Judgement Day
▻https://africasacountry.com/2019/06/judgement-day
Around this time last year, Egyptian film Yomeddine (Judgement Day) was screened at Cannes Film Festival to great
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Hi-Rez Studios: Turning battle royale into an entertaining esport
▻https://www.gamesindustry.biz/articles/2019-02-21-hi-rez-studios-the-unique-challenge-of-turning-battle-royaEsports BAR Cannes speaker Alex Grimonpont explains why “we still haven’t seen a significant success” from battle royale in terms entertaining spectators
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Riot Games: “Before we take on football, we have to be humble”
▻https://www.gamesindustry.biz/articles/2019-02-13-riot-games-before-we-take-on-football-we-have-to-be-humbleLeague of Legends European Championship makes less revenue than a German second division football team, Riot’s Alban Dechelotte said at #eSports BAR Cannes yesterday
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Voting is now live for esports business awards - The Game Shakers
▻https://www.gamesindustry.biz/articles/2019-01-14-voting-is-now-live-for-esports-business-awards-the-game-shWinners to be revealed February 12th at Esports BAR in Cannes
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#eSports BAR’s mission to get non-gaming brands excited about pro-gaming
▻https://www.gamesindustry.biz/articles/2018-12-18-esports-bars-mission-to-get-non-gaming-brands-excited-abouOrange, AirAsia and Dominos amongst attendees at Cannes event in February
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Netflix Battles Film Director Over Underage Frontal Nudity
▻https://www.hollywoodreporter.com/rambling-reporter/girl-director-sparks-controversy-portrayal-underage-nudity-116239Lukas Dhont’s feature directorial debut, ’Girl’ — about a transgender girl training to become a ballerina — wowed Cannes when it premiered in May, but has been the subject of controversy after he said the streamer would edit out a nude scene featuring its star, then 15. Lukas Dhont’s feature directorial debut, Girl — about a transgender girl (played by breakout Victor Polster) training to become a ballerina — wowed Cannes when it premiered in May, picking up a distribution deal with Netflix and (...)
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Cannes. Le Salon international de l’émigration de luxe fait des vagues
▻https://www.ouest-france.fr/economie/impots-fiscalite/fraude-fiscale/cannes-le-salon-international-de-l-emigration-de-luxe-fait-des-vagues-6 -
Defying the gaze of others in Abu Bakr Shawky’s Yomeddine |
Adham Youssef
June 1, 2018
MadaMasr▻https://www.madamasr.com/en/2018/06/01/feature/culture/defying-the-gaze-of-others-in-abu-bakr-shawkys-yomeddine
After finishing my interview with director Abu Bakr Shawky and producer Dina Emam at this year’s Cannes Film Festival, I move to my next scheduled meeting — a group discussion with a Kenyan director about her film, which is screening in the Un Certain Regard competition. Shawky is conducting an interview with a foreign journalist nearby, and I can’t help but overhear their conversation. The reporter asks him about the “political and religious messages” behind his debut feature and Palme d’Or contender, Yomeddine (2018).
Later, when I meet with Shawky again, I ask him to comment on that question. “Wherever there is a good story I will go,” he says. “There is an expectation from Middle Eastern films that they have to be about politics and religion, but I don’t want to do that anymore. Not because they are irrelevant, but I watch films from the United States, Europe and Asia that are not political, and I like them. So why can’t a Middle Eastern film not be political in the traditional sense and still be considered enjoyable and significant?”
There were three other Arabic-language films in Cannes this year; Nadine Labaki’s Cafarnaüm (2018), a Lebanese drama about poor children and migrants in the informal housing areas of Beirut; Gaya Jiji’s My Favourite Fabric (2018), a film that tackles female sexuality and the Syrian revolution (guaranteed to be a hit with Western audiences); and Sofia, Meryem BenMbarek’s story about premarital pregnancy in Morocco. Yomeddine stood out among them as a different narrative that is placed within a specific context, yet is universally appealing and relatable nonetheless.
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Build VOD Apps Using #react Native
https://hackernoon.com/https-hackernoon-com-build-vod-apps-using-react-native-f7fdcd7959bf?sourBuilding VOD Apps with React NativePhoto by Pietro Jeng on UnsplashA deliberate mixture of metals and other elements makes stronger and/or more versatile metals…When your company provides video streaming technology to global entertainment brands like Festival De Cannes and SXSW it’s crucial for software developers to operate with unified source code and workflows, and to do so in the most platform-agnostic way possible.This is the challenge faced by the R&D team at SHIFT72, as we develop video streaming apps for a growing list of global entertainment brands like the ones mentioned above. We started exploring React Native as one of the obvious solutions but were initially unsure how effective it would be, since hybrid apps, which rely on a heavy WebView layer, rarely present with good (...)
#video-on-demand #mobile-app-development #react-native #mobile
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Benicio Del Toro, Virginie Ledoyen, Mohammad Bakri, Annemarie Jacir and many others observe a minute of silence in Cannes in memory of the 60 Palestinians that were killed by israeli army in Gaza.
–-> ▻https://www.reuters.com/article/us-israel-usa-embassy-cannes/palestinians-hold-minutes-silence-in-cannes-to-protest-gaza-deaths-idUSKCN1
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Cher Jean-Luc Godard...
▻https://lundi.am/Cher-Jean-LucPour la zbeulification du festival de Cannes
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Le Guardian, jaloux du rôle pionnier du Monde dans ce domaine, a enfin trouvé quelqu’un du cinéma pour porter le flambeau anti-#Metoo. Un qui a trouvé en plus super malin de dénoncer ça sur le thème de la « chasse aux sorcières »…
Michael Haneke : #MeToo has led to a witch hunt ’coloured by a hatred of men’
▻https://www.theguardian.com/film/2018/feb/12/michael-haneke-metoo-witch-hunt-coloured-hatred-menMichael Haneke has become the latest figure to criticise the #MeToo movement against sexual assault and harassment in the film industry, arguing that it has instigated a “witch hunt” that “should be left in the Middle Ages”.
The Austrian film-maker, two-time winner of the Palme d’Or at Cannes, made his concerns known during an interview with Austrian newspaper Kurier, later reported by Deadline. “This new puritanism coloured by a hatred of men, arriving on the heels of the #MeToo movement, worries me,” he said. “As artists, we’re starting to be fearful since we’re faced with this crusade against any form of eroticism.”
While Haneke noted that any act of “rape or coercion” should be punishable, he said that “this hysterical pre-judgment which is spreading now, I find absolutely disgusting. And I don’t want to know how many of these accusations related to incidents 20 or 30 years ago are primarily statements that have little to do with sexual assault.
“This has nothing to do with the fact that every sexual assault and all violence – whether against women or men – should be condemned and punished. But the witch hunt should be left in the Middle Ages,” he added.
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Le Guardian se réfère donc à cet article de « Deadline » (des fois que tu connaisses) : Michael Haneke On MeToo : “Witch Hunt Should Be Left To The Middle Ages”
▻http://deadline.com/2018/02/michael-haneke-metoo-witch-hunt-comments-1202285106Oscar and double Palme d’Or winner Michael Haneke has become the latest prominent European artist to lament what he calls a “witch hunt” in the wake of the #MeToo movement. Speaking with Kurier, the Austrian filmmaker said there is no question that “any form of rape or coercion is punishable… But this hysterical pre-judgment which is spreading now, I find absolutely disgusting. And I don’t want to know how many of these accusations related to incidents 20 or 30 years ago are primarily statements that have little to do with sexual assault.”
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Lequel Deadline tire ses citations d’une interview autrichienne de « Kurier » : Michael Haneke : "Hexenjagd im Mittelalter belassen"
▻https://kurier.at/kultur/michael-haneke-hexenjagd-im-mittelalter-belassen/310.169.980Glauben Sie nicht, dass es neuerdings eine Tendenz gibt, Tabus wiederaufzubauen, etwa in der Folge der #MeToo-Debatte?
Oh Gott, fragen Sie mich nicht danach. Als Mann sollte man zu diesem Thema ja kaum mehr etwas sagen. Natürlich finde ich, dass jede Form von Vergewaltigung oder Nötigung zu ahnden ist. Das ist ja gar keine Frage! Aber diese Vorverurteilungshysterie, die jetzt um sich greift, finde ich absolut degoutant. Und ich möchte nicht wissen, wie viele dieser Anklagen, die sich auf Vorfälle vor 20 oder 30 Jahren beziehen, in erster Linie Abrechnungen sind, die mit sexuellen Übergriffen nur wenig zu tun haben.
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Il y connaît rien en sorcières Haneke. La chasse aux sorcières c’était à la renaissance et pendant le Maccarthysme.
Ca m’étonne pas de lui.
Cette confusion entre érotisme et harcelement sexuel est typique de la culture du viol. Ces derniers jours j’ai fait lire à Amélie pas mal de textes sur la littérature libertine du XVIIIeme d’un point de vue féministe : comme par exemple celui ci ►https://imaristo.hypotheses.org/166Cette littérature se caractérise par
un monde où la gloire des hommes s’acquiert par la conquête des femmes, et où les femmes ne sont jamais que des proies[3] au service de ce jeu faussé de la séduction.
#fraternité #érotisme #culture_du_viol #domination_masculine #male_tears
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Wikileaks Attorneys Blast Citizenfour Maker Poitras
▻http://www.newsweek.com/wikileaks-attorneys-blast-citizenfour-maker-poitras-610362We find it hard to comprehend why Poitras, who played an important role in national security journalism, has chosen to allow a dubious quest for self-discovery to undermine people working courageously to protect press freedoms.
Risk might win attention for Poitras by pandering to tabloid narratives about its subjects, but it has done a great disservice to her fellow documentarians, and has profoundly betrayed her friends, her colleagues and her journalistic integrity.
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Wow ça a l’air bien pourri ce qui s’est passé…
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The reason for the shift seems to be contained in the newly added voiceover, in which Poitras divulges that she was involved in an intimate relationship with one of the film’s primary subjects, award-winning journalist Jacob Appelbaum.
Appelbaum appears prominently in Poitras’ Citizenfour as well as in Risk. Although he does not work for WikiLeaks, Poitras conflates WikiLeaks with the organization he did work for, Tor, and makes him a central focus of the current version of Risk.
The Cannes premiere of Risk portrayed Appelbaum in a flattering light and Poitras did not disclose the nature of their relationship at that time. Now Poitras states, “I thought I could ignore the contradictions. I thought they were not part of the story. I was so wrong. They’re becoming the story.” But if sexism is becoming the story, it is because Poitras has chosen to focus on it.
Poitras was criticized after Cannes for appearing to be overly sympathetic to WikiLeaks. Instead of providing us with a more objective portrayal of her subject matter, she has re-framed her story to turn Risk into a film by Laura Poitras about Laura Poitras; a rather late coming-of-age story about the filmmaker discovering that there is sexism in her social and professional circles.
Instead of a documentary about the abuse of state power and WikiLeaks’ important role in exposing it, the emphasis of the film is now to highlight hotly disputed claims about an ex-boyfriend.
Et encore autour du Jacob…
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Signataires de la pétition pour Roman Polanski / All signing parties to Roman Polanski’s petition - SACD
▻http://www.sacd.fr/Tous-les-signataires-de-la-petition-All-signing-parties.1341.0.html ?#souteneurs #showbiz #viol #pédophile
Roman Polanski a été informé des nombreux témoignages envoyés jusqu’à maintenant et vous remercie de votre soutien.
Roman Polanski has been informed of the large number of messages that have been sent to him so far and thanks you for the support you keep giving him.
[dernière MAJ : 29 octobre 16h / last update : october 29th - 4pm]
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Joubert, Sigrid Obellianne, Lucien Obellianne, Marc Obéron, Michel Ocelot, David Ogando, Mariana Oliveira Santos, Szentgyörgyi Ottó, Martine Pagès, Eric Pape, Vincent Pappalardo, Jacques Paratte, Nadia Paschetto, Abner Pastoll, Alexander Payne, Guy Péchard, Nicola Pecorini, Richard Pena (Directeur Festival de NY), Lindsey Pence, Olivier Père, Suzana Peric, Vladimir Perisic, Patrick Perlman, Jacques Perrin, Laurent Petitgirard, Cesare Petrillo, Hervé Philippe, Thomas Pibarot, Andréa Picard, Michel Piccoli, Arnaud Pierrichon, Stéphane Pietri, Anne Pigeon Bormans, Samuel Pinon, Claude Pinoteau, Jean Piva, Guillaume Pixie, Gosia Plachta, Michele Placido, Sabrina Poidevin, Agnès Catherine Poirier, Emmanuel Pollaud-Dulian, Maud Pommier-Samaan, Jean-Yves Potel, Stéphane Pozderec, Harry Prenger, Jean et Marie Prévost, Gilbert Primet, Peter Priskil, Angélique Prokop, Stefanos Psaromiligas, Bozena Psztyk, Florence Quentin, Marie-Hélène Raby, Philippe Radault, Tristan Rain, Florence Raphaël, Jean-Paul Rappeneau, Joseph Rassam, Rolandas Rastauskas, Brett Ratner, Raphael Rebibo, Redha, Ben Omar Redouan, Carol Reid, Dusan Reljin, Jo Reymen, Laurence Reymond, Catherine Reynier-Barateau, Yasmina Reza, Christiane Rhein, Jacques Richard, Dominique Robert, Margarita Robski, Pascale Rocard, Jean-Jacques Rochut, Christian Rogler, Yannick Rolandeau, Michèle Rollin, Paul Rondags, Avital Ronell, Frank Roozendaal, Graciela Rosato, michèle Rossi-Ducci, Elisabeth Roudinesco, Kontochristopoulou Roula, Laurence Roulet, Joshua Rout, Paolo Roversi, Didier Roy, Jacques Rozier, Charles Rubinstein, Isabelle Ruh, Martin Ruhe, Sonia Rykiel, Anita S. Chang, Esteban S. Goffin, Joaquin Sabina, Marc Saffar, Ludivine Sagnier, Gabriela Salazar Scherman, Thérèse Saliceti, Walter Salles, Jean-Paul Salomé, Jean-Frédéric Samie, Marc Sandberg, Emmanuel Sapin, Léo Scalpel, Jerry Schatzberg, Richard Schlesinger, Kirstin Schlotter, Daniel Schmidt, Georg Schmithüsen, Julian Schnabel, Pierre Schoendoerffer, Barbet Schroeder, J. Neil Schulman, Pierre Schumacher, Pierre-Alexandre Schwab, Ettore Scola, Luis Gustavo Sconza Zaratin Soares, Martin Scorsese, Carole Scotta, Steven Sedgwick, Andrea Sedlackova, Frank Segier, Michèle Seguin-Sirhugue, Guy Seligmann, Dominique Sels, Elis Semczuk, Christiane Semczuk, Lorenzo Semple Jr, Julien Seri, Joël Séria, Catherine Sermet, Olivier Séror, Henry-Jean Servat, Ken Seton-Vyhnal, Sophie Sharkov, Boris Shlafer, Nanan Sikki, Antoine Silber, Pierre Silvant, Charlotte Silvera, Noel Simsolo, Christophe Sirodeau, Philippe Sisbane, Abderrahmane Sissako, Beatrice Sisul , Grégoire Sivan, Petter Skavlan, Romain Slocombe, Jola Lech Slowianska, Marcin Sokolowski, Pierre Somers, Loïc Sorel, Paolo Sorrentino, Valérie Soulier, Arnaud Soulier, Vassilis Sourapas, Yannis Stavrou, Roch Stephanik, Karen Stetler, Denise Stieglitz, Guillaume Stirn, Bernard Stora, Stephan Streker, Gérard Stum, Jean-Marc Surcin, Tilda Swinton, Christian Szafraniak, Piotrek Szymanek, Jean-Charles Tacchella, Radovan Tadic, Mickael Tanguy, Danis Tanovic, Bertrand Tavernier, André Techiné, Katie Teece, Hutfer Teense, Cécile Telerman, Harold Alvarado Tenorio, Marie-Ange Terrier, Alain Terzian, Christian Texier, Jean-Paul Thaens, Valentine Theret, Virginie Thévenet, Alexandre Thiery, Pascal Thomas, Jeremy Thomas, Marc Thomas Charley, Balthasar Thomass, Cyril Thurston, Zelda Tinska, Frédérique Topin, Giuseppe Tornatore, Serge Tosca, Cali Tosca, Serge Toubiana, Walter Toubin, Jean-Luc Touillon, Maurizio Trani, Daniel Treichler, Guillemette Trimech, Nadine Trintignant, Claire Tromeur, Fernando Trueba, Julie Turcas, Mitja Tušek, Tom Tykwer, Alexandre Tylski, Stephen Ujlaki, Fritz Urschitz, José Antonio Valdés Peña, Kenny Valdisserri, Jaques Vallotton, Phil van der Linden, G.W. van der Meiden, Betrand van Effenterre, Leopold van Genechten, Pieter van Hees, Edith Van Her, Rudolf van Maanen, Christophe van Rompaey, Dorna van Rouveroy, Elbert van Strien, Vangelis, Alessio Vannetti, Jean-Pierre Vaucouloux, Lucília Verdelho da Costa, Christian Verdu, Jean-Pierre Vergne, Sarah Vermande, Elizabeth Verry, Maryana Vestic, Julien Veyret, Caroline Veyssière, Francesco Vezzoli, Régine Vial, Daniel Vigne, Vivien Villani, Marta Villarroya Estruch, Marc Villemain, Jean-François Villemer, Daria Vinault, Verde Visconti, Ivan Vislen, Didier Volckaert, Alain Vorimore, Thomas Vossart, Gilles Walusinski, Eric Watton, Lioba Wehinger, Monika Weibel, Florian Weigl, Dominique Welinski, Wim Wenders, Raphaël Wertheimer, Andy Whittaker, Cornélius Wiijgers, Dorothée Wiijgers, Agnès Wildenstein, Anaïse Wittmann, A Wolanin, Margot Wolfs, Peter Woltil, Arnaud Xainte, Steve Yeo, Likhem Young, Paule Zajdermann, Christian Zeender, Claudie Zehnacker, Ania Zenowicz, Fabrice Ziolkowski, Terry Zwigoff.
Et les organisations professionnelles / and professional organizations
– l’Académie des César
– l’API (Association des producteurs Indépendants)
– l’ARP
– l’ARRF – Association des Réalisateurs et réalisatrices de Films - Belgique
– Bund gegen Anpassung
– la Cinémathèque Française
– la Cinémathèque de Dijon / Cinémathèque Jean Douchet
– le Festival de Cannes
– le Festival des Rencontres internationales du cinéma de patrimoine de Vincennes
– le Fonds Culturel Franco Américain
– le Groupe 25 images
– la SACD
– Le Bureau National du SFA
– le SPI
– Le Syndicat National des Techniciens de la Production Cinématographique et de Télévision
– l’Union des producteurs de films
– L’équipe du dernier film de Roman Polanski « Ghost »
– Pathé
– Scott Foundas (LA Weekly)-
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Pour la destitution de Roman Polanski comme Président des César
48,810 supporters
▻https://www.change.org/p/pour-la-destitution-de-roman-polanski-comme-pr%C3%A9sident-des-c%C3%A9sar-bo -
Tous les signataires de la pétition / All signing parties
29 septembre 2009 -
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State Misogyny: France’s Colonial Unveiling History Against Muslim Women | THE FUNAMBULIST MAGAZINE
▻http://thefunambulist.net/2016/08/14/state-misogyny-frances-colonial-unveiling-history-against-muslim-womA few days ago, Mayor of Cannes David Lisnard promulgated a formal ban on full-body swimsuits worn by some Muslim women on the city’s beaches — these swimsuits are oddly designated as “burkini” when the apparel seems to be a beach equivalent of the chador, not of the burka. The ban stipulates “Access to beaches and for swimming is banned to any person wearing improper clothes that are not respectful of good morals and secularism.” This sentencing regulates the amount of epidermic surface that should be exposed, while strongly recalling phrasing we usually encounter that fixes the amount of epidermic surface that should not be exposed, proving if need be that these two unjunctions although seemingly opposed are, in fact, the same. As it was already the case for the 2010 French legislation forbidding anyone to have their face dissimulated in public space (see past article), explicitly drafted against Muslim women wearing the burka or the niqab, we could insist on the demagogic dimension of such laws, targeting a significantly small amount of persons to engineer an electoral spectacle. Then again, we should also examine them for their deeper signification and what they reveal about the way the French society is still operating on its colonial bases. It would be indeed a mistake to read this recent municipal ban through the spectrum of a recent European “resurgence” of discriminatory policies, some of which have to do with the over-mediatization of the few dozens of thousands of migrants and refugees whose bodies have been used as a recurrent televisual material for the last recent months, some others with the ongoing State of Emergency in France (one of the reasons invoked by the Mayor). When it comes to French islamophobic and racist politics, in particular the colonial fetish constructed around the colonized woman’s mode of being and mode of dress, the logics behind them are to be found deeper into history.
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Get ’em off! Armed police order Muslim woman to remove her burkini on packed Nice beach - as mother, 34, wearing Islamic headscarf is threatened with pepper spray and fined in Cannes
http://i.dailymail.co.uk/i/pix/2016/08/23/20/3785A72A00000578-3754395-image-a-35_1471979224583.jpg 
http://i.dailymail.co.uk/i/pix/2016/08/23/20/3785A7CA00000578-3754395-image-a-39_1471979587008.jpg ►http://www.dailymail.co.uk/news/article-3754395/Wealthy-Algerian-promises-pay-penalty-Muslim-woman-fined-France-wearing
#islamophobie #xénophobie #police #violences_policières #France #Cannes -
VIDEO
Ken Loach, palme d’or à Cannes, appelle au boycott d’Israël
▻http://tempsreel.nouvelobs.com/videos/u0pmmf.DGT/ken-loach-palme-d-or-a-cannes-appelle-au-boycott-d-israel.html -
Uma Thurman, Halle Berry, and “V-J Day”: The quiet violence of the unwanted kiss - XX Factor
▻http://www.slate.com/blogs/xx_factor/2016/05/24/uma_thurman_halle_berry_and_v_j_day_the_quiet_violence_of_the_unwanted_kiss.hIn photos from last Thursday’s amfAR gala at Cannes, it might look like auction host Uma Thurman wasn’t perturbed by the surprise open-mouthed kiss she fielded from “playboy industrialist” and Fiat heir Lapo Elkann. With a gracious smile, she stood for the cameras as he pressed his sweaty face against hers and dangled his lit cigarette dangerously close to her updo.
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– Ici on dit que le film « Munich : A Palestinian Story » a été déprogrammé à Cannes :
▻►https://www.zamanfrance.fr/article/film-palestinien-deprogramme-a-cannes-21544.html
▻▻http://www.lecourrierdelatlas.com/1138218052016Un-film-palestinien-annule-celui-de-BHL-selectionne– Mais ici on dit qu’un extrait du film a bien été diffusé et que le film n’est pas encore terminé :
“They made all this fuss," said Hajjaj. “They called it a film. It’s not a film. It’s a 13-minute industry screening. It’s not even finished yet."
►http://www.thenational.ae/world/europe/palestinian-director-defends-munich-olympics-film-at-cannes
Nasri Hajjaj défend son film dans cet article et craint que cette campagne médiatique du CRIF ne nuise au financement.
It is not the first time that the events of Munich have been covered on screen, but Hajjaj says he hopes to offer a different perspective with his interpretation.
“The Israelis have had since 1976 – when the first film [21 hours at Munich] was made about this – to 2006 when the Spielberg film [Munich] was made to tell their own story. Sometimes very biased, sometimes less biased, but there has never been a film from a Palestinian or Arab perspective."
“Why do I not have the right to tell this story? I am a party to it, a second party, but a party," said Hajjaj, who grew up in a Lebanese refugee camp with one of the hostage-takers, Afif Hamid, who was killed in the Munich operation.
“See the film and then judge," he said.
#CRIF #Attentat #Israël #Allemagne #culture #censure #propagande #cinéma #Festival-de-Cannes
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Cannes 2016 - Manif sur le tapis rouge : “Stop au coup d’Etat au Brésil”
▻http://www.telerama.fr/festival-de-cannes/2016/cannes-2016-manif-sur-le-tapis-rouge-stop-au-coup-d-etat-au-bresil,142653.p -
Israel lobby fails to block screening of Palestinian film at Cannes | The Electronic Intifada
►https://electronicintifada.net/blogs/ali-abunimah/israel-lobby-fails-block-screening-palestinian-film-cannesA Palestinian work was screened at the Cannes Film Festival’s Marché du Film as planned on Monday, despite an intense campaign by Israel lobby groups to have it canceled.
Nasri Hajjaj’s Munich: A Palestinian Story was one of four films excerpts of which were screened to industry professionals in collaboration with the Dubai International Film Festival.
Hajjaj told The Electronic Intifada from Cannes that the screening of a 14-minute segment passed without incident and he received a positive response from those present.
As The Electronic Intifada reported last week, France’s main pro-Israel lobby group CRIF had been exerting intense pressure on authorities to ban the film, even enlisting the support of the mayor of Cannes.
CRIF claimed that the film engages in “historical revisionism” about the 1972 raid on the Munich Olympics by the Palestinian group Black September, in which 11 Israeli athletes, a German police officer and five hostage takers died.
But CRIF could not know this since the unfinished documentary had never been publicly screened.
Hajjaj said that CRIF and other critics have made a number of false claims about his film, which they have not seen.
CRIF boss Roger Cukierman even claimed on Twitter that he had been personally assured by Cannes Film Festival president Pierre Lescure that Hajjaj’s film would not be shown.
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En français :
Censure anti-palestinienne au festival de Cannes : le CRIF est tombé sur un os !
Ali Abunimah, The Electronic Intifada, le 17 mai 2016
►http://www.info-palestine.net/spip.php?article16043
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Loach film on shame of #poverty in Britain moves Cannes to tears
▻http://nr.news-republic.com/Web/ArticleWeb.aspx?regionid=4&articleid=64344845Director Ken Loach denounced the British government’s “conscious cruelty” towards the poor Friday after his #film about the poverty and humiliation inflicted upon them by welfare cuts had critics at the Cannes film festival in tears.
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Woody Allen à Cannes… et les indignations sélectives
▻http://lesactualitesdudroit.20minutes-blogs.fr/archive/2016/05/12/woody-allen-a-cannes-et-les-indignations-select-
Ronan Farrow: My Father, Woody Allen, and the Danger of Questions Unasked
Hollywood Reporter | May 11, 2016
▻https://www.yahoo.com/celebrity/father-woody-allen-danger-questions-unasked-guest-column-100415073.html“They’re accusations. They’re not in the headlines. There’s no obligation to mention them.” These were the objections from a producer at my network. It was September 2014 and I was preparing to interview a respected journalist about his new biography of Bill Cosby. The book omitted allegations of rape and sexual abuse against the entertainer, and I intended to focus on that omission. That producer was one of several industry veterans to warn me against it. At the time, there was little more than a stalled lawsuit and several women with stories, all publicly discredited by Cosby’s PR team. There was no criminal conviction. It was old news. It wasn’t news.
So we compromised: I would raise the allegations, but only in a single question late in the interview. And I called the author, reporter to reporter, to let him know what was coming. He seemed startled when I brought it up. I was the first to ask about it, he said. He paused for a long time, then asked if it was really necessary. On air, he said he’d looked into the allegations and they didn’t check out.
Today, the number of accusers has risen to 60. The author has apologized. And reporters covering Cosby have been forced to examine decades of omissions, of questions unasked, stories untold. I am one of those reporters - I’m ashamed of that interview.
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#Cannes Susan Sarandon : « Je n’ai rien de bien à dire sur Woody Allen »
Publié le 15/05/16
▻http://tempsreel.nouvelobs.com/en-direct/a-chaud/22754-cannes-allen-sarandon-cine-susan-sarandon-woody-allen.htm« Je n’ai rien de bien à dire sur Woody Allen, donc je ne pense pas que nous devions aller sur ce terrain », a déclaré l’actrice américaine Susan Sarandon ce dimanche à Cannes, lors d’une table ronde consacrée à la place des femmes dans l’industrie du cinéma.
Elle était interrogée à propos d’une remarque de Woody Allen qui avait déclaré, au début du festival, qu’il n’avait pas suffisamment de matière pour un film où une femme tomberait amoureuse d’un homme plus jeune qu’elle.
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Le 1er film d’animation saoudien, consacré à Bilal (compagnon du Prophète), au Festival de Cannes ▻http://saudigazette.com.sa/life/saudi-animated-movie-bilal-screened-cannes
Film enthusiasts look forward to the Cannes Film Festival every May and this year’s participation of the long-awaited animation movie “Bilal” will be of interest and pride for filmmakers and animation movies admirers in the Middle East and beyond.
“Bilal” the epic and inspiring movie aroused interest after the producer and film director Ayman Tariq Jamal revealed his innovative idea of an animation movie motivated by the story of a real inspirational hero who appeals to all generations, a different path from most animated movies that rely on fictional heroes. The film offers lessons on humanity, timeless faith, hope and self-discovery in a story inspired by the life of the great Bilal Ibn Rabah, a companion of the Prophet Muhammad (peace be upon him). A slave who converted Islam, Bilal lived in the Arabian Peninsula and faced great injustice and tyranny but then became the most prominent figure in Islamic history to call for justice and equality.
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Rue89, en partenariat avec Arte Creative, vous propose de découvrir en avant-première la websérie « Photos rebelles : une histoire photographique des contre-cultures ». Elle est écrite et réalisée par Marc-Aurèle Vecchione, auteur des documentaires « Writers » et « Antifa, chasseurs de skins ».
▻http://rue89.nouvelobs.com/2016/04/01/cadeau-webserie-explore-les-photos-cultes-jeunesses-rebelles-263606
[edit du 14/04/2016] C’est là maintenant : ▻http://creative.arte.tv/fr/photosrebelles [/edit]
Je découvre #Glen_E_Friedmann (pas encore vu les autres).
▻http://burningflags.com/home
#photographie #skate #punk #rap-
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http://www.anderspetersen.se/wp-content/uploads/2012/05/lemitz122.jpg 
http://www.anderspetersen.se/wp-content/uploads/2012/12/10-683x1024.jpg 
http://www.anderspetersen.se/wp-content/uploads/2012/04/2.-tvillingar70x100_110413-698x1024.jpg
Anders Petersen was born 1944 in Stockholm, Sweden.14 years old his family moved to Karlstad in Värmland, where he met the artists Karin Bodland and Lars Sjögren.
In 1961 he stayed for some time in Hamburg in order to learn German and trying to write and paint. He didn’t take any pictures.
Five years later he met Christer Strömholm and became a student at his School of Photography in Stockholm. Strömholm was not just his teacher but also a close friend. Their friendship influenced him for life.
In 1967 he starts photographing a bar called Café Lehmitz in Hamburg, close to Zeughausmarkt. He was photographing there for a period of almost three years and in 1970 he had his first soloexhibition over the bar in Café Lehmitz with 350 photographs nailed to the wall.
In 1973 he published his first book ”Gröna Lund”, about people in an amusementpark in Stockholm. In 1974 he graduated from the Swedish Filmschool,Dramatiska Institutet, in Stockholm. In 1978 he published ”Café Lehmitz ” in Germany.
In 1984 the first book in a trilogy about locked instituations was published. The three books were about people in a prison, a nursing house, and a mental hospital. After photographing the mental hospital for three years he oriented himself towards a more free approach in a kind of diarylike photography.
During 2003 and 2004 Anders Petersen was appointed Professor of Photography in the School of Photography and Film at the University of Göteborg, Sweden. He regularly has workshops and exhibitions throughout Europe, Asia and in the USA. He has received numerous grants and rewards since the seventies.
In 2003 Anders Petersen was elected the ”#Photographer of the Year” by the International Photofestival in Arles.
In 2006 he was shortlisted as one of four for the ”Deutsche Börse Photography Prize”.
In 2007 he received the ”Special Prize of the Jury” for his exhibition ”Exaltation of Humanity” by the third International Photofestival in Lianzhou, China.
In 2008 he received the ”Dr. Erich Salomon Award” by Deutsche Gesellschaft für Photographie, Germany.”The Arles Contemporary Book Award for 2009″ went to JH Engström and Anders Petersen’s collaborative book ”From Back Home” by Max Ström. The book was nominated to ”The Best Photographic Book in Sweden, year 2009″ and also Winner of Design Bronze Lion in Cannes.
In 2010, he was in the jury for the BMW Prize at Paris Photo.
In 2012, nominated to the Swedish Photo Book Prize in Stockholm for ”SOHO”,
and PhotoBook of the Year award for ”City Diary”Paris Photo and the Aperture Foundation.
▻http://www.anderspetersen.se/category/selected-worksAnders Petersen has his darkroom in Stockholm, Sweden.
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