The film program is a cooperation between Tanz im August 2005 – Internationales Tanzfest Berlin and Kino Arsenal / Freunde der Deutschen Kinemathek e.V.

LE JEUNE HOMME ET LA MORT
two versions by Kenneth Anger und Roland Petit

LE JEUNE HOMME ET LA MORT is a ballet film, based on the Ballet des Champs-Elysées’ production of Roland Petit’s famous 1946 work, which was itself based on the eponymous poem by Jean Cocteau. Urged upon Kenneth Anger by Cocteau in 1951, the finished film was to be shot in color on 35 mm. Anger shot a number of black-and-white test rolls in preparation for the larger project, which never got off the ground due to a lack of financing. This version was directed in 1966 by Roland Petit himself, with Rudolf Nureyev in the lead role. The unfinished film offers an inside look at one of the most influential European ballet productions of the immediate post-war era.

AMELIA
by Édouard Lock / LaLaLa Human Steps

Édouard Lock recreates AMELIA for film using intricate choreography for both camera and dancers. Powerful performances by the dancers of LaLaLa Human Steps combine with the delicate sensual lightning of André Turpin and a minimalist environment conceived by Édouard Lock to create a seamless whole, where the camera interacts in tightly-choreographed moves to reveal, blend, and alter our perception of the dance. The original score written by David Lang is minimalist and is combined with lyrics from Lou Reed’s time with the Velvet Underground.

Kanada 2003. OF, 60 Min.

Regie und Choreografie:
Édouard Lock
Kamera: André Turpin
Musik: David Lang
Text: Lou Reed
Ton und Aufnahmemischung: Hans-Peter Strobl
Kostüme: Vandal
Tanz: Andrea Boardman, Nancy Crowley, Mistaya Hemingway, Keir Knight, Chun Hong Li, Bernard Martin, Jason Shipley-Holmes, Naomi Stikeman, Zofia Tujaka
Musiker: Alexandre Castonguay (Cello), Simon Claude (Geige), Njo Kong Kie (Klavier und Dirigent), Nadine Medawar (Vokalistin)

Produktion: Amérimage Spectra, Media Principia
Gefördert von: Kanadische Botschaft Berlin, Bureau du Cinéma der französischen Botschaft, Vertretung von Québec in Deutschland und AFAA.

M.M. IN MOTION by Vivian Ostrovsky
VERS MATHILDE by Claire Denis

M.M. IN MOTION unobtrusively follows the artist in her creative process from one choreography to the next. Vivian Ostrovsky accompanied Mathilde Monnier’s work from 1988 to 1991, sketching a portrait consisting of different scenes and illuminating the various elements and mechanisms of a work, and the interaction between choreographer and her partners in the studio, on the stage, and in the “open air”.

VERS MATHILDE by Claire Denis is an intimate portrait of French choreographer Mathilde Monnier. “Going towards Mathilde, moving towards her. Meetings at Montpellier during one season of her work. We initially used a super-8 to remove the intimidating aspect of the camera and to give the film a pre-existence, like a common memory. Then we worked with an Aaton 16. In both cases, I think that Mathilde could always hear the noise of the motor when the camera was rolling.” (Claire Denis)

Kino Arsenal
19 AUG
19h
6 EURO

(in französischer Sprache mit englischen Untertiteln)

After the screening there will be a talk with Mathilde Monnier (in French with German translation).

M.M. IN MOTION
Frankreich 1992.
OmE, 46 Min. 16 mm
Regie: Vivian Ostrovsky.

VERS MATHILDE
Frankreich 2004. 35 mm
(gedreht auf Super 8 und 16 mm). OmE, 84 Min.
Regie: Claire Denis
Kamera: Agnès Godard, Hélène Louvart
Ton: Brice Leboucq
Schnitt: Anne Souria

Produktion: Not Productions (Paris), Arte
Gefördert von: Bureau du Cinéma der französischen Botschaft, AFAA.

SOMEWHERE IN BETWEEN by Pierre Coulibeuf
based on a piece by Meg Stuart

An experimental film portrait, SOMEWHERE IN BETWEEN transposes the research of choreographer Meg Stuart into fiction. The title suggests the idea of vagueness which affects the entire reality of a film perched on the boundary between humor and gravity. The French filmmaker Pierre Coulibeuf has been adapting various forms of contemporary art to the screen (Marina Abramovic, Jan Fabre, Jean-Marc Bustamente). Cutting across genres, his “fictions” develop a visual vocabulary that inhabits the boundaries between fields, conducting a critique of established forms, questioning representations of reality, and carving out new space for cinematic creativity.