A cinema long intertwined: through performances, through a shared cinephile spirit, and most recently through a direct teaming-up on the magnificent Danses macabres, which earned a Special Mention at FIDMarseille 2019.

 

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The cinema of Portuguese Rita Azevedo Gomes and French-Russian Pierre Léon has long been intertwined: through performances, through a shared cinephile spirit, and most recently through a direct teaming-up on the magnificent Danses macabres, which earned a Special Mention at FIDMarseille 2019.

Our double retrospective is the first to acknowledge and celebrate this creative partnership between two of the finest and most underrated filmmakers working today. Through these 12 titles, several of which have never before appeared with English subtitles, you can trace the intellectual lines that thread from one film to another, the invisible pathways that connect seemingly disparate works produced across countries and formats, with budgets and crews larger or virtually non-existent, with stars like Jeanne Balibar, Mattieu Amalric, or Ingrid Caven, featuring presences as commanding as Luis Miguel Cintra or Bernard Eisenschitz, and of course with appearances by filmmakers like Manoel de Oliveira or Serge Bozon.

This program spans historical epics (The Portuguese Woman), chamber dramas (A Woman's Revenge), Dostoevsky adaptations (Deux Rémi, deux, L'Idiot), small-scale, idiosycratic experiments (Altar, Phantom Power), an historical investigation into the filmmakers' family (Nissim says Max) an expansive film made of a single conversation (The 15th Stone). We investigate two giant influences, one on Léon (Biette, about the great critic and editor of Trafic) and one on Azevedo Gomes (João Bénard da Costa, former director of Cinemateca Portuguesa in Lisbon, represented by a film by Manuel Mozos and a film by Azevedo Gomes) All these in works by either Rita Azevedo Gomes, Pierre Léon, or others—including Vladimir Léon, Pierre's brother and a singular filmmaker in his own right—and culminating in the great Danses macabres, which is itself about the very act of collaborating: in thought, in cinema, and in living in a way as fragile as the world.


El cine de la portuguesa Rita Azevedo Gomes y del franco-ruso Pierre Léon está entrelazado desde hace mucho tiempo: a través de actuaciones, de un espíritu cinéfilo compartido y, más recientemente, mediante una asociación directa en la magnífica Danses macabres, que obtuvo una Mención Especial en el festival del cine FIDMarseille en 2019.

Nuestra doble retrospectiva es la primera que reconoce y celebra esta asociación creativa entre dos de los mejores y más infravalorados cineastas en activo. A través de estas 12 películas, podrá rastrear las líneas intelectuales que enhebran una película con otra, los caminos invisibles que conectan obras aparentemente dispares producidas a través de distintos países y formatos, con presupuestos y equipos mayores o prácticamente inexistentes, con estrellas como Jeanne Balibar, Mattieu Amalric o Ingrid Caven, con presencias tan imponentes como Luis Miguel Cintra o Bernard Eisenschitz y, por supuesto, con apariciones de cineastas como Manoel de Oliveira o Serge Bozon.

Este programa abarca epopeyas históricas (La portuguesa), dramas de cámara (La venganza de una mujer), adaptaciones de Dostoievski (Deux Rémi, deux, L'Idiot), experimentos idiosincrásicos a pequeña escala (Altar, Phantom Power), una investigación histórica sobre la familia del cineasta (Nissim dit Max) una película expansiva hecha de una sola conversación (A 15a Pedra). Investigamos dos influencias gigantes, una sobre Léon (Biette, sobre el gran crítico y editor de Trafic) y otra sobre Azevedo Gomes (João Bénard da Costa, antiguo director de la Cinemateca Portuguesa de Lisboa, representado por una película de Manuel Mozos y otra de Azevedo Gomes).

Todo ello en obras de Rita Azevedo Gomes, Pierre Léon, u otros -incluyendo a Vladimir Léon, hermano de Pierre y un singular cineasta por derecho propio- y culminando en la gran Danses macabres, que es en sí misma sobre el propio acto de colaborar en el pensamiento, en el cine y en la vida de una manera tan frágil como el mundo.

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