第39届南特三大洲电影节主竞赛单元
南特三大洲电影节
Festival of the 3 Continents
1979年由法国阿兰·雅拉杜和菲利浦·雅拉杜两兄弟发起。在法国卢瓦雷省省会南特市创办亚洲、非洲和拉丁美洲电影节，简称“南特三大洲电影节”，受到法国艺术片和实验片协会的支持与协助。每年11月至12月举办。为期6天左右。
华语电影是南特三大洲电影节的常客，几乎每年都会有独立电影和艺术电影入选竞赛单元，从早期的侯孝贤、关锦鹏，到如今的王兵、毕赣，南特也见证了一批批华语导演的成长与迭代。
曾获得南特三大洲电影节的最高奖【金气球奖】的华语电影包括：
第6届侯孝贤《风柜来的人》，第7届侯孝贤《冬冬的假期》，第8届颜学恕《野山》，第10届关锦鹏《胭脂扣》，第13届叶鸿伟《五个女子与一根绳子》，第14届李少红《血色清晨》，第15届宁瀛《找乐》，第19届陈果《香港制造》，第20届贾樟柯《小武》（与是枝裕和的《下一站，天国》并列），第22届贾樟柯《站台》，第26届王超《日日夜夜》，第29届赵亮《罪与罚》，第34届王兵《三姊妹》，第37届毕赣《路边野餐》。
毕赣在第37届南特三大洲电影节
第39届南特三大洲电影节主竞赛单元共有8部作品入选，其中中国导演文晏的《嘉年华》与顾桃的纪录片《驯马》携手入围。
第39届南特三大洲电影节主竞赛单元
遗忘诗行 Los versos del olvido (2017)
导演: 阿利雷扎·哈塔米
编剧: 阿利雷扎·哈塔米
类型: 剧情
制片国家/地区: 智利 / 法国 / 德国 / 荷兰
语言: 西班牙语
片长: 94分钟
In Oblivion Verses, the characters are so discreet that one of them only speaks to us about the life of the dead from inside the grave he is digging. This invisible gravedigger is one of the closest companions of the equally anonymous caretaker of this graveyard for the destitute (the remarkable presence of Juan Margalo, The Spirit of the Beehive). One day, the caretaker is surprised by the visit of militiamen who seem to want to hide the civil victims of a demonstration. The discovery of a young woman’s body awakens other barely buried memories – of civil war, personal losses and other brutalities – that restore the importance of 35 42499 35 15043 0 0 3103 0 0:00:13 0:00:04 0:00:09 3102this silent activity and give an aesthetic value to the repeated and patient gestures of those who by providing graves also give the living a chance to survive their death. These characters, soon joined by an old woman in search of her missing daughter and a hearse driver, seem to live in a world of which they have become the sole custodians. In this debut feature filmed in Chile, the Iranian Alireza Khatami is in no way uprooted, as his film is tinged with a magical realism that brings us closer to a place and a question that are universal: how can one recount that which we can no longer even remember?
嘉年华 Angels Wear White (2017)
导演: 文晏
编剧: 文晏
类型: 剧情
制片国家/地区: 中国大陆 / 法国
语言: 汉语普通话
片长: 107分钟
The characters of Angels Wear White, the second feature of the Chinese filmmaker Vivian Qu, could say – as in Jean Renoir’s famous films – that they each have their reasons. Although the points of comparison between the two films are as limited as the subjects are different, the intelligence of Angels Wear White – like that of the French director – consists in finding the means to reveal these reasons at the same time showing that they are interdependent. The starting point. In a motel in a small coastal town in southern China, a middle-aged man sexually assaults two schoolgirls. Mia, a young undocumented cleaner, is subbing at reception that night and is the sole witness to a crime that she chooses not to denounce for fear of losing her job. The two youngsters, with no support, then have to find their own way to a possible reconstruction. By neutralising the dramatic choices that would have allowed him to secure our adhesion, and by keeping at times on the edge of a story that could well have turned into a crime film, Vivian Qu searches for a more oblique but more enriching way to highlight the situation of women in contemporary China. It is above all her ethical and political conscience that allow her, without hiding anything (the function of the off-screen is crucial here) to avoid imprisoning her characters in the role of victim.
托布兰克 Toublanc (2017)
导演: 伊万·冯德
编剧: 伊万·冯德
类型: 剧情
制片国家/地区: 阿根廷
语言: 西班牙语
片长: 100分钟
After Gustavo Fontan’s The Real Lemon Tree (Jury’s special mention) presented in last year’s competition,Toublanc, the new feature of the very productive Iván Fund, again encounters the realm of the great Argentine author Juan José Saer. On the surface, it portrays two totally disconnected stories, as their main characters, Inspector Toublanc (Nicolas Azalbert) and the solitary Argentine French teacher Clara (Maricel Alvarez), do not know each other and live their lives thousands of miles apart. Yet this distance is relativised by the mise-en-scène, which ineffably builds up the intensities of their presence in landscapes of little note (whatever these may be). They appear like travellers in continual transit. By transcending the commonplace dimension of reality filmed in its most prosaic quotidian, Toublanc uncovers the most tenuously fictional aspects of our lives. Reality will always be a garment that is far too large for us to inhabit it.
热情长久 Adiós entusiasmo (2017)
导演: 弗拉基米尔·杜兰
编剧: Sacha Amaral / 弗拉基米尔·杜兰
类型: 剧情
制片国家/地区: 阿根廷 / 哥伦比亚
语言: 西班牙语
片长: 79分钟
In the vast Buenos Aires apartment where they live, Axelito, Antonia, Alejandra and Alicia “gravitate” permanently around their mother, Margarita. A mysterious treatment forces her to stay locked up in her bedroom, to which only her children have the key. Margarita’s voice, a real presence-absence, does not leave the off-screen world. While at first it seems that she has the power to control what they do and say, the birthday party they prepare for her calls this relationship into question. Be it the “dark matter” mentioned before the first image appears or Margarita’s invisible bedroom, darkness is at the centre of the dramaturgy of Adiós entusiasmo. Yet, it is towards the light that Vladimir Durán’s debut feature strives throughout. The seemingly light-hearted tone, the careful and delicate humour he bestows on his characters enable him to avoid the hysteria of the family drama and keep alive the siblings’ desire for equilibrium.
驯马 Taming the horse (2017)
导演: 顾桃
类型: 纪录片
制片国家/地区: 中国 / 加拿大
语言: 汉语普通话
片长: 124分钟
“This is my friend Dong, who is into rock’n roll and everything that leads to freedom.” Tao Gu visits his childhood friend for his thirtieth birthday, ten years after promising to return with him to his native village in inner Mongolia. For financial reasons, his family had migrated to Kunming in southern China. The journey finally gets underway, but it reveals above all else the existential wanderings of Dong, who lives for “nothing but love”, preferably in the plural, unpredictable and passionate. Squeezed into his irremovable black perfecto jacket, jobless and pressured to find work by his family and a brother who has done “very well for himself”, he unenthusiastically starts a business trading in jade. The closeness between the filmer and filmed opens up the experience to the most intimate and fluctuating relationship of trust. Torn between disappointed aspirations and a difficult adaptation to China’s rapid pace of change, Dong remains unconsciously resistant to the world surrounding him. Marginalised, with no illusions.
拳击手之恋 Mukkabaaz (2017)
导演: 阿努拉格·卡施亚普
编剧: Ranjan Chandel / 阿努拉格·卡施亚普
类型: 剧情
制片国家/地区: 印度
片长: 153分钟
The story of a low-caste boxer with a bullet-proof obstinacy, The Brawler rekindles the exciting sensation of doping that creeps into each of Anurag Kashyap’s films. « Education will take me nowhere, » insists Shravan (Vineet Kumar Singh) faced with the continuous disapproval of his father, who remains sceptical about his son’s determination to become India’s Mike Tyson. The young fighter’s enthusiasm does not wane when “lower-caste” trainers take him in hand, sidestepping the boycott decreed by the Brahmin, Bhagwan, a local kingpin and influential promoter of boxing in the region. Strengthened by his love for Sunaina, the mute (but not forcibly submissive) niece of powerful Bhagwan, Shravan does not kowtow. A boxing film and the umpteenth Shakespearean gesticulation of Indian cinema, a thriller and incisive critique of a kind of social Darwinism, Kashyap’s fourteenth feature regurgitates all the ingredients of popular culture (the singing, the street, the decorous flirting, the television- and video-clip-style gimmicks…). In doing so, it restores the genre to all of its subversive strength and offers another cinematic mirror to replace that in which India loves to contemplate itself.
倔强的牛顿 Newton (2017)
导演: Amit Masurkar
编剧: Amit Masurkar / Mayank Tewari
主演: 拉吉·库玛 / 潘卡·特里帕蒂 / 拉格胡维尔·亚达夫 / Anjali Patil
类型: 剧情 / 喜剧
制片国家/地区: 印度
语言: 印地语 / 岗德语 / 英语
片长: 106分钟
Newton is the name that Nutan has purposefully chosen to introduce himself to others. A far-from-banal decision when made by a young man capable of endangering his life for the sake of the right to vote. A university graduate and opposed to some customary practices (like the marriage to an under-age girl that his parents propose), he is in charge of managing the polling station in an isolated village in Chhattisgarh jungle in central India. A simple task in theory, if only he did not have to deal with local problems, including the sceptical cooperation of the security forces who are there to stop attacks by the communist rebels. This humorous and sensitive second feature by Amit V. Masurkar – the Indian Oscar nominee for the Best Foreign Language Film – takes us deep into rural India and places its character face to face with the complex question of a country said to be the largest democracy in the world. But what is this built on?
狮子彻夜未眠 Le lion est mort ce soir (2017)
导演: 诹访敦彦
编剧: 诹访敦彦
类型: 剧情
制片国家/地区: 法国 / 日本
语言: 法语
片长: 103分钟
One year after Albert Serra’s The Death of Louis XIV, Nobuhiro Suwa filmed Jean-Pierre Léaud playing another aging character, that of an actor whom death observes from an an ever-narrowing distance. Yet, Suwa’s film seems to take exactly the opposite path to the Spanish director’s film, expressing another desire to film an actor facing the same mirror of mortality. Whereas Serra showed a ravaged and weakened monarch, Suwa sets out to film the actor caught bewteen the broad daylight of life and a shadowy zone that is inexorably drawing nearer. And instead of fiction, what Jean-Pierre Léaud finds in the Jean he is playing is Léaud himself – for us who remember witnessing each of his appearances as being the infancy of the art. When children come knocking at his door, we no longer discern whether it is one of them or Léaud himself who is facing the ghost(s): that of a disturbing old man looking at childhood, whose loveliest and most rebellious image he had embodied better than anyone. Unless the contrary holds, only life that continues and the cinema’s luminous pleasure of setting out to conquer it. Suwa obviously knows that Jean-Pierre Léaud is the most moving incarnation of cinema.
此外，以下7部影片入选特别展映单元：Rungano Nyoni的《我不是女巫》，张涛的《喜丧》，王兵的《方绣英》，马可·杜特拉与朱莉安娜·罗夏斯的《彬彬有礼》，Matan Yair的《施工架》，安娜玛丽·雅西尔的《必修课程》，以及洪尚秀的《独自在海边的夜晚》，第39届南特三大洲电影节将于11月21日至28日在法国南特进行。
《必修课程》
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