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Cannes Classics Announces 2016 Lineup – William Friedkin Talks, A Tribute To Two Legendary Doumentarians, and More

Cannes Classics Announces 2016 Lineup - William Friedkin Talks, A Tribute To Two Legendary Doumentarians, and More

The Cannes Classics sidebar screens restored prints, many of which will come to theaters and be released on Blu-ray/DVD, celebrates filmmakers, and showcases documentaries about cinema. Today, Cannes Classics announced its 2016 lineup, which features many exciting opportunities, including William Friedkin giving the annual Cinema Masterclass (along with screening his 1977 film “Sorcerer” and a surprise restored film), a tribute to documentary filmmakers Frederick Wiseman and Raymond Depardon, with screenings of their films, “Hospital” and “Faits divers” respectively, and a commemoration of the FIPRESCI Prize on its 70th anniversary.

READ MORE: 2015 Cannes Classics Program Revealed; Costa-Gavras To Be Guest of Honor

The classics sidebar also features numerous other screenings that celebrate both the Cannes Film Festival and cinema itself. There’s the world premiere preview of Bertrand Tavernier’s “Voyage à travers le cinéma français,” a film about the beauty of French cinema. There’s the Double Palme d’Or of 1966, which will screen the two winners that year: Pietro Germi’s “The Birds, the Bees and the Italians” and Claude Lelouch’s “A Man and a Woman.” There’s also the program of nine documentaries that “tell the history of cinema by cinema itself,” as well as a long list of restored prints that include Jean-Luc Godard’s “Masculin féminin,” Andreï Tarkovsky’s “Solaris,” Marlon Brando’s “One-Eyed Jacks,” and Kenji Mizoguchi’s “Ugetsu.”

See the full line-up below:

World Premiere Preview of Bertrand Tavernier’s Documentary About French Cinema

“Voyage à travers le cinéma français” by Bertrand Tavernier (2016, 3h15, France): “This work as a citizen and spy, as an explorer and as a painter, as a columnist and as an adventurer that have been described so well by many authors, from Casanova to Gilles Perrault, is not a beautiful definition of a filmmaker that we want to apply to Renoir, Becker, to the Vigo of “Zéro de Conduite,” to the Duvivier of “Pépé le Moko,” as well as Truffaut, Franju or Demy. To Max Ophuls and also Bresson. And to less known directors whom, during a scene or a film, sparkle an emotion, find some surprising truths. I would like this film to be an act of gratitude to all the filmmakers, writers, actors and musicians that have appeared suddenly in my life. Memory warms up: this film is a bit of coal for winter nights.”

Cinema Masterclass: William Friedkin

The American filmmaker will give the annual Cinema Masterclass hosted by film critic Michel Ciment on Wednesday, May, 18th. He will also introduce a restored surprise film at Buñuel Theater and “Sorcerer” (1977) at the Cinéma de la Plage.

The Double Palme d’Or of 1966

“Signore & signori (The Birds, the Bees and the Italians)” by Pietro Germi (1966, 2h, Italy/France)

“Un Homme et une femme (A Man and a Woman)” by Claude Lelouch (1966, 1h42, France)

A Crossed Tribute to Raymond Depardon and Frederick Wiseman

“Faits divers” by Raymond Depardon (1983, 1h30, France)

“Hospital” by Frederick Wiseman (1969, 1h24, USA)

The First Prize of the FIPRESCI, Upon The Occasion of the Celebration of the 70th ANniversary of the International Federation of Film Critics

“Farrebique” by Georges Rouquier (1946, 1h27, France)

Nine Documentaries about Cinema

“The Cinema Travelers” by Shirley Abraham and Amit Madheshiya (2016, 1h36, India): The portrait of a traveling movie theater in India, which continues to bear the magic of the images to a stunned audience, is faced with technological, numerous and complex changes. A projector repairman narrates film changes with poetry, philosophy and pragmatism.

“The Family Whistle” by Michele Russo (2016, 1h05, Italy): The Coppola family—their arrival in the US, their links with their native Italy and their relationship to music. A lot of interviews and malicious anecdotes from one of the greatest clans of today’s cinema. With Francis Coppola and Talia Shire.

“Cinema Novo” by Eryk Rocha (2016, 1h30, Brazil): A political and poetic movie essay, focusing on the major films of the Cinema Novo wave in Brazil. Numerous interviews with directors Nelson Pereira dos Santos, Glauber Rocha, Leon Hirszman, Joaquim Pedro de Andrade, Ruy Guerra, Walter Lima Jr. and Paulo César Saraceni.

“Midnight Returns: The Story of Billy Hayes and Turkey” by Sally Sussman (2016, 1h39, USA): The story of the film “Midnight Express” by Alan Parker (1980) as told by those who made it: director Alan Parker, screenwriter Oliver Stone and producer David Puttnam. In parallel the real protagonist Billy Hayes discusses his personal journey and how his life has changed. Turkey, the image and the diplomatic relations of which were affected by the film, gives its point of view, as Billy Hayes tries to go back there to rebuild broken links.

“Bright Lights: Starring Carrie Fischer and Debbie Reynolds” by Alexis Bloom and Fisher Stevens (2016, 1h35, USA): The life and intimate relationship of two actresses: Carrie Fischer, the heroine of Star Wars, and Hollywood legend Debbie Reynolds who starred in Singing in the Rain. The big story and the small story unfold before our eyes. A tender documentary on two golden ages of American cinema.

“Gentleman Rissient” by Benoît Jacquot, Pascal Mérigeau and Guy Seligmann (2015, 1h14 minutes, France): A film co-directed by Benoît Jacquot, Pascal Mérigeau and Guy Seligmann to unveil Pierre Rissient, a man of discovery—publicist, producer, director and tireless ambassador of world cinema.

“Close encounters with Vilmos Zsigmond” by Pierre Filmon (2016, 1h22, France): The life of cinematographer Vilmos Zsigmond. From the streets of Budapest to Hollywood he describes his out of the ordinary journey. Many performers, including John Travolta and Nancy Allen, and famous cinematographers talk, question him and we discover a complete artist.

“Et La femme créa Hollywood (Women Who Run Hollywood)” by Clara and Julia Kuperberg (2015, 52mn, France): Exploring the exciting stories of Lois Weber, Mary Pickford and Dorothy Arzner, we discover a passionate gallery of pioneers who also created Hollywood. What do they have in common? They are all women and they have all been almost forgotten.

“Bernadette Lafont et Dieu créa la femme” by Esther Hoffenberg (2016, 65mn, France): A journey with Bernadette Lafont, the most atypical French film actress. The film sweeps her life and stunning artistic career. Her granddaughters go back to Bernadette’s dreams and her friends Bulle Ogier and Jean-Pierre Kalfon evoke their artistic and human complicity. Throughout the film Bernadette Lafont with her unmistakable voice of character actress weaves the movie of her life.

Restored Prints

“Die letzte Chance” (The Last Chance) by Leopold Lindtberg (1945, 1h53, Switzerland)

“Dolina Miru (Valley of Peace)” by France Stiglic (1956, 1h30, Slovenia)

“Ikarie XB 1 by Jindřich Polák” (1963, 1h28, Czech Republic)

“Jago hua savera (Day Shall Dawn)” by Aaejay Kardar (1958, 1h34, Pakistan)

“Memorias del subdesarrollo (Memories of the Underdevelopment)” by Tomás Gutiérrez Alea (1968, 1h37, Cuba)

“Santi-Vina” by Thavi Na Bangchang (1954, 1h54, Thailand)

“Szerelem (Love)” by Károly Makk (1971, 1h32, Hungary)

“Howards End” by James Ivory (1992, 2h20, United Kingdom/Japan)

“Decakolog 5 (Thou shalt not kill)” and “6 (Thou shalt not commit adultery)” by Krzysztof Kieślowski (1989, 57mn et 58mn, Poland)

“Momotarô, Umi no shinpei (Momotaro, Sacred Sailors)” by Mitsuyo Seo (1945, 1h14, Japan)

“One-Eyed Jacks” by Marlon Brando (1961, 2h21, USA)

“Solyaris (Solaris)” by Andreï Tarkovski (1972, 2h47, Russian Federation)

“Ugetsu monogatari (Ugetsu)” by Kenji Mizoguchi (1953, 1h37, Japan)

“Dragées au poivre (Pepper Candy)” by Jacques Baratier (1963, 1h34, France)

“Valmont” by Milos Forman (1989, 2h17, France)

“Gueule d’amour” by Jean Grémillon (1937, 1h32, France) 

“Masculin féminin” by Jean-Luc Godard (1966, 1h50, France)

“Indochine” by Régis Wargnier (1992, 2h32, France)

“Adieu Bonaparte” by Youssef Chahine (1984, 1h55, France/Egypt) 

“Pit and The Pendulum” by Roger Corman (1961, 1h20, USA)

“Rendez-vous de juillet” by Jacques Becker (1949, 1h39, France)

Cannes Classics Special Screenings

“Terrore nello spazio (Planet of the Vampires)” (1965, 1h28, Italy/Spain) by Mario Bava

“Tiempo de morir” by Arturo Ripstein (1966, 1h30, Mexico)

READ MORE: Listen: William Friedkin Talks ‘French Connection,’ ‘Sorcerer,’ ‘The Exorcist’ & More In Epic 2.5 Hour ‘WTF’ Podcast Interview

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