Save the date(s)! The Tourn\u00e9es French Film Festival is returning to the Boise State University campus, January 24-February 8, 2019 with a great line-up of films. This year, screenings will be held at 6:00 p.m in Skaggs Hall of the Micron Business Building.<\/p>\n
Boise State University<\/p>\n
Jan. 24-Feb. 8, Thursdays and Fridays, 6 p.m. Skaggs Hall (Micron Business Building). A Boise State Faculty member will be on hand to present and lead a post-viewing discussion of each film.<\/p>\n
Presented by Dr. Isaac Castellano, Department of Political Science
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Makala<\/em>\u00a0is an extraordinarily revealing and surprisingly gorgeous look at everyday life for a charcoal salesman in the Democratic Republic of Congo. French documentary filmmaker Emmanuel Gras follows 28-year-old Kabwita Kasongo through the entire process of making and selling charcoal: finding and cutting down a tree in the vast plains near his village in the southern region of Katanga, burying and burning the wood to create charcoal, loading multiple bulging bags of charcoal onto a rickety bicycle and walking it several days to the city of Kolwezi, where he hopes to sell his merchandise on its markets and streets. What sets\u00a0Makala<\/em>\u00a0(the Swahili word for \u201ccharcoal\u201d) apart from other documentaries about workers in developing countries is its sheer filmic quality: Kabwita\u2019s simple but challenging objective to get the coal to the big city and sell enough to buy supplies to build a house for himself and his family has the dramatic force of the great humanist films from Bicycle Thieves on down, while Gras\u2019s virtuosic widescreen camerawork constantly anchors his individual struggle in the larger context of the Congo\u2019s breathtakingly beautiful landscape and its rapidly shifting economy.<\/p>\n DIRECTOR<\/strong> Presented by Dr. April Masarik, Department of Psychology<\/p>\n The French legal system calls for any individual who has been hospitalized in a psychiatric facility against his or her will to appear before a specialized judge twelve days after being admitted. After discussing the case with the patient and his or her counsel, the judge determines whether the hospitalization should be prolonged. Raymond Depardon, a master documentarian with extensive experience filming both the DIRECTOR<\/strong> Presented by Adriane Bang, LMSW, Director of Gender Equity Center<\/p>\n Girlhood<\/em>, C\u00e9line Sciamma\u2019s third feature, continues to probe what has been this perceptive writer-director\u2019s abiding interest: female pubescence and adolescence, the stage when bodies and identities are still in flux. Set in the impoverished banlieues that ring Paris and are home to many of its French-African denizens,\u00a0Girlhood<\/em> focuses on Marieme (Karidja Tour\u00e9), a sixteen-year-old who assumes responsibility for her two younger sisters while their mother works the night shift; the teenager must also frequently absorb the wrath of her tyrannical slightly older brother. School provides no haven from these hardships: Having already repeated a grade twice, Marieme is told that vocational training is her only option. Rather than accept this indignity, she falls in with a triad of tough girls, abandoning her braids for straightened hair, her hoodie for a leather jacket\u2014and learning the pleasures of raising hell at malls in Les Halles and impromptu dance-offs on the M\u00e9tro. Led by the swaggering Lady (Assa Sylla), this crew\u2014whose members are all played by charismatic first-time performers\u2014boosts Marieme\u2019s confidence. \u201cYou have to do what you want,\u201d Lady exhorts her; patiently and astutely, Girlhood<\/em> follows Marieme as she tries to put this mantra into practice while being repeatedly reminded of her severely limited options.<\/p>\n DIRECTOR<\/strong> Presented by Gayla Thomas-Dabney, Director of Equity and Inclusion<\/p>\n Haitian filmmaker Raoul Peck\u2019s brilliant documentary on racism in America is an essential work for our era, drawing a clear line from the Civil Rights struggle to today\u2019s Black Lives Matter movement via the thought of James Baldwin, one of the most lucid, fearless Ameri- can thinkers on race (and many other matters). Based on Baldwin\u2019s unfinished manuscript Remember This House, which considered the history of racism through memories of Baldwin\u2019s friends the civil rights leaders Martin Luther King Jr., Malcolm X, and Medgar Evers, I Am Not Your Negro<\/em> analyzes white denial and black experience of racial oppression in a historical and contemporary context, bringing Baldwin\u2019s observations into the present through powerful juxtapositions of his words (read in voiceover by Samuel L. Jackson) and, for instance, images of the Ferguson protests. Peck also generously culls from archival sources, notably the extensive talk show appearance in which Baldwin, an eloquent and spirited orator, publicly expresses that the \u201cnegro\u201d is a white construct, and anything but a definition of who he is. By providing an impassioned, accessible introduction to James DIRECTOR<\/strong> Presented by Ryan Cannon, M.F.A, Film and Television Arts<\/p>\n In 1927, Danish filmmaker Carl Theodor Dreyer, the director whom James Agee would later call \u201cone of the few moralists, and classicists, and incorruptible artists, in movies,\u201d was invited to make a film in France. He settled on the story of Joan of Arc and spent a year researching her life, drawing primarily from the transcripts of her trial. The resulting account of her trial and execution stands as one of the towering achievements of the silent cinema and has consistently been voted one of the best films of all time. Like all truly great works of art,\u00a0The Passion of Joan of Arc<\/em> is full of paradoxes, yielding a blend of expressionism and realism that is both deeply mystical and utterly material, astonishingly abstract and unflinchingly carnal. These conflicting yet complimentary impulses are the result of Dreyer\u2019s innovative methods, but perhaps the secret to The Passion\u2019s enduring place in film culture is the trance-like performance by stage actress Ren\u00e9e Falconetti as Joan. In some of the most glorious close-ups in cinema, Falconetti\u2019s wide eyes express all the pain, strength, and inextinguishable faith of a woman hounded by a society of men. As such, her performance continues to speak to our time.<\/p>\n DIRECTOR<\/strong> Presented by Dr. Jason Herbeck, Department of World Languages<\/p>\n In\u00a0The Workshop<\/em>, acclaimed writer-director Laurent Cantet takes an illuminating approach to a variety of key issues haunting contemporary France. Olivia, a successful Parisian novelist, has been hired to spend the summer in La Ciotat, a beautiful but economically battered town on the Mediterranean, teaching a writing workshop for a diverse group of young people whose only common denominator, as is so often the case among twentysomethings in the French provinces, is that they are unemployed. Among them are an emancipated but religious Muslim woman, students proud of their region\u2019s strong but declining history of labor movements, recent immigrants, some hedonists focused on the next party, and Antoine, a strikingly intelligent, confrontational young man with affiliations to extreme right-wing groups. Through class discussions and the conflicts that ensue, Cantet presents an unflinching look at the delicate integration of conflicting religious and cultural beliefs in a period plagued by the threat of terrorism. And as Olivia attempts to understand what brought Antoine to embrace a reprehensible ideology,\u00a0The Workshop<\/em>\u00a0builds into a breathtaking thriller that deftly avoids formulaic answers to provide startling insight into a situation that applies far beyond France.<\/p>\n DIRECTOR<\/strong> Tourn\u00e9es Film Festival is made possible with the generous support of:<\/p>\n Save the date(s)! The Tourn\u00e9es French Film Festival is returning to the Boise State University…<\/p>\n","protected":false},"author":499,"featured_media":70620,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7,13],"tags":[],"class_list":["post-68692","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-community","category-french-news"],"acf":[],"yoast_head":"\n
\nEmmanuel Gras<\/p>\nJan 25, 2019<\/h3>\n
12 JOURS \/ 12 DAYS<\/h4>\n
\nFrench legal system and in hospitals, was given exceptional access to several of these closed hearings at a facility near Lyon. The hearings seen in\u00a012 Days<\/em>\u00a0create an extraordinarily intimate set of portraits of individuals in distress, expressing their frustrations, fears, hopes, and, often, delusions. Facing them, a variety of judges are by turns helpless, paternalistic, attentive and even tender. But\u00a012 Days<\/em>\u2019 greatest accomplishment is to reach beyond the individuals and address systemic questions regarding mental health and French society at large: in short, what is it about our contemporary world that drives us mad? The case of one patient\u2019s workplace harassment at a telecommunications firm sketches a terrifying picture of our vulnerability under the reign of late capitalism. As always, Depardon remains a stoic but empathetic witness to the world\u2019s sorrows.<\/p>\n
\nRaymond Depardon<\/p>\nJan 31, 2019<\/h3>\n
BANDE DE FILLES \/ GIRLHOOD<\/h4>\n
\nC\u00e9line Sciamma<\/p>\nFeb 1, 2019<\/h3>\n
I AM NOT YOUR NEGRO<\/h4>\n
\nBaldwin\u2019s work and thought, Peck has given us a crucial reference to address ongoing injustice in the United States.<\/p>\n
\nRaoul Peck<\/p>\nLA PASSION DE JEANNE D\u2019ARC \/ THE PASSION OF JOAN OF ARC<\/h4>\n
\nCarl Theodor Dreyer<\/p>\nL\u2019ATELIER \/ THE WORKSHOP<\/h4>\n
\nLaurent Cantet<\/p>\nSPONSORS & PARTNERS<\/h2>\n
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