Les Rencontres de Films Femmes Méditerranée will be reduced and shown online from November 20th
The 15th edition of the lively Marseillaise film festival scheduled from November 20 to 26 will take place in a reduced form given the pandemic situation.
The programme, which initially showed 40 movies, a masterclass by the Morrocan director Leila Kilani and a workshop gathering directors and producers, will be cut to the online showcase on their own website, possible via a partnership with UniversCiné.
9 films will be available online for free from November 20 to 26.
SHOWCASE FILMS FEMMES MEDITERRANÉE
Available online from November 20th until 26th
A Fish Tale, by Emmanuelle Mayer
Daraya, La bibliothèque sous les bombes by Delphine Minoui and Bruno Joucla
Gli appunti di Anna Azzori Uno spechio che viaggia nel tempo, by Constanze Rhum
La rivière sans repos, by Marie Hélène Cousineau and Madeline Ivalu
Moments of Resistance, by Jo Schmeiser
Simple Women, by Chiara Malta
Tanger le rêve des brûleurs, by Leila Kilani
The Earth is Blue as an Orange, by Iryna Tsilyk
The Lebanese Rocket Society, by Joana Hadjithomas and Khalil Joreige
2020 was a singular year that forced us to adapt. And if Utopia is seen not as what is unreachable but as what is not yet reached, then this online programming definitely carries the seeds of impulses that are resolutely on the side of life.
It brings resistant female figures to life, from opposition to Nazism to present struggles for an egalitarian, non - exclusive society in Jo Schmeiser's film Moments of Resistance. Such a web of past and present women also surrounds Anna, in Gli appunti di Anna Azzori, uno specchio che viaggia nel tempo by Constanze Rhum.
These women also invent how to live between two cultures, whether they are Inuit in Canada's Far North, by La rivière sans repos by Marie-Hélène Cousineau and Madeline Ivalu, or Ghanaian in Israel, in A Fish Tale by Emmanuelle Mayer.
And if, at times, the quest for Utopia is but a journey into despair, as conjured up in Leïla Kilani's Tangiers, the dream of the burners, it may also open a new territory, a spatial one, as depicted in The Lebanese Rocket Society by Joanna Hadjithomas and Khalil Joreige.
This territory to be invented and conserved is also that of literature, of books to save, as do the young Syrians in Daraya, the library under the bombs, by Delphine Minoui and Bruno Joucla.
Finally, the cinema as Utopia, as a space of self-fulfilment and reconciliation with oneself, is that of Chiara Malta in Simple Women. And also of this young woman from the Donbass region at war, who succeeds in making her artistic future in The Earth Is Blue Like An Orange, by Iryna Tsilyk.
So many reasons to believe in the power of Utopia, Women and the Cinema!