And The Winner Shall Be…

Palme d'Or 

Dede Gardner, Bill Pohlad © AFP

The Palme d’Or was awarded to Terrence Malick for The Tree of Life.

After receveing his prize from actress Jane Fonda, the producer of the film, Bill Pohlad, said :

I have always wanted to speak French, and tonight more than ever. Tonight I have to take the place of a giant. Terrence Malick is very shy and discreet. But I spoke to him today and I know he is very happy to receive this honour. The Tree Of Life was a long journey, but it was all worth it. I would like to thank especially the Festival de Cannes.”

images by Cinema Redux live from Cannes May 22nd

For more information on this film: The Tree Of Life

The Tree of Life hits theaters on May 27th, 2011.

Cast: Brad Pitt, Jessica Chastain, Sean Penn, Fiona Shaw, Crystal Mantecon, Tamara Jolaine, Joanna Going, Jackson Hurst

From Terrence Malick, the acclaimed director of such classic films as “Badlands”, “Days of Heaven” and “The Thin Red Line”, “The Tree of Life” is the impressionistic story of a Midwestern family in the 1950′s. The film follows the life journey of the eldest son, Jack, through the innocence of childhood to his disillusioned adult years as he tries to reconcile a complicated relationship with his father (Brad Pitt). Jack (played as an adult by Sean Penn) finds himself a lost soul in the modern world, seeking answers to the origins and meaning of life while questioning the existence of faith. Through Malick’s signature imagery, we see how both brute nature and spiritual grace shape not only our lives as individuals and families, but all life.

The Tree of Life trailer courtesy Fox Searchlight Pictures.

Terrence Malick
The Tree of Life with Brad Pitt – masterpiece by Terrence Malick


Award for Best Actor 

Catherine Deneuve, Jean Dujardin © AFP

Le Prix d’interprétation masculine a été attribué à l’acteur français Jean Dujardin pour son rôle dans The Artist de Michel Hazavanicius.

L’acteur s’est agenouillé devant le Jury avant de reçevoir son prix des mains de l’actrice française Catherine Deneuve.

Le lauréat a déclaré: “Je partage ce prix avec Bérénice Béjo, ma partenaire dans le film. Merci pour ton regard bienveillant, ta générosité et ta pêche”. Jean Dujardin a aussi remercié le chef opérateur Guillaume Schiffman, et le réalisateur Michel Hazavanicius, avec qui il a fait trois films: “Ce type a un talent dingue”.

Plus d’infos sur The Artist

Award for Best Screenplay 

Joseph Cedar © AFP

The Award for Best Screenplay went to Hearat Shulayim (Footnote) directed by Joseph Cedar, who is currently travelling from Tel Aviv to attend the ceremony.

For further information on the film, click here: Hearat Shulayim (Footnote)

Caméra d'or 

Pablo Giorgelli © AFP

The Caméra d’or Prize was awarded to Argentine director Pablo Giorgelli for his film Las Acacias, selected in the Critic’s Week. He received the prize from Korean film-maker Korean film-maker Bong Joon-ho, President of the Caméra d’or Jury, and Spanish actress Marisa Paredes.

Pablo Giorgelli thanked the Critic’s Week Jury, his actors and crew, his producers and his family, all of whom were”incredible”.

For more information about the film go to: http://www.festival-cannes.fr/en/festival/aroundTheSelection/2011/CameraOr.html

Jury Prize 

Maïwenn © AFP

The Jury Prix was awarded to Polisse, by Maïwenn.

After receiving her award from the hands of actress Chiara Mastroianni, the director said: “My daughter told me I would not be able to go up to accept an award without crying. I would like to thank Thierrey Frémaux for having selected Polisse, but also the people from the Café de la Gare, who supported me seven years ago. I would finally like to thank the whole cast and crew of  Polisse, without whose support nothing would have been possible, and the Brigade for the Protection of Minors, who allowed me to observe the suffering of humanity“.

images by Serge van Duijnhoven, Cinema Redux live from Cannes May 22nd

More information on the film: Polisse

Grand Prix 

N.B. Ceylan / J-L. et P. Dardenne © AFP

This year’s Grand Prix went to two directors: Nuri Bilge Ceylan forOnce Upon a Time in Anatolia and Jean-Pierre and Luc Dardenne for Le Gamin au vélo (The Kid With a Bike).

Having received her award from Emir Kusturica, Nuri Bilge Ceylan said: “Thank you for bringing my film, which was difficult to make, to Cannes. It was screened on the last day of the Festival and I didn’t think anyone would go and see it”.

Jean-Luc and Pierre Dardenne then said: “Thank you for liking the kid on a bike in the film: Thomas Doré. Thanks also to you, Cécile, for playing Samantha.”

For further information on these films, click here:

Once Upon a Time in Anatolia

Le Gamin au vélo (The Kid With a Bike)

Kusturica Andreas Dresen Kim Ki-Duk Prize Un certain regard Ex-aequo Cannes 2011
Quote of the Day

You get 23 pairs of chromosomes from your mother and 23 pairs from your father and the question is, what do you add to the mix? That is what is wonderful,  because life is always a miracle.

Emir Kusturica

Interview with Emir Kusturica 

Emir Kusturica © AFP

You have just come out of the deliberations with your Jury for the awards of Un Certain Regard. Did you all fight about it?

No! We had a very good time. When I was part of the main jury, I met people from literary or public life, but this jury was composed just of people from cinema, and that makes it much easier. We really focussed on the cinematographic aspects. And since Un Certain Regard is renewing itself, in the sense that we have films that are fairly commercial as well as films by auteurs, in this mix, we found it easy to choose the ones we believe are the best.


In 2005, you presided over the Feature Film Jury, and this year over Un Certain Regard. Did you look at the films in this Selection differently and if so, why?
It’s interesting because at this time, Un Certain Regard is looking more like the main Competition. It’s no longer a programme that is restricted to one perspective. There are films that would normally be screened at Midnight Screenings and there are this year at least three films that could have been selected in Competition.


You also presided over the Cinefondation Jury in Cannes in 2003 and Kustendörf hosts a film school and seminars. What is your conception of the transmission of the art?
This is an extraordinary time for film, with a major technological revolution. But that doesn’t change the fact that whoever has a good idea or a good story is the one that we have to look for. We are in an era like the Baroque period in that a thousand possibilities are there for the artist: technical, stylistic, whatever… but the question remains: “How do you see the world?” What is good about this Festival is that even though it does not neglect the artistic and commercial aspects, it reserves a place for personal identity. This is not true of Hollywood, where technology is used to appeal to the market and make money. When I think about cinema, I always feel this passion to discover, to recognize and to unveil its secret.
What advice would you give to a student in cinema?
Stick to your ideas about your life and about your existential problems. Stick to the ideas that are crucial to your identity in the midst of history, stick to your feelings, your obsessions, your way of seeing things, everything that puts you in the centre of the world. And do not be carried away by technology.
You have said that the Festival is important because it is an event that upholds cultural diversity. What place and identity does Serbian film have in this diversity today?
I don’t think it has a strong identity. They follow and imitate some patterns of western cinema, which is fine as far as form is concerned, but not as far as content goes. And they are not discovering new talents. This is the direction I am trying to give with my Festival in Kustendörf. We need to find our identity and tell a story that is our own before it belongs to everyone else. I always compare it with nature. The best raspberries in the world grow in Serbia because of the soil and the atmospheric conditions in the country. You have to remember this when you make a film. But in Serbia, they don’t.
You have just published “Dove sono in questa storia? (“Where am I in this story?”), an autobiographical account of your childhood in Sarajevo. Why did you make this a book instead of a film?
Because I wanted to prove that I’m not as stupid as these directors who cannot write a book!
You are a filmmaker, musician, writer, architect…  What are you chasing after?
I don’t know. I’m very curious. And I must say that I have been able to express myself through all these disciplines. The most important thing in life is psychological stability. You’ve got to be balanced, strong and able to do many things. I was born with the ability to do many things and I proved that I could. As the scientists say, you get 23 pairs of chromosomes from your mother and 23 pairs from your father and the question is, what do you add to the mix? What happens to make you into a football player, scientist, model? This is what is wonderful, because life is always a miracle.
What inspires you today?
My greatest pleasure in recent times has been watching movies and being thrilled by the beauty that cinema gives to people. It is perhaps the only activity that lets the mind and body travel far away from reality, to enter another world. For example, I watched Aki Kaurismaki’s film, which was for me an absolute masterpiece, one of the best films I have seen in a long time. And the happiness, the catharsis that you go through watching a good film lights up your life. Being close to art, being exposed to art, and appreciating art is the most important thing in life. 
Kusturica Andreas Dresen Kim Ki-Duk Prize Un certain regard Ex-aequo Cannes 2011



Un Certain Regard 2011 presented 21 films directed by 22 directors hailing from 19 different countries. 2 of the works were first films.

Presided over by Emir KUSTURICA (Director, actor and musician – Serbia), the Jury was comprised of: Elodie BOUCHEZ (Actress – France), Peter BRADSHAW (Critic-The Guardian – United Kingdom), Geoffrey GILMORE (Chief Creative Officer-Tribeca Enterprises – USA), Daniela MICHEL (Director of the Morelia Festival – Mexico).

HALT AUF FREIER STRECKE (Stopped on Track) by Andreas DRESEN


BÉ OMID É DIDAR (Au revoir) by Mohammad RASOULOF

 Synopsis Arirang

about Kim Ki-duk
playing 3 roles in 1.
Through Arirang I climb over one hill in life.
Through Arirang I understand human beings, thank the nature, and accept my life as it is now.

We are now…
in the terrestrial world lurking with desires,
in the ghostly world lurking with sorrow
in the imaginary world lurking with dreams,
with no beginning nor end,
slowly going crazy.

What is affection that it still remains all around me decaying?
It’s still stuck to the crown of my head, testing my emotions.
It’s still hiding deep within my heart, testing my sense of compassion.
If I didn’t give my heart, they would be bad people erased from memories but if I gave my heart, I couldn’t let them go till the day that I die as despicable people.
Let’s mercilessly kill each other in our hearts till we die.

Even today
I hold back as I get angry
I laugh as I get jealous
I love as I despise
And forgive as I quiver with the urge to kill.
I will kill
Myself, who remembers you.

Ki-Duk KIM  

KIM Ki-Duk



Contacts and useful links


KIM KI-DUK FILM – Yura KWON – 4F Incline Bldg., 891-37 Daechi-dong, Gangnam-gu, Seoul 135-280, Korea – T : +82 2 569 6266 – yura@finecut.co.kr

French press

FINECUT CO., LTD. – 4F Incline Bldg., 891-37 Daechi-dong, Gangnam-gu, Seoul 135-280, Korea – T : +82 2 569 6266 – oya@finecut.co.krwww.finecut.co.kr

International press

FINECUT CO., LTD. – 4F Incline Bldg., 891-37 Daechi-dong, Gangnam-gu, Seoul 135-280, Korea – T : +82 2 569 6266 – oya@finecut.co.krwww.finecut.co.kr


Brad Pitt – main actor in Terrence Malick’s new masterpiece Tree of Life, approaching Cinema Redux in Cannes – images by Serge van Duijnhoven

Equipe de La Source des Femmes de Radu Mihaileanu

In his thirty years of career, Radu Mihaileanu has won eighteen prizes. He is selected for the first time In Competition at Cannes with The Source an Oriental fable worthy of A Thousand and One Nights.

Every day, the village women climb up the mountain to collect water at the source with their yoke across their shoulder. It has been this way since the dawn of time, until the day that they decide to break the mould. From that moment they decide to withdraw all sexual favours and will carry on until things change.

In this imaginary village, far from all prejudice, Radu Mihaileanu packs the whole culture of the arab-muslim woman of the world. What is really her role? How does she live? A long period of documentation was necessary for the director of Concert and Va, vis et deviens in order to write his cinematographic fable. “We went to meet women from villages like ours: they told us a mass of stories. We made real friends, discovered a wealth of riches.”
The Source is an ode to women. It celebrates beauty and freedom, “it’s a cry of love from women to me saying, ‘love us and look at us!’” In the skin of his women we find Leïla Bekhti in the role of Leïla, who is at the origin of the village’s protest, accompanied by Hafsia Herzi, également vue en Compétition dans House of Tolerance.



The story takes place in current times, in a small village somewhere between North Africa and the Middle East. The women fetch water from a mountaintop spring in the blazing sun. They’ve done that since the beginning of time. Leila, a young bride, urges the women to launch a love strike: no more cuddling, no more sex until the men run water into the village.

The great crisis of humanity is the crisis of love. I see humanity as paralysed by fear and a lack of trust: people are turning in on themselves, harbouring self-love, and have lost interest in what others are feeling.
Radu Mihaileanu, director of The Source.


 La source des femmes


Radu Mihaileanu gave a press conference for his film La Source des femmes (The Source). With him were actresses Leïla Bekhti, Hafsia Herzi, Biyouna, Sabrina Ouzani and Hiam Habbass, and actors Mohamed Majd and Saleh Bakri.

In a remote village in North Africa, women use the only weapon they have – sex – and go on a “love strike” that challenges traditional gender roles.

Director Radu Mihaileanu says he sees the fictional gender revolt depicted in his new movie “The Source” as crucial to the success of popular uprisings that have toppled dictators in Tunisia and Egypt this year and still smolder across the Arab world.

“The second revolution that’s needed, it seems to me, is one in the home, that will bring about gender equality in the private sphere,” Mihaileanu told reporters Saturday at the Cannes Film Festival, where the movie is competing for the top prize, the Palme d’Or.

Mihaileanu said the movie was inspired by a decade-old news story about women from a village in Turkey who, fed up with their arduous traditional task of fetching water from a distant well, started withholding sex.

“(This story) showed them in such a wonderful light. These women are combative, filled with light and humor,” said Mihaileanu, adding that although he had fallen in love with the story, he didn’t initially plan to make the movie himself.

“As I’m neither a woman nor an Arab, I didn’t feel legitimate,” said the Romanian-born French director behind the 1997 hit “Train of Life” and 2004′s “Live and Become.”

At first, he thought he would produce it and find an Arab woman filmmaker to direct it.

“But I didn’t find one, and as I was pitching it, everyone kept telling me, ‘you tell this story so well, why don’t you make it?’ So in the end I did,” he said.

Accuracy and believability became his holy grail, in everything from the plot line to the sets and costumes. Cast and crew spent a month in the Moroccan town where the movie was shot, experiencing village life and learning the local dialect.

Radu Mihaileanu’s film echoes the revolutions in the Arab world:
These revolutions represent a huge step forward. We wrote the film with the same sort of intentions, and we bet on the chance that women would be the ones to bring change, not simply throughout the world but especially in the Muslim world.Radu Mihaileanu on the way he chose to show the village in the film:
The main character in the film is the village. It was amazing, with ochre colours, that earth… it needed just a little bit of colour. We made the decision to borrow from the culture of all the Arab countries without betraying the unity of the Arab-Berber Moroccan whole. We used blues, yellows, oranges. The light was kind to all of the colours, the ochre, the walls, and skin tones as well.Hafsia Herzi on her two roles in Apollonide and The Source:
These are both women’s films; the two films talk about a similar subject and paint a beautiful portrait of women. They both have love and sex. I played two very different characters. In Radu’s film, I’m a young, unmarried woman and I get in on the love strike. In Bertrand Bonello’s film, I play a prostitute, a far cry from a love strike!

Leila Bekhti in La source des femmes

Leila Bekhti Radu Mihaileanu Sabrina Ouazani La source des femmes

Radu Mihaileanu: “Naast de revolutie die nu gaande is in de Arabische wereld, en die grotendeels op straat plaatsvindt met heroische mannen en vrouwen die de angst van zich afschudden en zich willen bevrijden van hun oude gecorrumpeerde regimes met hun machthebbers, is er nog een tweede revolutie die me essentieel lijkt voor de toekomst van de Arabische wereld. En dat is de revolutie die bij de gezinnen thuis plaatsvindt. Waar mijn film over gaat. De plaats van de vrouw dans l’intime. Dat de vrouw ook binnen de gezinstructuren een gelijke plek weet te verwerven aan die van de man en niet meer alleen als broedkip of huisslaaf zal hoeven te dienen ten gerieve van de mannen.

Radu: Ik wil graag hommge brengen aan Biyouna, ma cherie, die drie, vier gigantische monologen af heeft moeten steken in de film in een taal die eigenlijk ook de hare niet is. C’etait notre maman a tous.

Biyouna speelt de ouwe fusile, het karakter van de ouwe wijze vrouw die de mannen al zingend op hun falen wijst en vrouwen in de gemeenschap een spiegel voorhoudt. Het ouwe  vrouwenpistool, noemt het dorp haar niet zonder ontzag. Biyouna, zelf van Algerijns-Franse komaf: “On adore nos hommes, mais il faut discuter avec la femme, il faut respecter sa dignite, sa consideration. Ella besoin d’amour. Ik voelde me een slachtoffer van de economische crisis, je flippais de tout. Je suis alle dans ce village la, et j’ai gueri. Ik ben vandaag trots om Arabiere te zijn… vanwege de jasmijnrevoluties.”

Radu Mihaeleanu.Cinema Redux

Radu: de grote crisis van de mensheid, waar we ons voor gesteld zien, dat is de crisis van de liefde. De mensheid lijdt aan een gebrek aan vertrouwen in zichzelf, wat te maken heeft met de onzekere tijden waarin we leven en waarin de mensen gedwongen worden om zich op zichzelf terug te trekken in plaats van sympathie, liefde en empathie te tonen. En naarmate het narcisme meer aan terrein wint, is er minder marge voor liefde voor de ander. De echte vooruitgang voor de mens zal er pas komen als hij zich minder druk maakt om zichzelf en in plaats daarvan zich allereerst richt op datgene wat de ander behoeft, waar de ander naar snakt in plaats van hijzelf. Dat de mensen daar nu niet aan toe zijn of toe willen komen, heeft natuurlijk te maken met de economische malaise zowel als met de buitenissige welvaart van de superrijken. Zowel als met een ander cruciaal punt, nml dat van een fundamenteel gebrek aan tijd. Als de mensheid werkelijk iets wil bereiken dat hem verder brengt, dan zal zij een revolutie moeten beginnen om de tijd voor zichzelve terug te winnen. Onze samenleving is ten prooi aan een permanente versnelling, zozeer dat we in een toestand van dictatoriale immediatetee terecht zijn gekomen. Het dictaat van het nu, het kortstondig genot, de onmiddellijke bevrediging. We hebben of nemen geen tijd voor de belangrijke dingen van het leven, we gaan aan de essentie van het bestaan voorbij zonder de noodzakelijke reflectie, met tal van rampzalige gevolgen. Zowel op sociaal als politiek gebied. Onze samenleving verliest steeds meer haar ziel, haar warmte, haar menselijkheid. De politiek en commercie spelen hier op in door alles te reduceren tot hapklare brokken die we gemakkelijk moeten kunnen consumeren, wat eindigt in regelrechte manipulatie en uitbuiting. De grote revolutie die we nu nodig zullen hebben, zal er een zijn die zich afspeelt op het gebied van de educatie en de cultuur. Een omwenteling die er pas kan komen als we ons allemaal af durven te vragen wie we zijn als mensheid op deze aarde. Wat we willen. Daar is tijd voor nodig, om een grondig antwoord te formuleren. Terwijl we tegenwoordig geen tijd meer willen nemen om over dit soort wezenlijke zaken na te denken. We willen meteen het antwoord krijgen voorgeschoteld. Om tot een hogere vorm van beschaving te kunnen komen, zal eerst de basis grondig moeten worden gelegd. Si la fondation est fragile, rien de stable pourrait se construire. Als wij als mensen niet in staat zullen blijken om ons op de bron van ons mens zijn (Qui sont nous dans ce monde) her te bezinnen, zal onze hele verdere beschaving uiteindelijk ineenstorten. De revolutie die we nu in de eerste plaats nodig hebben, zal zijn het opnieuw vertragen van de tijd. Nous dans le cinema on sait tres bien: on est dans l’ammortissement a court terme dans tout. Meme a l’ammortissement a court terme de nos sentiments. Korte termijndenken.  Korte termijnbelangen. Korte termijn-sentimenten. Il faut que nos sentiments soient ammortis. Ik weet waar ik over praat, want ik heb in deze ook boter op mijn hoofd. We willen allemaal meteen profijt zien van onze investeringen, van onze relaties. We moeten van dit korte termijn denken af zien te geraken. Als we er opnieuw in weten te slagen om de tijd te vertragen en onszelf meer tijd te gunnen voor de belangrijke dingen in dit leven, dan zullen we er wellicht ook stapje voor stapje in weten te slagen om van dat korte termijn denken af te geraken. Het dictaat van alles.

De grootste moeilijkheden voor de regisseur deden zich voor door la concentration exacerbee et permanente, veroorzaakt door het feit dat de film in een taal en dialect diende te worden opgenomen dat hij  zelf niet meester was. En de meeste acteurs trouwens ook niet. Het Berbers van noord- Marokko. Daarnaast waren er tal van obstakels vis a vis la mise en scene.

Leila: deze film is een Ode aan de Liefde. Het is geen manicheistische film, die de vrouwen poogt op te zetten tegen de mannen. Het is een film die het belang bezingt van de liefde en de noodzaak om nader tot elkaar te komen. Er is een zin in de film, die wordt gezongen: La sources des femmes c’est l’amour. La source de la femme c’est son homme.

De sleutel van de vrijheid, is de kennis. Onderwijs.

La vie ne vaut etre vecu sans amour. Gainsbourg. Zonder liefde is het leven niet de moeite.

Het dorp,le village, is een van de hoofdpersonen uit de film. Le village ideal, trouve.

Les costumes dans les villages Maroccains sont pour 95% Chinois. Les Chinois envahissent en masse l’Afrique et les pays pauvres.


Press kit download (PDF)


The Source





Hiam Abbas Hafsia Herzi Leila Bekhti Sabrina Ouazani Biyouna Radu Mihaileanu Photocall La source des femmes


Contacts and useful links


ELZEVIR FILMS Paris – France T : +33 (0)1 55 31 27 42 – laetitia.pichon@elzevirfilms.frwww.elzevirfilms.fr OÏ OÏ OÏ PRODUCTIONS Paris – France T : +33 (0)1 43 57 00 11 – oioioiproductions@noos.fr EUROPACORP (FRANCE) FRANCE 3 CINÉMA (FRANCE) AGORA FILMS (MAROC) CIE CINÉMATOGRAPHIQUE EUROPÉENNE (BELGIQUE) INDIGO FILM /// BIM DISTRIBUZIONE (ITALIE)


EUROPACORP DISTRIBUTION – T : +33 (0)1 53 83 03 03 – pkaempf@europacorp.comwww.europacorp.com

French press

François Hassan Guerrar – Melody Bénistant – T : +33 (0)1 43 59 48 02 – guerrar.contact@gmail.com

International press

Vanessa Jerrom, Claire Vorger – T : +33 (0)1 42 97 42 47 – vanessajerrom@wanadoo.fr

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