Compétition internationale
44th edition
18>27 november 2022, Nantes
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Programme du 40e

For over a century, today as yesterday, cinema continues to shape myriad movements with its images. It follows, prolongs, updates, sometimes takes a distance from what we have learnt to recognise. Each course of action – remaking, reworking, experimenting – gives proof of its vitality through difference. In this way, cinema remains constantly open to the contemporary world, and in doing so, takes an active part in redefining it.
Since our entry into the digital age, a vast reconfiguration seems to have taken place in the field of moving images more precisely, technological advances and new means of communication have provided images with vectors that irresistibly accelerated a process begun at the juncture of the 1970s and 1980s. The moving image slipped a little further towards a system of mercantile massification (television, clips, advertising) and into new offshoots of the visual arts (video-art, computergenerated images). This incited a cinema in mourning for its lost modernity to reflect on the deterritorialisation that was impacting it, particularly as it had been the technical source and aesthetic model of this modernity.
Seeing films, and especially seeing them again, helps us to question what is happening to cinema, encourages us to grasp and identify in this swarm of moving images what still relates to the gestures and operations where it persists and redefines itself. For this reason, we wanted the time of this 40th edition of the 3 Continents Festival to be a step firmly anchored in the present, so as to reaffirm the appeal and aesthetic values of cinema in light of the forms these take today.
A programme of forty films is to be seen from this perspective, associated with the publication of a collective work titled D’autres continents – Mouvances du cinéma présent, co-edited by WARM. They complement each other in their contributions to an overview of cinema as it is today, coupling the pleasure of showing to that of describing and thinking. Neither a “best-of compilation” nor a “Top 40”, the programme basically offers a series of waypoints to replace the images and the often-loose ties they weave with the substance and realities of our world – a proposal for a kind of map. Without restricting the programme’s geography to a genre, a trend, an isolated act or simply a matter of taste, this map gives back to the films their exclusivity. And what we wish is that they themselves reveal their singularities, and that they open up to rapprochements, comparisons, and our insatiable appetite to pinpoint what the films leave in us.
They are watching us. Let’s watch them.

Jérôme Baron

Films

West Of The Tracks
(Tiexi qu)
by WANG Bing
China, Netherlands — 2003
An Elephant Sitting Still
(Da xiang xi di er zuo)
by HU Bo
China — 2018
Après la bataille
(Baad el Mawkeaa)
by Yousry NASRALLAH
France, Egypt — 2012
Araby
(Arábia)
by Affonso UCHÔA, João DUMANS
Brazil — 2017
Atalaku
(Atalaku)
by Dieudo HAMADI
France, Congo, Democratic Republic of — 2013
Aujourd’hui
(Al Youm)
by Akram ZAATARI
Lebanon — 2003
Ava Yvy Vera - The Land of The Lightning's People
(Ava Yvy Vera - A Terra do Povo do Raio)
by GENITO GOMES, VALMIR GONÇALVES CABREIRA, JHONN NARA GOMES, JHONATON GOMES, EDINA XIMENES, DULCÍDIO GOMES, SARAH BRITES, JOILSON BRITES
Brazil — 2016
Be with Me
(Be with Me)
by Eric KHOO
Singapore — 2005
Cure
(Cure)
by Kiyoshi KUROSAWA
Japan — 1997
Dans ma tête un rond-point
(Fi rassi rond-point)
by Hassen FERHANI
France, Algeria — 2015
Between Two Worlds
(Ahasin Watai)
by Vimukthi JAYASUNDARA
France, Sri Lanka — 2009
Eureka
(Yurîka)
by Shinji AOYAMA
Japan, France — 2000
Five
(Panj)
by Abbas KIAROSTAMI
Iran — 2003
From Gulf to Gulf to Gulf
(From Gulf to Gulf to Gulf)
by ASHOK SUKUMARAN, SHAINA ANAND
India, United Arab Emirates, Somalia, Yemen — 2013
Grass
(Grass)
by HONG Sang-soo
South Korea — 2018
In Public
(Gong gong chang suo)
by JIA Zhang-ke
China — 2001
Inland
(Gabbla)
by Tariq TEGUIA
France, Algeria — 2008
It's Never Nighttime in the Map
(Nunca é noite no mapa)
by Ernesto DE CARVALHO
Brazil — 2016
Kaili Blues
(Lu bian ye can)
by BI Gan
China — 2015
The Embrace of the River
(Los abrazos del río )
by Nicolás RINCÓN GILLE
Colombia, Belgium — 2010
The Woman who Left
(Ang babaeng humayo)
by Lav DIAZ
Philippines — 2016
La Flor
(La Flor)
by Mariano LLINAS
Argentina — 2018
Freedom
(La Libertad)
by Lisandro ALONSO
Argentina — 2001
Lebanese Rocket Society
(Lebanese Rocket Society)
by JOANA HADJITHOMAS & KHALIL JOREIGE
France, Lebanon, Qatar — 2012
In the Last Days of the City
(Akher ayam el madina)
by Tamer EL SAID
Germany, Egypt, United Arab Emirates, United Kingdom — 2016
Millennium Mambo
by HOU Hsiao-Hsien
Taiwan — 2001
Mundane History
(Jao nok krajok)
by Anocha SUWICHAKORNPONG
Thailand — 2009
Norte, the End of History
(Norte, Hangganan ng Kasaysayan)
by Lav DIAZ
Philippines — 2015
Uncle Boonmee Who Can Recall His Past Lives
(Loong Boonmee raleuk chat)
by Apichatpong WEERASETHAKUL
France, Thailand, Germany, England — 2010
Still Life
(SANXIA HAOREN)
by JIA Zhang-ke
China, Hong Kong — 2006
Tell This to Those Who Say We've Been Defeated
(Conte isso àqueles que dizem que fomos derrotados)
by AIANO BEMFICA, CAMILA BASTOS, CRISTIANO ARAÚJO & PEDRO MAIA DE BRITO
Brazil — 2018
Ten
(Dah)
by Abbas KIAROSTAMI
France, Iran — 2002
The Taste of Tea
(Cha no aji)
by Ishii KATSUHITO
Japan — 2004
Time and Tide
(Shun liu ni liu)
by TSUI Hark
China, Hong Kong — 2000
Un homme qui crie
(Un homme qui crie)
by Mahamat-Saleh HAROUN
France, Belgium, Chad — 2010
Una luna de hierro
(Una luna de hierro)
by Francisco RODRIGUEZ TEARE
France, Chile — 2017
Vive l’amour
(Ai qing wan sui)
by TSAI Ming-liang
Taiwan — 1994
Yi Yi
(Yi Yi)
by Edward YANG
Taiwan — 2000
Your Face
(Ni de lian)
by TSAI Ming-liang
Taiwan — 2018
Zama
(Zama)
by Lucrecia MARTEL
Argentina, Brazil, Spain, Dominican Republic — 2017