA / Mariage à Mendoza (ISA: Kinology)
Directed By: Édouard Deluc
Written By: Anaïs Carpita, Édouard Deluc, Thomas Lilti, Philippe Rebbot

WHAT’S IN A NAME / Le prénom (ISA: Pathe, U.S. Under The Milky Way)
Directed by: Alexandre de La Patellière, Matthieu Delaporte
Written by: Alexandre de La Patellière, Matthieu Delaporte

YOU AIN’T SEEN NOTHIN’ YET / Vous n’avez encore rien vu (ISA: StudioCanal, U.S.: Kino Lorber)
Directed By: Alain Resnais
Written By: Alain Resnais, Laurent Herbiet

This article is related to: International Film Festival, International, International Sales Agent, Festivals

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