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ÉCU-The European Independent Film Festival


ÉCU - The European Independent Film Festival is dedicated to the discovery and advancement of the very best independent films from around the world. We are a festival who believes in our independent filmmakers and their artistic talents. ÉCU proudly provides a unique platform that brings together diverse audiences who are hungry for something other than major studio productions and original and innovative filmmakers. 

 
The 16th edition of ÉCU - The European Independent Film Festival will take place on 9th-11th April 2021. Now open for submissions!

 

 

 

For more details regarding the festival, please visit our website at www.ecufilmfestival.com

 

 


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Je ne suis pas morte, Jean-Charles Fitoussi

by Marie-Charlotte Fossard

Last Saturday, I went to an event called Table ronde «Dessiner le
musée» at the Louvre museum. The event hosted various artists like
architects, scenographers and designers who meet to talk and debate
about art.

These «carte blanche» events give artists the opportunity to share
their passion for their vocation. This Saturday it was carte blanche to
Richard Peduzzi, a scenographer, painter and designer, who has
demonstrated his passion for painting through theatre, opera and film
sets. He was also the director of the Académie Française in Roma for six
years until 2008.

The fourth and final day was devoted to «artistic dialogue», giving
the opportunity to meet artists who had all been to the Villa Médicis,
an exceptional place devoted to art. One of them, the director
Jean-Charles Fitoussi offered an extract from his latest feature film,
«Je ne suis pas morte».

Jean-Charles Fitoussi is a french filmmaker who studied architecture,
cinema and philosophy. He is well known for getting inspiration from
literary sources and he confessed before the screening that it was
difficult to only show a little part of his work. For him an extract is
like « not even showing a chapter, but just the end of a sentence from a
book», but nonetheless 15 minutes of the film seemed sufficient to
carry the audience away into Fitoussi’s world.

The extract begins with a picnic on the grass where a couple is
breaking up. After a nightmare a man wakes up in a Roman garden,
laughing at the fact he’s alive. Then the focus is on a little boy that
we follow down the corridors of the Villa Médicis and his
inquisitiveness leads him to a an opera singer. We see him listening to
her without her knowing. Her singing is the most important part of the
rest of the extract; there are no more speeches or words. The singer
faces her audience, the little boy is still there and we are amongst
them. Nobody is neglected by the camera, it’s a mix of singularity,
confusion and of generations of people. The singing is efficient enough
to be transported all around them and us, any dialogue would be too
much.

The images were beautiful and it felt like we were humble spectators
within the scene. But in this modest transparency the effect was even
bigger, we were the witnesses of the singularity of the moment increased
by the purity of the singing. The power of music was even brighter in
this extract, and transported so many feelings, more than words ever
could. Nostalgia and melancholy were expressed as breaking-off and
reuniting with continuous grace throughout the singing.

«Je ne suis pas morte» won awards at Mar del Plata and Belfort, and
includes three sections: ‘Par les beaux soirs d’été’, ‘Le Chant des
séparés’, and ‘Par des chemins étranges’; This extract came from the
second one «Le Chant des Séparés» which could explain its choice.

If i would have to describe this moment as a simple viewer i would
say that it was a powerful moment, a place of enjoyment where emotions
are heightened because of the singer; we were uplifted into this world.
Now the impatient wait begins for the rest of this feature film which
will soon be released onto the big screen.

///

par Marie-Charlotte Fossard

Samedi dernier, je suis allée à la journée carte blanche à Richard
Peduzzi qui se tenait au musée du Louvre afin d’inaugurer la série de
journées «Dessiner le musée». Accueillant divers artistes tels que des
architectes, scénographes et designers réunis pour échanger et soumettre
leur réflexion sur l’art. L’occasion pour eux de partager leurs
passions. Ce samedi, la carte blanche était attribuée à Richard Peduzzi,
scénographe, peintre, designer et ancien directeur de l’Académie de
France à Rome de 2002 à 2008. Notamment connu pour avoir su exprimer sa
passion pour la peinture à travers des décors de théâtre, d’opéra et de
cinéma.

La quatrième et dernière partie de cette journée consacrée au thème
«le dialogue des arts» a été l’occasion de rencontrer des artistes qui
tous ont été pensionnaires à la Villa Médicis, institution française
dévouée à l’art. Ce moment d’échange a débuté par la projection d’un
extrait du film Je ne suis pas morte (Le Chant des séparés) dernier long
métrage de Jean-Charles Fitoussi, cinéaste français auteur de film
depuis 1994, qui a étudié l’architecture, le cinéma et la philosophie.
Il trouve son inspiration essentiellement dans la littérature. Ce
dernier nous confesse avant cette projection la difficulté de saisir
l’instant du film, le choix de cet extrait, pour lui cela est comme non
pas montrer «le chapitre d’un livre mais la fin d’une phrase d’un
livre», néanmoins ces 15 minutes d’extrait se sont suffit à elles mêmes.
Ce quart d’heure suffit à transporter le public dans l’atmosphère de
Fitoussi. Ce qui ressort de cette projection c’est cette volonté de
transparence, de montrer le spectacle du réel sans artifices apparents.

Cet extrait commence par un déjeuner sur l’herbe. Nous assistons à la
rupture d’un couple où l’homme se retrouve impuissant face au désespoir
de cet abandon. Puis nous le retrouvons dans un jardin romain, se
réveillant après un cauchemar. Le simple fait d’être vivant le fait rire
aux éclats. L’extrait se focalise alors sur un jeune garçon indiscret
que nous suivons dans les couloirs de la Villa Médicis, sa curiosité le
conduit jusqu’à une cantatrice qu’il écoute à son insu. Son chant sera
le fil conducteur de cet extrait, pas un mot, pas une parole ne suivent.
Le plan suivant nous montre cette cantatrice face à un auditoire où
nous retrouvons le jeune garçon et l’homme du début. La caméra ne
néglige personne, c’est alors un mélange de singularité et de confusion
des générations et des êtres. Le chant est assez majestueux pour
subjuguer l’audience, désormais les mots seraient incongrus. Les images
sont épurées nous ne sommes qu’alors les modestes spectateurs de cette
scène. Dans sa mise en scène, Jean-Charles Fitoussi est le garant de la
réalité mais dans cette humble transparence, l’effet n’en était que
plus grand. Cette singularité du moment est amplifiée par la pureté du
chant. La puissance de la musique n’en est que plus remarquable dans cet
extrait, où les sentiments s’en trouvent troublés bien plus que par les
mots. La grâce continue de ce chant nous entraîne dans cette sphère
rythmée par la séparation, les retrouvailles et la nostalgie.

«Je ne suis pas morte» composé de trois volets: «Par les beaux soirs
d’été», «Le Chant des séparés» et «Par des chemins étranges» a été
primé à Mar del Plata et à Belfort où Jean-Charles Fitoussi a remporté
le grand prix du film français.

Un moment d’exaltation où l’élégance du chant nous interpelle.
Remerçions Jean-Charles Fitoussi pour cette belle découverte, nous
attendons avec impatience la suite de cet extrait qui sera très
prochainement sur grand écran.

 

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About ÉCU-The European Independent Film Festival

Hillier Scott
(ECU)

 

 

Scott Hillier, Founder and President of ÉCU - The European Independent Film Festival
 
Scott Hillier is a director, cinematographer, and screenwriter, based in Paris, France. In the last 20 years, Hillier has gained international recognition from his strong and incredible cinematography, editing, writing, producing and directing portfolio in both the television and film industries.  
 
Scott began his career in the television industry in Australia. In 1988, he moved to London getting a job with the BBC who then set him to Baghdad. This opportunity led him to 10 years of traveling around world for the BBC, mainly in war zones like Somalia, Bosnia, Tchetcheynia, Kashmir, and Lebanon. After a near fatal encounter with a Russian bomber in Tchechnyia, Hillier gave up his war coverage and began in a new direction. 
 

He moved to New York City in 1998.  He directed and photographed eight one-hour documentaries for National Geographic and The Discovery Channel. Based on his war knowledge and experience, Hillier wrote and directed a short film titled, “Behind the Eyes of War!" The film was awarded “Best Short Dramatic Film” at the New York Independent Film and TV Festival in 1999. From that he served as Supervising Producer and Director for the critically acclaimed CBS 42 part reality series, "The Bravest” in 2002 and wrote and directed a stage play called, "Deadman’s Mai l," which ran at Le Théâtre du Moulin de la Galette in Paris during the summer of 2004. He then became the Director of Photography on a documentary titled, “Twin Towers." This was yet another life changing experience for Hillier. The riveting documentary won an Academy Award for "Best Documentary Short Subject" in 2003. In 2004, Hillier changed continents again, spending three months in Ethiopia. He produced “Worlds Apart,” a pilot for ABC America / True Entertainment / Endemol. As you can see, Hillier was and is always in constant movement and enjoys working in a number of diverse creative areas including documentaries, music videos, commercials, feature and short films.

 
Scott studied film at New York University and The London Film and Television School. He also studied literary non-fiction writing at Columbia University. Hillier's regular clients include the BBC, Microsoft, ABC, PBS and National Geographic. Between filming assignments, he used to teach film, a Masters Degree course in Screenwriting at the Eicar International Film School in Paris, France and journalism at the Formation des Journalistes Français in Paris, France. 
 

 


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