L’Œil d’or – Le Prix du documentaire Cannes 2016

« Cinéma, cinéma, le sujet c’est le cinéma. Sans défi, pas de documentaire. Ces dix derniers jours, en visionnant les 18 films, toutes sections confondues, en compétition pour l’Œil d’or, Le Prix du documentaire à Cannes, nous avons gardé ces deux phrases à l’esprit »

Gianfranco Rosi – Président du jury
Anne Aghion, Thierry Garrel, Amir Labaki et Natacha Régnier

Cinema Novo est un film manifeste sur la pertinence aujourd’hui d’un mouvement cinématographique presqu’oublié des années soixante, le Cinema Novo brésilien. C’est un essai impressionniste ambitieux d’un nouveau genre qui nous rappelle que le cinéma aujourd’hui pourrait être à la fois politique et sensuel, poétique et engagé, formel et narratif, fictionnel et documentaire – une interprétation d’un « mundo novo » – d’un monde nouveau.

 

Le jury décerne également une mention spéciale à Shirley Abraham & Amit Madheshiya pour The Cinema Travellers (Inde).
Ce film raconte, dans l’Inde d’aujourd’hui, l’histoire de la fin d’une ère de cinéma au travers de trois personnages – des personnages archétypaux. Sans jamais tomber dans le sentimentalisme, les réalisateurs portent sur les réalités de notre monde en mutation, un regard prometteur, à la fois tendre et incisif.

Ces deux documentaires sont issus de la sélection Cannes Classics.

Scott Foundas est rédacteur en chef de la rubrique cinéma du magazine Variety.
Il occupait auparavant les mêmes fonctions au Village Voice.
Il a rédigé de nombreux articles qui ont été publiés dans les divers organes de presse du réseau Village Voice Media, notamment l’hebdomadaire LA Weekly.
En outre, il a travaillé pour de nombreuses autres revues ou journaux, parmi lesquels DGA Quartely, Film Comment ou The New York Times.

En tant que programmateur, Scott Foundas a été directeur associé des programmes à la Film Society du Lincoln Center pendant trois ans, où il a
également collaboré en tant que membre au comité de sélection du New York Film Festival.
Il a par ailleurs été conseiller spécial auprès du Festival de Cannes.

En 2010, il a été nommé Critique de l’année aux National Entertainment Journalism Awards du Los Angeles Press Club.

En 2013, le festival Mar Del Plata Film Festival en Argentine a publié une série de ses articles en espagnol, intitulée Time Stopped.

Amir Labaki is a Brazilian curator, film critic, filmmaker and playwriter. He is the founder and director of It’s All True —International Documentary Film Festival, the leading and oldest event devoted exclusively to non-ficcional cinema in Latin America. He was the President of the Museum of Image and
Sound (MIS) in São Paulo for two terms (1993-1995, 2003-2005 and a member of the board of IDFA – International Documentary Film Festival Amsterdam (2003-2012).

Labaki writes about cinema at Folha de S. Paulo (since 1985) and Valor Econômico (since 2002). He is the author of 13 books on history and cinema, as Introduction to Brazilian Documentary (Francis, 2006) and The Truth Of Each One (Cosac Naify, 2015), an anthology of writings about documentary
by 32 leading filmmakers, from Robert Flaherty to Jia Zhang-Ke. Since 2004, he is also the director, writer and host of  It’s All True at Canal Brasil, the leading and oldest weekly TV program devoted to Brazilian documentaries.

27 Scenes about Jorgen Leth (2009), his first feature documentary, was selected for CPH-DOX (Danmark), Docudays (Liban), Jihlava (Czech Republic), DocLisboa (Portugal), Habana Film Festival (Cuba), Festival do Rio and São Paulo International Film Festival (Brazil).

He began his career in 1979 as Assistant Director to Jean-Luc Godard, Krzysztof Kieslowski and Bertrand Tavernier.
In 1995, he took over the camera and directed Madame Jacques sur la Croisette, a short film about one of the recurring topics of his work, the Holocaust.
A prize winner in many festivals, he won, notably, the 1997 César for best short film.
Voyages, his first feature film revealed him to the general public in 1999 (two César and one prize at the Directors’Fortnight, Prix Louis Delluc first film). Followed in 2009 by Nulle part, terre promise, rewarded in numerous festivals (Prix Jean Vigo) and in 2016, by Je ne suis pas un salaud.
He shot also too documentaries: Casting (2001) has won many prizes at French and international festivals and Je Suis (2012), won the Best Film Prize at the Un autre regard Festival.
His latest feature film, La Douleur, was released this year.

Trained at the ENSATT and the CNSAD, he acted for the stage under the direction of Alain Françon, Thomas Ostermeier, Simon Ston… He won the César for Best Male Newcomer in 2000 for his role in C'est quoi la vie? by François Dupeyron, to whom he returned in 2002 for La Chambre des officiers. A fan of arthouse cinema, he notably filmed Son frère under the direction of Patrice Chéreau in 2003. He worked with Lucas Belvaux, Laurent Herbiet, Catherine Corsini, Josiane Balasko, Costa-Gravas… He most recently filmed L’Amant d’un jour with Philippe Garrel and Grâce à Dieu with François Ozon. A screenwriter for his films, he moved behind the camera to direct Le Passager (2005 Venice Film Festival, Jury Grand Prize and Audience Prize at the Belfort Festival) and more recently a documentary, Carré 35 (2017 Cannes festival Official Selection, awarded at the Namur, Tübingen and Annaba festivals).

Iris Brey is a Franco-American film and TV series critic specialized in questions of feminism and gender. She wrote the book Sex and the Series (Éditions de l’Olivier, 2018), which analyzes the representation of women’s sexualities in American television. She also directed Sex and the Series, a documentary series for OCS about five fictional heroines, challenging the way we view sex. Her book The Female Gaze (Éditions de l’Olivier, 2020) won the Causette Prize. She is currently working on its documentary adaptation. Iris Brey is a critic for the TV show Le Cercle on Canal +, the magazine Les Inrockuptibles and Mediapart. She holds a Ph.D. in French literature and cinema from New York University and teaches film on the Parisian campus of the University of California. She is part of the 5050 collective

Rithy Panh was born in Phnom Penh in Cambodia. After escaping from the Khmer Rouge camps in 1979, he spent several months in a refugee camp in Thailand. He moved to France a year later in 1985 and began attending IDHEC (Institut des hautes études cinématographiques [Institute for Advanced Cinematographic Studies]).

After becoming a director, he has dedicated most of his films to his native country. He directed his first documentary, Site 2, in 1989 and other acclaimed films, including dramas such as Rice People, screened in the official Cannes competition in 1994 and One Evening After the War screened at Un Certain Regard in 1998.

However, it was the documentary S-21: The Khmer Rouge Killing Machine that left a lasting impression. The film won at Cannes in 2003 and earned the Scam Best Documentary Award. It also featured in various festivals.

He screened The Burnt Theatre outside of the competition in Cannes in 2005. In 2007, he made Paper Cannot Wrap Up Embers, which was based on the plight of female prostitutes in Cambodia and won the FIPA d’Or in Biarritz.

His documentary The Missing Picture received the Un Certain Regard Award, as well as an Étoile de la Scam. It was also nominated for Best Foreign Language Film at the Oscars.

In 2012, Rithy Panh published The Elimination, a moving in-depth account of his journey that was co-written with Christophe Bataille. The Elimination won numerous literary awards (Prix Joseph-Kessel de la Scam, Prix Aujourd’hui, Prix de la SGDL, Prix de l’Essai France Télévisions, Grand Prix des lectrices de ELLE).

In 2015, Rithy Pathy released his latest documentary France est notre patrie (France is Our Homeland). The film, which is mainly composed of archive footage, is the story of a failed encounter between two cultures, two sensibilities and two imaginary concepts

As a child, she acted with Claude Chabrol and Werner Schroeter. She then acted in La Vie Moderne by Laurence Ferreira Barbosa, her first major cinema role. Then with Coline Serreau, Claire Denis, Claire Simon, Benoit Jacquot, Mikael Hers, Zina Modiano, Marc Fitoussi, René Féret, Laura Schroeder (Barrage) and Laetitia Masson (Aurore).
She has also appeared in short films by Louis Garrel, Marilyne Canto, Mia Hansen Løve…
She then had roles specially writtenfor her, such as in Gaby baby doll by Sophie Letourneur and Drôles d’oiseaux by Elise Girard.
In 2006, she made a short film, À cause d’elles. She recently acted with Julian Schnabel, Lorenz Merz and Christophe le Masne.
Also, in the theatre, she has just appeared with Julie Gayet in Rabbit hole at the Célestins in Lyon. She is currently writing a feature film and is working with Isild le Besco on several projects.