{"id":6950,"date":"2025-05-15T16:15:18","date_gmt":"2025-05-15T14:15:18","guid":{"rendered":"https:\/\/unarchivefest.it\/?page_id=6950"},"modified":"2025-05-19T00:53:07","modified_gmt":"2025-05-18T22:53:07","slug":"les-archives-dans-les-mains-des-cineastes","status":"publish","type":"page","link":"https:\/\/unarchivefest.it\/en\/les-archives-dans-les-mains-des-cineastes\/","title":{"rendered":"Les archives dans les mains des cin\u00e9astes"},"content":{"rendered":"

[vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”187932″][vc_column column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ uncode_shortcode_id=”269404″][vc_single_image media=”6961″ media_width_percent=”100″ uncode_shortcode_id=”163938″][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”115430″][vc_column column_width_percent=”100″ gutter_size=”0″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”180167″][vc_column_text uncode_shortcode_id=”165214″]<\/p>\n

Les archives dans les mains <\/span><\/strong>des cin\u00e9astes<\/span><\/strong><\/h1>\n

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A selection of reuse films from the Cin\u00e9math\u00e8que qu\u00e9b\u00e9coise<\/span><\/strong><\/h3>\n

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May 31
\n6:00 pm.<\/span><\/strong>
\nCinema Intrastevere – <\/span><\/strong>Sala 2<\/strong>
\nIntroduction from the Cin\u00e9math\u00e8que qu\u00e9b\u00e9coise curator Guillaume Lafleur<\/strong><\/span>
\n<\/span><\/h4>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”187932″][vc_column column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ uncode_shortcode_id=”269404″][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][vc_column_text uncode_shortcode_id=”186068″]The Cin\u00e9math\u00e8que qu\u00e9b\u00e9coise invited five artists of experimental and animated cinema to make a short film using unused Soviet films donated by collector Fran\u00e7ois Lemai. Recomposing the images, manipulating the shots to recall their plastic value, producing a discourse that resonates with the approach of the artists called upon…
\nIt is with this in mind that director Theodore Ushev rearranges Eisenstein’s The Old and the New with aesthetic vigor and panache, giving it a new historical dimension, with the old becoming the USSR and the new Putin’s Russia.
\nFor her part, Austrian-Canadian experimental filmmaker Michaela Grill revisited themes from her later films (the disappearance of species, the environmental divide) by rearranging images from Soviet dystopian fiction.
\nUnder the title La duret\u00e9 du mental<\/em>, Charles-Andr\u00e9 Coderre, a young filmmaker and performer associated with the Montreal group Double n\u00e9gatif, offers a reworking and plastic alteration of Soviet sports films from the 1980s depicting wrestling and pole vaulting.
\nFinally, two films question the cinematic landscape and
\nits intimate function. Canadian-Bulgarian filmmaker Ralitsa Doncheva achieves this by reusing a 35mm copy of an unfinished film by Alexander Sokourov. Steven Woloshen, for his part, takes a very personal and contemplative approach, rephotographing in 65mm the landscapes of some shots from the film Les tziganes montent au ciel, by Moldovan-born director Emil Loteanu.<\/p>\n

Guillaume Lafleur
\nDirector of programming, distribution and publications Cin\u00e9math\u00e8que qu\u00e9b\u00e9coise<\/em>[\/vc_column_text][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][vc_empty_space empty_h=”2″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/1″][vc_column_text uncode_shortcode_id=”140011″]<\/p>\n

L\u2019ancien et le nouveau (effac\u00e9)<\/span><\/strong>
\nTheodore Ushev \/ Qu\u00e9bec \/ 19\u2019 \/ 2025
\nLa tristesse du lynx<\/span><\/strong>
\nMichaela Grill \/ Qu\u00e9bec \/ 10\u2019 \/ 2025
\nLa duret\u00e9 du mental<\/span><\/strong>
\nCharles-Andr\u00e9 Coderre \/ Qu\u00e9bec \/ 20\u2019 \/ 2025
\nLast Evenings on Earth<\/span><\/strong>
\nRalitsa Doncheva \/ Qu\u00e9bec \/ 13\u2019 \/ 2025
\nTerritoires parall\u00e8les<\/span><\/strong>
\nSteven Woloshen \/ Qu\u00e9bec \/ 7\u2019 \/ 2025<\/p>\n

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