merry - go - round ( 1956 film )
film essay on merry - go - round (1956), the hand (195 ...
film essay on merry - go - round (1956), the hand (1956) and barrier (1966). [ central european film class ]
film class: film essay on merry - go - round (1956), the hand (1956) and barrier (1966). [ central european film class ]
there are no featured reviews for körhinta (merry - go - round) at this time .
there are no critic reviews yet for körhinta (merry - go - round). keep checking rotten tomatoes for updates !
the filmography for merry - go - round has been compiled from information in játékfilmek / hungarian feature films 1931 - 1998, the film credits, and sources in the hungarian film institute archive .
[ vii ] the possible influence of sholokov was suggested to me by istván rubovsky, lecturer at debrecen university, who has studied merry - go - round extensively .
permission to proceed with merry - go - round was received on 22nd july, 1955 and shooting was wrapped up in early november leaving just under three months for editing and other post - production work in time for the film to be premiered in february 1956 and then taken to the cannes film festival .
casffa is proud to screen merry - go - round, courtesy of the hungarian national film fund, in partnership with the hungarian consulate in melbourne. admission is free with ticket purchase to any other casffa session .
•1956: körhinta (merry - go - round / un petit carrousel de fête) by zoltán fábri (1955, 1h30, hungary): in competition. presented by the hungarian national film fund - hungarian national film archive. a 4k scan and digital restoration from the original 35mm image & sound negatives plus additional materials: the original dupe positive and another film positive. restoration made by the hungarian national film fund – hungarian filmlab .
hegyi, barnabás, ‘igy fényképezetem a körhinta t’, szabad ifjuság, 2 feb. 1956
as with a number of early fábri films, merry - go - round opens with a lengthy establishing shot. an extreme long shot of a country fair from a high vantage point is followed by a zoom - in to the merry - go - round. a sub - title then informs us that this is a story from autumn 1953 (‘1953 oszen történt’) – significantly the year of stalin’s death. the circular movement of the riders on the merry - go - round provides one of the key motifs of the film, preparing the viewer for the important scene to come early in the film and another scene later on at a wedding celebration where the circular motif is repeated, this time in a frenetic dance sequence .
) by imre sarkadi. it was in competition at the 1956 cannes film festival. it was later selected to be screened in the cannes classics section of the 2017 cannes film festival .
carson, fred, and jacques daniel - valcroze, fereydoun hoveyda, louis marcorelles. ‘cannes 1956’, cahiers du cinema, vol. x, no. 60. june, 1956. pp 13 - 20
there isn’t a scene in merry - go - round, in the tone or subject matter that comes off badly, nor is there a conventional element. everything is of a freshness, vivacity and sometimes even boldness, that testifies to a very remarkable talent .
is a hungarian film directed by zoltán fábri, based on a short story by imre sarkadi. it premiered at the 1956 cannes film festival and was selected as one of the budapest 12 by hungarian critics in 2000 .
a tale of forbidden love set against a contemporary societal change towards individualisation, merry - go - round launched the career of mari törőcsik, who plays a beautiful young farmer’s daughter whose father is insistent that “land marries land” and that financial considerations overrule affairs of the heart .
is historically significant because it was released shortly before the country' s failed uprising and revolution against soviet imposed rule in 1956 .
baker, peter, ‘cannes’, films and filming, vol. 2, no. 10. july, 1956, p. 34
the film ends when pataki realises that farkas is not fit for his daughter and that máté, despite his new - fangled ideas, is actually a worthy fellow and someone not afraid to get his hands dirty as he demonstrates by mucking out the cows. máté and mari now embrace in that most unromantic of places – the cow shed and the film closes with another shot of the merry - go - round .
on the 18th may 1954 fábri submitted a proposal to the dramaturgical council for a new film based on a novella, in the well (kútban) by the popular writer imre sarkadi. given the working title of girl market (leányvásár) the title of the film was later changed to merry - go - round (körhinta) and was to become one of the most popular and enduring hungarian films if all time .
anderson, lindsay, ‘panorama at cannes’, sight and sound, vol. 26, no. 1. summer, 1956, p. 20
predictably the film was well - received in other iron curtain countries although, again, it received no prizes suggesting that host juries were worried about or not inclined to give a prize to a film from a country which so recently had erupted in open revolt against the ‘eternal friendship’ of the soviet union. merry - go - round and later fábri films became popular in bulgaria, turkey, argentina, iran and india, the latter country hosting a fábri retrospective at the 26 th international film festival of india in bombay in 1995 .
litván, györgy (ed .), the hungarian revolution of 1956: reform, revolt and repression, 1953 - 1963. london, longman, 1996
outside of hungary the film made an impact with a number of critics and the film was almost universally praised. favourable reviews appeared in newspapers and journals in many countries but most of all in france. cahiers du cinema had no less than four reporters covering cannes and in an article signed by this quartet they waxed lyrical about merry - go - round, ‘one of the most moving love stories that we have seen since solitude and ceux de la zone ’ (carson et al. 1956: 14). the film historian and critic georges sadoul added his tribute. of all the voices of praise, however, few carried more weight than that of cahiers editor, andré bazin the revered film theorist and writer. writing in le parisien he stated :
after enrolling myself a central european film class [ despite the class name being
national film
as a way to trick students ] - i have found the sources of film criticism of central european film limited (in english anyway) and there were the same group of authors .
amidst the conflict of a hungarian farmer leaving the farming community' s collective, his daughter, mari, falls deeply in love with biro, despite her father' s insistence that she marry another suitor who plays into his future prospects .
land marries land
he says, the apparent rule of hungarian peasantry, but the two lovers refuse to give in. zoltan fabri' s merry - go - round presents love as a carnival ride and renders its intoxicating freedom in pure movement, whether its lovers spiraling on the merry - go - round or while feverishly dancing or simply walking, embracing or glancing across a busy room. it is an enrapturing portrait of young love, a subject almost too often tackled by cinema yet rarely rendered so poetically and tenderly, even beating the french…
the political situation (at this time always a reflection of the political flux and backstabbing in moscow) however remained unstable and rákósi was able to regain his former position and demote nagy. however, the reform movement had by now built up a considerable momentum and would not be easily stopped. an avant - garde centered around the petőfi circle, a debate and discussion group which increasingly attracted large numbers of intellectuals and many party members, continued to argue for change. demonstrations by students and continuing unrest in the factories were to prove the final spark that erupted in october 1956. it was merry - go - round, more than any other film, that caught this mood of change and optimism .
john cunningham, senior lecturer in film studies, sheffield hallam university, uk .
according to apor noémi when the winners were announced there was much derisive whistling from the audience. quite why merry - go - round never received a prize is a mystery as critics and reviewers praised the film in no uncertain terms. many years later in an interview with the hungarian newspaper kurir, fábri suggested that pressure had been brought to bear on the jury, though by whom and why is not at all clear. always the gentleman fábri also thought truffaut’s behaviour was ‘rude. ’ (fábri, 28 december 1992 )
of the non - film influences it is important to note the role of hungarian literature and the way it has always interacted with film right from the very earliest days. fábri himself was a keen adaptor, indeed all his films are adaptation of works of hungarian authors, some of whom are hardly known outside the country. with respect to merry - go - round the work of the popular writer zsigmond móricz (1879 - 1942) needs particular mention. he acquired a deserved reputation in the 20th century for his gritty, realist novels and short stories about country life and its hardships and echoes of his work can be discerned in the film, as perhaps can also be found echoes of the soviet writer mikhail sholokov. [ vii ]
törőcsik’s performance was indeed memorable but that of imre soós as máté is also worthy of note. unlike törocsik, soós was an established actor both on stage and screen, probably best known in hungary at the time for performances in socialist realist films where his statuesque good looks were considered ideal for playing stakhanovite worker - heroes. such appearances included his role as feri torma in the truly dreadful singing makes life beautiful (dalolva szép az élet) directed by márton keleti in 1950 and try and win (civil a palyán, 1952) also by keleti. his most notable achievement in film, prior to merry - go - round was the lead role in hungary’s first colour film mattie the gooseboy (ludas matyi, 1950 – now recently restored by the hungarian film institute) .
hungarian film bulletin (anon. interview with fábri) vol. 4, 1967. p. 5
throughout the film mari continues to act as a link between the warring factions around her. in one scene her lover and her father confront each other at the headquarters of the co - operative. she is there to deliver her father’s dinner, and before she can leave máté enters. an argument ensues between máté and pataki and as this becomes more intense, mari’s look is used to connect the two antagonists and place her, visually, in the centre of the debate. at the end of this sequence, on the road outside the co - operative, máté and mari go their separate ways, their future, at this point uncertain. máté looks up at the sky and watches the flight of a ‘v’ formation of geese overhead, [ vi ] repeating the sky motif at the end of the merry - go - round sequence .
merry - go - round is set in countryside hungary where career is synonymous to farming and status symbol is reflected through the amount of land one owns. it’s a film centred on the theme of patriarchy and the victim is mari pataki, the protagonist, who is in love with this young man called mate but is forbidden to see him by her father. on the other hand, he wants to marry her off to his business confidante with whom he has signed a land deal. “land marries land” says mr. pataki explaining how women in that society are nothing but mere props used to get the best of land deals. in a marriage scene, someone announces that the bride is soon going to…
the unforgettable carousel and dance sequences remain especially celebrated in a film enlivened throughout by barnabás hegyi’s lyrical, virtuoso cinematography .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
this list collects every film from the starting list that became they shoot pictures don' t they' s 1000 greatest films. this…
it is also possible that the french saw parallels between their efforts to break away from their own ‘official’ film heritage (the ‘quality’ film, ‘le cinema du papa’ so fiercely derided by truffaut and others) with the hungarian trajectory of developing a cinematic practice and aesthetic free from, or at least limiting, the constraints of socialist - realism and various forms of state control. the depiction of rural life in merry - go - round was also more likely to strike a chord in a country such as france with its strong agrarian / peasant tradition than in britain or the usa. no doubt, on a more basic level, they were responding with enthusiasm to a fine piece of filmmaking which embodied many of the characteristics they were looking and urging for in their own national cinema (sentiments which no doubt also motivated lindsay anderson) – spontaneity, contemporary relevance, location shooting, the inspirational role of the director, fresh young talented actors and actresses, none tied to tradition or constraints but all working for something new, fresh and exciting .
sitting at a table drinking a beer, pataki and farkas engage in smallholder talk – farm prices and the like – while mari, totally ignored, begins to daydream. at this point we are introduced to máté who contrasts strongly with the smallholders in their black jackets, waistcoats and hats, stiff postures, and growling conversation. máté dresses casually and, in the company of a small group of friends, is relaxed, friendly but also commands respect as demonstrated when he helps out a flustered waiter by sorting out the meal order for his group. mari, looking idly into the mirror on her mészeskalacs - szív, spots the group. while her father’s attention is elsewhere three young women from máté’s group persuade mari to join them, despite her mother’s concern, for some fairground fun and games. this leads into the most famous sequence in the film, the merry - go - round ride .
just gorgeous. shots that convey the depth of feeling of a silent combined with some of the best use of music i can remember to tell a story of patriarchy and love. the rhythm of editing to go with the constant music is impeccable .
it' s definitely not an exciting film, but it does have it' s moments and is my favorite of the marathon so far .
• lucía by humberto solas (1968, 2h40, cuba) a presentation of the film foundation. restored by cineteca di bologna at l’immagine ritrovata laboratory in association with instituto cubano del arte e industria cinematográficos (icaic). restoration funded by turner classic movies and the film foundation’s world cinema project .
•1981: człowiek z ż elaza (man of iron / l’homme de fer) by andrzej wajda (2h33, poland): palme d’or. a presentation of the zebra film studio (studio filmowe zebra) with the collaboration of the polish film institute. 2k film restoration from original colour 35 mm negative. restored sound from original magnetic tape. restoration lead by daniel pietrzyk, colour grading lead by aleksandra kraus, at yakumama film, warsaw. sound restoration lead by tomasz dukszta. artistic supervision by: andrzej wajda (director), jerzy łukaszewicz (dop), piotr zawadzki (sound) .
the second is the recurring theme of merry - go - rounds. the film opens in the midst of a carnival where we see the young lovers enjoying a ride together, escaping for a temporary moment of happiness before they have to return to sad reality. then later in the pivotal scene of the film, one that takes place at a local wedding. the lovers dance while a folk band plays, and the world around them seems to fade away. however, in reality they are soon the only couple on the dance floor and the whole village, including mari' s husband to be, is staring at them while they dance away. the furious editing, interspersing scenes of their previous carnival ride with their dance, accentuated by the incredible sound of their feet as they spin to the music, builds a wonderful tension that words can' t describe, just an incredibly directed and memorable sequence .
• david stratton - a cinematic life by sally aitken (2017, 1h37, australia) presented by stranger than fiction films. produced by stranger than fiction films, with screen australia, abc tv arts, screen nsw and adelaide film festival. an love adventure of film critic david stratton with his adopted country, australia, which led him to understand himself. it is also the glorious history of australian cinema and its creators told by this cannes - regular film - lover interested in the world .
the whole sequence takes just two minutes eleven seconds and, in thirty one shots (giving an average shot length for the sequence of 4. 2 seconds) establishes many of the major themes of the film: máté and mari’s affection for each other, the supporting roles of their friends, pataki’s disapproval, etc .). while the merry - go - round ride is in motion, máté and mari, sitting near to each other, reach out, hold hands and finally embrace and kiss. by the 20th shot of the sequence, the bell signalling the end of the ride can be heard and a medium close up registers mari’s disappointment. in the last shot of the sequence máté also gives mari a mészeskalacs - szív, similar but smaller than the one given by farkas earlier. the father’s gruff voice is heard off - frame and mari goes over to him to receive a stern reprimand for such shameful behaviour. contemptuously, he knocks away a balloon that mari has been holding and the camera follows it up into the sky and out of sight. this is the end of the fairground scene .
•1970: soleil o (oh, sun) by med hondo (1h38, mauritania - france): semaine de la critique. presented by the film foundation. restored by cineteca di bologna at l' immagine ritrovata laboratory in collaboration with med hondo. restoration funded by the george lucas family foundation and the film foundation' s world cinema project .
• native son (sang noir) by pierre chenal (1951, 1h47, argentina) a presentation by argentina sono film. restoration with the collaboration of the library of congress .
hungary is not one of the countries from which we expect outstandingly fine films [ sic ]. this year [ at cannes ] was full of surprises. körhinta (a little fairground) [ sic ] – directed by zoltán fábri with blea [ sic ] barsi, manyi kiss and mari törőcsik – is a warm - hearted story of village love and life… the old story is told with charm and no little skill. (1956: 34 )
•1980: all that jazz (que le spectacle commence) by bob fosse (1979, 2h03, united states of america): palme d’or ex - æquo. presented by park circus. 4k restoration by twentieth century fox and the academy film archive in collaboration with the film foundation. the restoration was produced from the original camera negative at sony colorworks in culver city california .
balaz, bela. “the close - up” in erica carter, ed. , bela balazs: early film theory (new york: berghahn books, 2010), pp. 38 - 45
while watching this film there are two things about this film that stand out, the first is mari töröcsik, who is strikingly beautiful and delivers an amazing performance. she is effortlessly able to convey youthful innocence, wonder, anguish, joy and everything in between with just a look; and the camera often captures these expressions with dreyer like tight close - up shots of her face .
the wife of a political prisoner tends to her mother - in - law and keeps from the old woman the truth about her son, whom she believes is in new york making a film .
[ i ] most of his acting was on the stage. of his two performances on film the best known is in péter bácso’s the witness (tanu, 1969 – released in 1979) .
[ iii ] however, much of this discussion was couched in the wooden clichéd tones of socialist realist criticism, centring around such shibboleths as whether or not the film had brought out the ‘role of the party’ sufficiently. see, for example, miklós molnár in free people (szabad nép, 5 january 1953) who moaned that the film showed a gap between the party and the masses .
alexander dubcek, the figurehead of the prague spring, once used the famous phrase, ‘socialism with a human face’ to describe the political changes taking place in czechoslovakia in the mid - 60s, but the words could just as easily come from nagy. fábri, who was never a party member, was by all accounts an admirer of nagy and some of the attitudes of the new course can be seen in merry - go - round. máté bíró although a worker on a co - operative does not ram his views, stalinist - fashion, down anyone’s throat. he proceeds by discussion and argument and, most of all, by example. when he argues with pataki in the co - operative office about the merits and demerits of the co - operative ethos he also criticises the leaders of the co - operative who he accuses of not doing their job properly. he is the voice of reason and of modernity. but if this was all the film was about it would have made little impact. after the years of shortages, stalinism, secret police coming in the night, censorship, and the mounting lies and the outright sham of the ‘workers’ paradise’, hungarian cinema - goers were able to see and enjoy a film which was, in essence a love story, which centered around real people, in a real situation, who spoke something like recognisable dialogue. gone were the cardboard cutout worker heroes – a point which gained in power from the casting of imre soós who, in the past, had so often played these very roles. the film did have a political edge but as so many commentators noted this never overwhelmed the film, ultimately this is a story about people, about generations, about different ways of life, of tradition versus modernity, and about love crossing barriers. it is these elements that made the film what it was and why it had such an impact, perfectly capturing the mood of the times, and without reading into the film things that aren’t there, nor forcing an interpretation that ‘over - reads’ its impact, fábri’s tale of village love played its small part in capturing the mood of the times and transmitting it around the country. that mood, a mixture of emotion, anger and hope, that sense of a need for change, was encapsulated in the image of two young lovers on a fairground ride .
highlighting foreign, independent, and cult cinema that many may not be aware of. in the hopes of encouraging others to explore a film they' ve never seen, or revisit one that they adore again .
in conclusion, yvette biro’s landscape after battle: films from “the other europe” has made valid and important points to consider when focusing on central european cinema which are: the sociopolitical situation and tradition has greatly impact on the spatial construction in films (rural and urban spaces) and on how the character’s faces are shown. different qualities / construction of space (the city, rural, the human face) applies differently and similarly to polish, hungarian and czech cinema. biro concludes these three national films have projected the spirit of dispirited places in different ways (biro. 181) and that places are the extensions of people’s lives insofar as they reflect the emotions that they feel. biro’s arguments only lack in depth of focus in each individual films mentioned in the arguments which are much needed to further this understanding of the complexities that these films demonstrate. however, biro’s analysis of hungarian and czech cinema is still relevant to films like the hand and merry - go - round to a certain extent. lastly, from exploring biro’s argument, it can be noted that there needs to be more research and attention to each individual central european films created in this time period .
‘ [ … ] french president francois mitterand, said if he thought of what a film was, he thought of the laughing face of a girl. the girl is circling around in the seat of a village fair carousel, next to her there is a peasant boy in the other seat, they fly, they soar, sometimes they can touch, sometimes they get separated but the girl keeps on laughing and this laugh is unforgettable. he didn’t know in which country the film was made, he didn’t know the director’s name but he could never forget the laughing face of the girl, and for him this image was the essence of the film. ’
holloway, ronald. “the short film in eastern europe: art & politics of cartoons and puppets, ” in david paul, ed. , politics, art and commitment in east european cinema (new york: st. martin’s, 1983), pp. 225 - 51
while fábri practiced and honed his craft momentous events were happening elsewhere. on 5 march 1953, soviet dictator joseph stalin died and a train of events was set in motion which would eventually lead to the hungarian uprising of 1956. communist party reformer imre nagy replaced stalinist hardliner mátyás rákosi as hungarian prime minister and began to introduce a series of reforms. this had a far - reaching effect on art and culture and slowly but steadily filmmakers began to flex their creative muscles becoming less - inclined to follow the dictates of zhdanov’s socialist realism [ v ] and its endless idiotic speechifying, spotless, cardboard cut - out, worker heroes, factory love, massed choirs, pig iron statistics and wooden dialogue .
the program of the 2017 edition of cannes classics consists of twenty - four screenings, one short film and five documentaries. the films are screened as wanted by the right - holders, in dcp 2k or dcp 4k, and l' atalante by jean vigo that gaumont wished to screen in 35mm .
i' m going to attach a film essay that i' ve done on space. as a way of saying: i didn' t find any available resources (there was nothing on wikipedia) so here' s the work. its a pity that i' m such a weak writer .
•1976: babatu, les trois conseils by jean rouch (1h33, nigeria - france): in competition. pressented by the cnc, inoussa ousseini, the comité du film ethnographique and the fondation jean rouch. digital restoration made from the 2k digitization of the 16mm negatives. restoration carried out by l21 .
dan zukovic' s
dark arc
, a bizarre modern noir dark comedy called
absolutely brilliant... truly and completely different ...
in film threat, was recently released on dvd through vanguard cinema urltoken and is currently debuting on cable video on demand. the film had it' s world premiere at the montreal festival, and it' s us premiere at the cinequest film festival. featuring sarah strange (
white noise
), kurt max runte (
x - men
,
battlestar gallactica
,) and dan zukovic (director and star of the cult comedy
the last big thing
). featuring the glam / punk tunes
dark fruition
,
ire and angst
and
f. byronfitzbaudelaire
, and a dark orchestral score by neil burnett. trailer: urltoken * * * * * (five stars )
absolutely brilliant... truly and completely different... something you' ve never tasted before ...
film threat
a black comedy about a very strange love triangle
seattle times
consistently stunning images... a bizarre blend of art, sex, and opium ,
dark arc
plays like a candy - coloured version of david lynch .
ifc news
sarah strange is as decadent as angelina jolie thinks she is... don' t see this movie sober !
metroactive movies
equal parts film noir intrigue, pop culture send - up, brain teaser and visual feast .
american cinematheque
the rest of the film was shot in the studio or on location around debrecen. one scene, when wedding guests are riding in wagons to the wedding feast, was set in the hortobágy, a marsh area near debrecen which has a famous arched stone bridge which can be seen briefly in this sequence .
hegyi began his career in film in the early 1940s as a camera assistant. his first major work as cinematographer came on a 1940 production, swap (cserebere), directed by lászló cserépy for the minor aurora studio. from this point until his death he worked on 89 films including such important productions as géza radványi’s somewhere in europe (valahol európában, 1947), istván szőts’s song from the wheat fields (ének a búzamezőkről, 1947 only released in 1979), and an adaptation of emile zola’s classic novel germinal, a french - hungarian co - production directed by yves allegret. his last work was for félix máriássy on his film fig - leaf (fügefalevél) in 1966. he died shortly before its release .
• paparazzi by jacques rozier (1963, 18mn, france) presented by jacques rozier and la cinémathèque française. 4k digitization and 2k restoration works made from image and sound negatives at hiventy laboratory, with the support of the cnc and in collaboration with les archives audiovisuelles de monaco, la cinémathèque suisse and extérieur nuit. the film will be introduced by jacques rozier .
- many of the film innovations and films we consider to be
western
are actually central european. it gets quite hard to believe as the region is seen as backwards and completely homogeneous. or actually, the fact that a lot of talented people come from these areas to bring their culture to the west. this migration was mostly due to changing government regimes that scared the fuck out of people. the anti - semitic attitudes in the 1930s (~). and the typical soviet occupation and central european dissolves into what is known as the eastern bloc. one flew over the cuckoos nest by milos foreman - american / czech film? poland had the pleograph jiri trnka was considered the walt disney of central europe - but i say this with great hesitation because its still placing jiri trnka under a figure. but i hope it pertains to this idea that jiri trnka was as influential, innovative and respected as an animation artist. and that he worked under this censored regime - but much like all the other talented central european directors - the political and social agenda of the film is still present but heavily hidden behind the image .
• 1976: ai no korîda (in the realm of the senses / l’empire des sens) de nagisa oshima (1h43, france - japan): quinzaine des réalisateurs. presented by argos films and tamasa. digization and 4k resoration from the original negative by eclair. sound restoration from the original magnetic sound by l. e. diapason. the film will be released in french theaters .
• l’atalante by jean vigo (1934, 1h28, france), restored 35mm print presented by gaumont, la cinémathèque française and the film foundation of martin scorsese. first digital restoration in 4k and conversion to a 35mm print. a new discovery of the closest version of the director’s work thanks to gaumont, luce vigo and historian bernard eisenschitz. restoration carried out at l’image retrouvée laboratory in bologna and paris .
• a river runs through it (et au milieu coule une rivière) by robert redford (1992, 2h04, united states of america) presented by pathé. 4k scan and 4k restoration from original image and sound 35mm negatives. restoration carried out by pathé at technicolor france laboratory for the image in collaboration with philippe rousselot, cinematographer of the film, and l. e. diapason for the sound restoration .
space is physical distance and area. in films, space is automatically limited to what the camera can show (framing). within the image that the camera projects, space is constructed. the ways that the space is constructed and the relations between the characters, space, and narrative are important aspects to investigate when it comes to discussing postwar central european film. because of the political & social situation in central europe, space is unique and central when discussing central european films of this period. what is fundamental about this discussion is the destruction of land in central europe after the war (destruction of space) and the emergence of new ideology and governance in central europe (new constructions of space). these qualities of space are the most important of the visual images conveyed by east european film (biro. 163). this paper will use
•1946: la bataille du rail (battle of the rails) by rené clément (1h25, france): grand prix international de la mise en scène and prix du jury international. presented by ina. film digitized and restored by ina with the support of the cnc. 2k restoration made from an acetate interpositive and an answer print. technical means: jean - pierre peltier. coordination: bénilde da ponte, brice amouroux .
•1967: skuplja č i perja (i even met happy gypsies / j' ai même rencontré des tziganes heureux) by aleksandar petrović (1h22, serbia): in competition, grand prix spécial du jury ex - æquo, prix de la critique internationale - fipresci ex - aequo presented by jugoslovenska kinoteka / the yugoslav film archive and malavida. new 35mm print from the original negative in perfect shape then scanned in 2k and cleaned up .
during my third year at the academy of fine arts, when i had already shown pictures at two exhibitions, i was suddenly scared by the discovery that, with the increase of my professional routine, something had changed. there was no longer the same heat and fever in my work; i seemed to work with much greater ease but the joy of creation had faded, and everything i had done appeared to be manneristic (hungarian film bulletin 1967 / 4: 5 )
•1969: matzor (siege / siège) by gilberto tofano (1h29, israel): in competition. a presentation of the jerusalem cinematheque – israel film archive, in partnership with united king films and the support of the rabinovich foundation. the original 35mm black and white negatives were scanned in 4k by cinelab romania. it was digitally restored and finalized in 2k by opus digital lab in tel aviv. restoration and color grading lead by ido karilla, supervised by dop david gurfinkel .
in biro’s discussion of city life in these different national contexts, the city is defined as “the place of deprivation” (biro. 164). biro claims that the setting of barren houses and rundown walls give spectators insight into the bleakness of a dispirited generation’s urban world in skolimowski’s barrier (1966) (biro. 164). moreover, the absence of human warmth in the polish film city housing conditions that biro discusses entails a general negative perspective on the city conditions and connects with polish history and tradition (biro. 165). the city is a crucial site when it comes to discuss the dynamic relationship between identity and space. biro does not delve into directly specific scenes in skolimowski’s films but glosses over them .
oh boy and i thought my event horizon review will get me into trouble... i watched this movie for the first time in 2006 at the international film festival in berlin. since this movie is 50 years old, it' s clear that the pacing is slow. but that wasn' t the main point that bothered me. because in general i also like slow paced films. it is just that the story as it was on screen didn' t appeal to me. and that might only be me (i' m not here to offend any lover of this movie, especially as this was hailed by the critics in cannes), because the movie itself is well executed. but i think there could be more here... so if you like slow paced movies, which play in a village, where people live that might have more to them, than they initially show, than this might appeal to you (more than it did to me) (yes there is an underlying social commentary in there, but again it didn' t leave me with an impression )
the program of cannes classics 2017 will be dedicated for its most part to the history of the festival .
almost fifteen years ago, when the relationship between contemporary cinema and its own memory was about to be shaken by the emergent arrival of digital technology, the festival de cannes created cannes classics, a selection that displays the work of valorisation of heritage cinema carried out by the production companies, the right - holders, the cinematheques or the national archives around the world .
being now an essential component of the official selection and a presence of the history of cinema which inspired several international festivals, cannes classics showcases vintage films and masterpieces of the history of cinema in restored prints. because cannes is also devoted with the mission of enchanting the audience of today' s relationship with the memory of cinema, cannes classics puts the prestige of the biggest festival of the world at the service of the cinema rediscovered, accompanying all the new exhibitions: releasing in movie theaters, on vod or on dvd / blu - ray editions of the great works of the past .
the films selected for this 2017 edition will focus mostly on the history of cannes. they come from nations that have allowed the festival de cannes to become a land of cinematographic discoveries: hungary, lebanon, serbia, united kingdom, italy, united states, israel, mauritania, niger, poland, switzerland, japan, spain, the netherlands, canada, belgium and australia. many countries which also consider that safeguarding heritage cinema is essential .
the films will be screened in the palais des festivals, salle buñuel or salle du soixantième, in attendance of those who have restored them and, if they are still among us, of those who have directed them .
•1953: le salaire de la peur (the wages of fear) by henri - georges clouzot (1952, 2h33, france, italy): grand prix. presented by tf1 studio in collaboration with la cinémathèque française and the support of the cnc, of the archives audiovisuelles de monaco, of kodak and the cgr cinémas. 4k restoration from nitrate image negative and a sound duplicate made by hiventy. please note that this presentation is the preview of a major clouzot event scheduled in france in the fall of 2017 .
•1957: ila ayn? (vers l' inconnu ?) by georges nasser (1h30, lebanon): in competition. presented by abbout productions and fondation liban cinema. with the generous support of bankmed – lebanon. the original 35mm fine grain master positive was scanned in 4k, retouched and color - corrected in a resolution of 2k. all works were carried out by neyrac films - france. sound restoration by db studios - lebanon. in collaboration with the talkies. world sales: nadi lekol nas .
•1967: blow - up by michelangelo antonioni (1966, 1h51, united kingdom, italy, united states of america): grand prix international du festival. presented by criterion, cineteca di bologna and istituto luce - cinecittà, in collaboration with warner bros and park circus. restoration work carried out at criterion, new york and l' immagine ritrovata, bologna under the supervision of director of photography luca bigazzi .
•1982: yol – the full version (the way / la permission) by yilmaz güney, directed by serif g ö ren (1h53, switzerland): palme d' or ex - æquo, prix de la critique internationale - fipresci presented by dfk films ltd. zürich. restoration from the original 35mm negative, from the interpositive and the positive print. restoration and new sound mix from the original digitized tapes. international sales: the match factory .
•1983: narayama bushik ō (ballad of narayama / la ballade de narayama) by shôhei imamura (2h13, japan): palme d’or. presented by toei. 4k scan, image restoration arriscan and sound golden eye in 2k from the 35mm original negative, a duplicate and video tapes .
•1992: el sol del membrillo (le songe de la lumière) by victor erice (2h20, spain): prix du jury ex - æquo, prix de la critique internationale - fipresci presented by the filmoteca de catalunya and camm cinco sl. 6k scan, restoration and color - grading from the 35mm negatives and other original video tapes. digitazing and sound restoration from 35mm magnetic tapes. technical support made by the filmoteca de catalunya, supervised by victor erice. variations on the initial editing brought by the director .
•1951 - 1999: a short history of short films presented by the festival de cannes. a program curated by christian jeune and jacques kermabon. spiegel van holland (miroirs de hollande) by bert haanstra (1951, 10mn, the netherlands) / la seine a rencontré paris by joris ivens (1958, 32mn, france) / pas de deux by norman mclaren (1968, 13mn, canada) / harpya by raoul servais (1979, 9mn, belgium) / peel by jane campion (1986, 9mn, australia) / l’interview by xavier giannoli (1998, 15mn, france) / when the day breaks by amanda forbis and wendy tilby (1999, 10mn, canada )
• madame de… by max ophüls (1953, 1h45, france) a gaumont restoration. a show to pay a tribute to danielle darrieux for her birthday and presented by dominique besnehard, pierre murat and henri - jean servat who will screen the latest filmed interview of danielle darrieux .
• belle de jour (beauty of the day) by luis buñuel (1967, 1h40, france) presented by studiocanal. digitization from the original negative and 4k restoration carried out by hiventy laboratory for studiocanal with the support of the cnc, of la cinémathèque française, of the fonds culturel franco - américain and the maison yves saint laurent. french theater distribution: carlotta .
• la belge histoire du festival de cannes (the belgian' s road to cannes) by henri de gerlache (2017, 1h02, belgium) presented by alizé production. produced by alizé production, co - produced by rtbf (belgian television) & proximus. a joyful road movie to discover the belgian cinema which has been at cannes for 70 years. the filmmakers of yesterday are talking with those of today to paint a picture of a free and heterogeneous cinema. a
belgian story
of the biggest festival in the world .
• filmworker by tony zierra (2017, 1h29, united states of america) presented and produced by true studio cinema. young actor leon vitali abandoned his prosperous career after barry lyndon to become the faithful right hand of director stanley kubrick. for more than two decades, leon has played a crucial role behind the scenes by helping kubrick. a complex and interdependent relationship between leon and kubrick based on devotion, sacrifice and the harsh and joyful reality of creative process .
• becoming cary grant (cary grant - de l' autre côté du miroir) by mark kidel (2017, 1h25, france) presented by arte france and showtime documentary films. produced by yuzu productions, coproduced by arte france, in association with ro * co films productions. cary grant is one of the biggest hollywood actors. in his fifties, he started a cure of lsd to free himself from his demons. for the first time, with his words, he retraces his journey. the story of a man in search of himself and the love he did not find in his life. the words of cary grant are interpreted by jonathan pryce .
• jean douchet, l' enfant agité by fabien hagège, guillaume namur, vincent haasser (2017, 1h30, france) presented and produced by carlotta and kidam. three young cinephiles follow jean douchet, question his friends and former students. this documentary reveals the man and his critical philosophy, a part of the history of the cahiers du cinéma and this art of loving to which he has devoted his existence .
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merry-go-round ( hungarian : körhinta ) is a 1956 hungarian drama film directed by zoltán fábri , based on the short story kútban ( in the well ) by imre sarkadi . it was in competition at the 1956 cannes film festival . it was later selected to be screened in the cannes classics section of the 2017 cannes film festival . 
merry-go-round (hungarian: körhinta) is a 1956 hungarian drama film directed by zoltán fábri, based on the short story kútban (in the well) by imre sarkadi. it was in competition at the 1956 cannes film festival. it was later selected to be screened in the cannes classics section of the 2017 cannes film festival.
merry-go-round (hungarian: körhinta) is a 1956 hungarian drama film directed by zoltán fábri, based on the short story kútban (in the well) by imre sarkadi. it was in competition at the 1956 cannes film festival. it was later selected to be screened in the cannes classics section of the 2017 cannes film festival.