Untitled
Transcription
Untitled
www. GA I J I N . F R CONTACTS FESTIVALS va l er i e ma ssa d i a n va l er i e@ga i ji n. fr +3 3 24 6 6 5 01 51 INTERNATIONAL SALES sop h i e er bs sop h i e@ga i ji n. fr +3 3 24 6 6 5 01 51 DISTRIBUTION FRANCE EPICENTRE FILMS www.epicentrefilms.com + 33 1 43 49 03 03 jane roger - [email protected] DISTRIBUTION PORTUGAL MIDAS FILMES www.midasf ilmes.pt +351 910 30 19 72 marta fernandes - [email protected] PRESSE MAKNA presse www.makna-presse.com chloe lorenzi&audrey grimaud +33 142 77 00 16 [email protected] avec KELYNA LECOMTE ALAIN SABRAS MARIE DELMAS YVES MONGUILLON LÉO et MAX PENOT RÉALISATION VALERIE MASSADIAN IMAGE LÉO HINSTIN VALERIE MASSADIAN OLIVIER DANDRÉ JONATHAN LAURENT SON MONTAGE MONTAGE et MIXAGE SON COLLABORATRICES PRODUCTION DOMINIQUE AUVRAY VALERIE MASSADIAN BRUNO EHLINGER CHRISTIANE FAMER SOLÈNE COMBEMALE AXELLE LE DAUPHIN SOPHIE ERBS Nana a 4 ans et vit dans une maison de pierres par-dela la foret.. De retour de l’école, une fin d’après-midi, elle ne trouve plus dans la maison que le silence. Un voyage dans la nuit de son enfance. Le monde a sa hauteur. Nana is 4 years old and lives in a stone house beyond the forest. Back from school, on a late afternoon, all she finds in the house is silence. A journey into the night of her childhood.. The world at her height. LOCARNO FESTIVAL DEL FILM 2011 - BEST FIRST FEATURE FILM AWARD VANCOUVER INTERNATIONAL FILM FESTIVAL 2011 FESTIVAL INTERNACIONAL DE CINE VALDIVIA 2011 - BEST INTERNATIONAL FILM AWARD FESTIVAL INTERNATIONAL DU FILM FRANCOPHONE DE NAMUR 2011 VIENNALE - VIENNA INTERNATIONAL FILM FESTIVAL 2011 FRANZÖSISCHE FILMTAGE TÜBINGEN STUTTGART 2011 LJUBLJANA INTERNATIONAL FILM FESTIVAL 2011 LEEDS INTERNATIONAL FILM FESTIVAL 2011 EUROPEAN FILM FESTIVAL SEGOVIA (MUCES) 2011 RIO DE JANEIRO INT`L FILM FESTIVAL 2011 FESTIVAL ON WHEELS - GEZICI FESTIVAL TURKEY 2011 FESTIVAL INTERNATIONAL DU FILM DE BELFORT, ENTREVUES 2011 INTERNATIONAL FILM FESTIVAL OF INDIA / GOA 2011 FESTIVAL DU FILM DE VENDÔME 2011 MUSEUM OF THE MOVING IMAGE - FIRST LOOK FILM FESTIVAL 2012 FESTIVAL D’ANGERS - PREMIERS PLANS 2012 INTERNATIONAL FILM FESTIVAL ROTTERDAM 2012 FESTIVAL INTERNATIONAL DU FILM D’ENVIRONNEMENT 2012 !F ISTANBUL INTERNATIONAL INDEPENDENT FILM FESTIVAL 2012 - GRAND PRIX CLEVELAND INTERNATIONAL FILM FESTIVAL 2012 HONG KONG INTERNATIONAL FILM FESTIVAL 2012 BAFICI - BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE 2012 JEONJU INTERNATIONAL FILM FESTIVAL 2012 NEW HORIZONS INTERNATIONAL FILM FESTIVAL WARSAW 2012 CINEMA CITY - INTERNATIONAL FILM FESTIVAL NOVI SAD SERBIA 2012 GOLDEN APRICOT - YEREVAN INT’ FILM FESTIVAL 2012 NEW HORIZON INT’ FILM FESTIVAL 2012 NEW ZAELAND INT’ FILM FESTIVAL 2012 MELBOURNE INT’ FILM FESTIVAL 2012 On le recommandait : “Il est beau, faut le voir”. Et il est beau, objectivement, mais ce n’est pas de beauté que parle ce plongeon sensible dans la vie d’une fille de 4 ans, avant l’hostilité des relations familiales et du monde qui l’entoure, avant les stratagèmes infantiles que l’enfant utilise pour se défendre. Voici un enfant sauvage qui ne doit rien à Truffaut, à Pialat, à Doillon et qui prend place, sans en demander la permission, de façon authentique, dans cette même famille qui a su observer les secrets de l’enfance sans commisération.. Francisco Ferreira - Expresso Valerie Massadian’s Nana, as disturbing as it is poetic, a quicksilver piece of pure cinema that will be much discussed. Robert Koehler Succinct and mysterious, taut and langorous, hermetic and expansive. Massadian’s pastoral fable strikes a memorably unnerving chord that only so much context can assuage. Massadian’s very camerawork seems to be asking the question of whether the world is ever at the mercy of one’s fingertips, child or adult. Denuded to its cryptic core, Nana may be insular to a fault but is wide open for identification. In which case the notion of purity in cinema may become subordinate to preference, whereby states of inattention may be the point of the peril of watching. Nana weaves a spell by virtue of leaving ample room for both, implying that any given moment the real and mythic describe each other. Sometimes films, like children, are terribly incrustable, and have mind of their own. Jay Kuehner - Cinemascope