- Cultural Diversity Awareness -
France, safe haven for art cinéma, best economic system for independent cinema, most open-minded audience for foreign films and non-commercial films, is worried about the health of the film industry in France, and in the world. And in the USA, where the situation is MUCH MUCH MUCH worse for art cinema, cultural diversity, auteur liberty, independent cinema and audience's culture and open-minded taste, DOESN'T GIVE A SHIT about it, doesn't worry, doesn't question the system, doesn't even discuss it in the media. Enough said.
"This is an extremely stimulating period for auteur cinema. Such a claim might seem paradoxical, given the crisis we all know that cinema as a whole has undergone these last several years: the erosion of traditional financing systems, the film-funding TV channels’ mistrust of original projects, the wider public’s decreasing interest in cinema going, and auteur films’ problems in terms of theatrical exhibition and distribution in so many countries all over the world. [..]
Some young filmmakers still manage to find their place within the system, and can adapt to it, others opt for a radical break with it and commit themselves, either through choice – or lack of any other choice – to what some have called “guerrilla cinema.” [..]
Festival’s directors, programmers have become, sometimes more than the critics and journalists, companions in arms with these young filmmakers, with their strong personalities, be they leaders or loners, whose films ring out like passwords, but whose work and talent have little to do with snobbery or the cliquishness so often associated with art cinema. [..]
They are not yet known to the wider audience and perhaps never will be; their films are sometimes critical successes, often more celebrated abroad than at home, but they represent the future of auteur cinema, in its most honest, aspirational, righteous, poetic definition. Their work is exciting and that alone justifies a continued interest in film, and its value as a living and contemporary art, not merely as a remnant of the past century. [..]
If micro-budgets are sometimes perceived as a constraint, they are above all the price that has to be paid of following a bold and worthy vision of film, and may be clear the way for a set of working conditions where time, friendship, freedom, reflection and improvisation are values and luxuries that are far more precious than money. [..]"
For a guerilla cinema, Olivier Père; Artistic Director at Festival del film Locarno; 25 October 2011 [FRENCH]
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"L'ensemble des organisations professionnelles du cinéma découvre avec stupéfaction le dépôt d'un amendement gouvernemental visant à plafonner le niveau de chaque taxe affectée au CNC.ARP (Société des Auteurs Réalisateurs Producteurs); BLIC (Bureau de Liaison des Industries Cinématographiques); BLOC (Bureau de Liaison des Organisations du Cinéma); SACD (Société des Auteurs et Compositeurs Dramatiques); UPF (Union des Producteurs de Films)
Un tel amendement mettrait à bas le système de soutien mutualiste du cinéma français qui, depuis 1946, a permis de maintenir tout à la fois une industrie cinématographique forte et une création dynamique et diversifiée.
Si un tel amendement était voté, le CNC ne pourrait plus remplir ses missions, qui sont au coeur du financement de la diversité culturelle.
L'ensemble des organisations professionnelles du cinéma s'oppose avec la plus grande fermeté à l'adoption de cet amendement, et demande au Gouvernement de le retirer."
ARP, BLIC, BLOC, SACD, UPF; Paris, le 21 octobre 2011 [PDF]
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"[..] Nous souhaiterions, en premier lieu, que le futur Président prenne des engagements, qu’il portera avec vigueur, sur l’harmonisation fiscale des biens et services culturels.
Ce sera le moyen pour que les édifices nationaux de protection de la diversité culturelle patiemment élaborés, ne soient pas réduits à des châteaux de cartes par le jeu d’ optimisations fiscales. [..]
Le cinéma est prêt à faire un geste en faveur de la solidarité nationale, mais à condition que cela ne fragilise pas le socle et la philosophie de son financement. [..]
Cette édition doit renforcer nos convictions car le cinéma français et européen a récemment prouvé qu’il
savait produire des oeuvres de qualité qui rencontrent leur public. [..]"
Rencontres Cinématographiques de Dijon (20-22 Oct 2011) [PDF]
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