On Saturday, Jean-Pierre and Luc Dardenne, recipients of the Lumière Award 2020, created their own remake of Leaving the Lumière Factories, the first film in the history of cinema.
He knows all the streets of Lyon by heart. No, it's not Joe le Taxi (of the song by Vanessa Paradis), but Jean-Serge Ribera, an outstanding driver who has volunteered at the festival for three years.
Many schoolkids dream of living such a day, and the Lumière festival made the wish come true. Saturday morning, the students of Saint-Laurent-de-Chamousset middle school had an envy-worthy day of cinema.
The “brothers” invited two people on stage to speak in the name of the thousands of vulnerable hotel and restaurant workers and others, whose livelihood is being threatened by the pandemic.
Danièle Soubeyrand is one of the familiar faces of the volunteer team that welcomes the public to the Villa Lumière and the Comoedia movie theatre.
Receiving a standing ovation for the premiere of his film Bye Bye Morons, Albert Dupontel delighted the public at the Comédie Odéon Friday morning for his very first Master class.
This sublime feature film, draped in melancholy poetry, which has become a cult movie for its silky aesthetics and heady musical theme, allowed the Hong Kong filmmaker a one-way pass to worldwide fame.
Driven by "the desire to learn", Kenifé Touré, 36, is joining the festival's volunteer team this year.
During an exciting master class, where he performed his most famous compositions on the piano, Gabriel Yared broke down for the audience his unique working method, with ever-present passion.
For eight years, the Lumière festival has invited refugees in partnership with the Regional Prefecture within the framework of the Integration Fortnight.
Lurking in a deep valley of the Meuse, Seraing, the childhood town of the Dardenne brothers is a backdrop protagonist of the social themes they develop on the screen: industrial decline, precariousness, immigration.
When the flick was released in March 1952, Fanfan was seen by 6.7 million viewers, received awards in Cannes and Berlin and launched the vogue for the cape and the sword.
“Yesterday, I was at the movies! I saw a great movie! I saw Rambo!” Through these series of mini exclamations, interspersed in an irregular way, clad in black jeans and a white t-shirt, Albert Dupontel had suddenly appeared on the stage in the 1990s.
The Money Order (1968) paints an uncompromising - but not humourless - portrait of the new Senegalese bourgeoisie that emerged in 1960 with the country's independence.
Jules Dassin's muse, whom he filmed as a supercharged heroine in Never on Sunday, and who became the Minister of Culture of Greece, deserved a tribute in the year of her centenary.
In Charlie Chaplin, le génie de la liberté (Charlie Chaplin, The Genius of Liberty), Yves Jeuland and François Aymé look at the life of the creator of The Tramp (‘Charlot’ in French).
Introducing ten films for Lumière 2020, this Audiard fan does not shy away from his enjoyment of paying tribute to the king of dialogue.
With the art of wielding words and the generous spirit we know him for, rapper, author and director Abd al Malik delighted the patients and staff of the Saint-Vincent-Saint-Paul.
Michael Kantinti did not hesitate for a second to put on his volunteer outfit again this year, saying, “I love the cinema, and above all, the atmosphere of this festival!"
This year, they both received the Bernard Chardère Prize… Christine Masson and Laurent Delmas are co-hosts of the cinema programme, “On aura tout vu” (“We’ll have seen it all”) on France Inter radio.
In a brilliant Master Class, Alice Rohrwacher recounted her discovery of the cinema and her repeated faith in "the independence of thought".
At age 35, Eve Denamiel has travelled the world on numerous volunteer missions. From the Lyon suburb of Villeurbanne, she has has been putting into practice this unwavering commitment for more than fifteen years.
In her documentary Fellini of the Spirits, journalist Anselma dell’Olio examines the esoteric inclinations of the director of La Dolce Vita.
Guest of honour at the festival, Danish filmmaker Thomas Vinterberg discussed his career in a Q&A with journalist Didier Allouch during a master class held on Monday.
Driven by a booming market, film restoration allows classics to regain their brilliance and their place in movie theatres, like at the Lumière festival.
For her first year as a festival volunteer, Olivia Allard, 27, has mastered the art of multi-tasking.
In 1979, the Franco-Lebanese composer was entrusted by Jean-Luc Godard with the music for Every Man for Himself/Slow Motion, Godard’s new feature film project.
He has performed roles in English, Spanish and French. Viggo Mortensen, who introduced Falling, his directorial debut on Sunday evening, held a Master Class at the Comédie Odéon in all three languages.
In front of a large audience Sunday morning, Jacques Audiard paid tribute to his father's “partners in crime”, starting with writer Albert Simonin.
On the occasion of the family screening organized this Sunday, the little moviegoers and their parents had fun watching the stunts and gags of the most famous of comedy duos.
Jean-Pierre Boiget, Director of Operations at Studiocanal, deciphers the issues surrounding the restoration of the legendary feature film by Jean-Luc Godard and the New Wave.
For Stéphanie, some of her dreams have come true at the festival: “My best memory is an unexpected encounter with one of my favourite actresses, Tilda Swinton.”
“Above all, you shouldn't draw from a photo.” Such was the advice given to Gorō, the son of animation genius and founder of the Japanese Studio Ghibli.
In 125 rue Montmartre (1959), Gilles Grangier and Michel Audiard, who wrote the brilliant dialogues, plunge Lino Ventura into a tightly constructed social thriller.
From coveted actress to socially conscious filmmaker and producer, the Briton followed a remarkable path that paved the way for women in patriarchal post-war Hollywood.
Italian cinema holds no secrets for 23-year-old Lucie Beron. For the past four years, this student from Lyon has been volunteering for the festival.
The epic screenings series at Lumière invites us to enter the vast universes of filmmakers of disparate insights, who have one thing in common: they know how to fill the screen.
Released once in 1976, three years before the Islamic revolution, The Chess Game of the Wind features a breathless Iranian society.
The quality of silence of Divertimento is remarkable, revealing everything about the work between the painter and his model, between the hand and the brush.
"I'm sorry, that's the way things are", is the leitmotiv of The Strange Affair of Uncle Harry, directed by Robert Siodmak, a German who became an American citizen.
In 1975, a period picture was released, in black and white, set in a small community of Yiddish-speaking Jewish emigrants: Hester Street.
This film is unlike any other. It thwarts everything one could imagine on such a subject produced in the late 60s.
Cleverly ironic, with its femme fatale wickedly named Felicitas, (Greta Garbo at 21), Flesh and the Devil has an erotic force that never seeks to escape, and whose symbolic imagination only intensifies.
Film clips, surprises, electric energy… At the Halle Tony Garnier, joy and glamour were in the air at the launch of the 12thedition of the Lumière festival.
Seduction without relying on words was a challenge of silent film, and the challenge for filmmaker Jacques de Baroncelli with The Woman and the Puppet (1928).
"My brother. I couldn't make this film without him and he couldn't make it without me", wrote Luc Dardenne in the 2000s.
“I am against discipline” is also the mantra hidden behind each character played by Sabine Azéma.
In the thirty-six years of his career and in over fifty films, the lithe body and compliant hair (yielding itself to a plethora of styles) of Viggo Mortensen have taken on a diversity of identities.
The Brood, The Wicker Man, and Picnic at Hanging Rock form three dissimilar journeys, whose common denominator is the invisible madness of Western societies.
The recurring series of the Lumière festival dedicated to great classics of black and white !
Alice Rohrwacher is Italian, and a filmmaker; a double identity she relentlessly asserts in her movies.
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