Compétition internationale
42th edition
20>29 november 2020, Nantes
FR EN

Home > Archives > 2018 > Programme du 40e

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

Read more

Movies

À l’Ouest des rails
(TIEXI QU)
by WANG Bing
Chine, Pays Bas — 2003
An Elephant Sitting Still
(Da xiang xi di er zuo)
by HU Bo
Chine — 2018
Après la bataille
(Baad el Mawkeaa)
by Yousry NASRALLAH
Égypte, France — 2012
Arábia
(Arábia)
by Affonso UCHÔA, João DUMANS
Brésil — 2017
Atalaku
(Atalaku)
by Dieudo HAMADI
Congo, République Démocratique du, France — 2013
Aujourd’hui
(Al Youm)
by Akram ZAATARI
Liban — 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
Brésil — 2016
Be with Me
(Be with Me)
by Eric KHOO
Singapour — 2005
Cure
(Cure)
by Kiyoshi KUROSAWA
Japon — 1997
Dans ma tête un rond-point
(Fi rassi rond-point)
by Hassen FERHANI
Algérie, France — 2015
Entre deux mondes
(Ahasin Watai)
by Vimukthi JAYASUNDARA
France, Sri Lanka — 2009
Eureka
(Yurîka)
by Shinji AOYAMA
France, Japon — 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
Emirats Arabes Unis, Inde, Somalie, Yemen — 2013
Grass
(Grass)
by HONG Sang-soo
Corée du Sud — 2018
In Public
(Gong gong chang suo)
by JIA Zhang-ke
Chine — 2001
Inland
(Gabbla)
by Tariq TEGUIA
Algérie, France — 2008
It’s Never Nighttime in the Map
(Nunca é noite no mapa)
by Ernesto DE CARVALHO
Brésil — 2016
Kaili Blues
(Lu bian ye can)
by BI Gan
Chine — 2015
L’Étreinte du Fleuve
(Los abrazos del río )
by Nicolás RINCÓN GILLE
Belgique, Colombie — 2010
La Femme qui est partie
(Ang babaeng humayo)
by Lav DIAZ
Philippines — 2016
La Flor
(La Flor)
by Mariano LLINAS
Argentine — 2018
La Libertad
(La Libertad)
by Lisandro ALONSO
Argentine — 2001
Lebanese Rocket Society
(Lebanese Rocket Society)
by JOANA HADJITHOMAS & KHALIL JOREIGE
France, Liban, Qatar — 2012
Les Derniers Jours d’une ville
(Akher ayam el madina)
by Tamer EL SAID
Allemagne, Égypte, Emirats Arabes Unis, Royaume Uni — 2016
Millennium Mambo
by HOU Hsiao-hsien
Taïwan — 2001
Mundane History
(Jao nok krajok)
by Anocha SUWICHAKORNPONG
Thaïlande — 2009
Norte, la fin de l’histoire
(Norte, Hangganan ng Kasaysayan)
by Lav DIAZ
Philippines — 2015
Oncle Boonmee (celui qui se souvient de ses vies antérieures)
(Loong Boonmee raleuk chat)
by Apichatpong WEERASETHAKUL
Allemagne, Angleterre, France, Thaïlande — 2010
Still Life
(SANXIA HAOREN)
by JIA Zhang-ke
Chine, 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
Brésil — 2018
Ten
(Dah)
by Abbas KIAROSTAMI
France, Iran — 2002
The Taste of Tea
(Cha no aji)
by Ishii KATSUHITO
Japon — 2004
Time and Tide
(Shun liu ni liu)
by TSUI Hark
Chine, Hong Kong — 2000
Un homme qui crie
(Un homme qui crie)
by Mahamat-Saleh HAROUN
Belgique, France, Tchad — 2010
Una luna de hierro
(Una luna de hierro)
by Francisco RODRIGUEZ TEARE
Chili, France — 2017
Vive l’amour
(Ai qing wan sui)
by TSAI Ming-liang
Taïwan — 1994
Yi Yi
(Yi Yi)
by Edward YANG
Taïwan — 2000
Your Face
(Ni de lian)
by TSAI Ming-liang
Taïwan — 2018
Zama
(Zama)
by Lucrecia MARTEL
Argentine, Brésil, Espagne, République dominicaine — 2017