ARCHIVES 2016

International Fantastic Competition

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Golden Octopus

Grave

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Silver Méliès

I am not a serial killer

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Jury Special Mention

Another Evil

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Audience Award

Grave

Crossovers Competition

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Award for the Best Crossovers Feature Film

Psycho Raman

Short Films Competition

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Golden Octopus

The Disappearance of Willie Bingham

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Silver Méliès

Tunnelen

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Jury Special Mention

Subotika, land of wonders

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Audience Award

Madam Black

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Student Jury Award

The Disappearance of Willie Bingham

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Best Short Film Made in France

Quenottes

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Best Short Animated Film

Teeth

Indie Game Contest

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Octopix for the Best Independent Video Game

Mars Underground

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Best Fantastic Video Game

MachiaVillain

Opening / Closing

Swiss Army Man

The Mermaid

International Fantastic Film

Another Evil

I am not a serial killer

K-Shop

The Love Witch

The Open

Pet

Grave

Seoul Station

Shelley

They call me Jeeg

The Transfiguration

Under the shadow

Crossovers Competition

Creative Control

Detour

Dogs

Operation Avalanche

Outlaws and Angels

Psycho Raman

Trash Fire

Midnight Movies

31

Ballad in blood

The Greasy Strangler

Miruthan

Terra Formars

We are the flesh

Yoga hosers

Special Screenings

Creature designers: the Frankenstein Complex

Fear itself

Late Shift

Lo and behold: Reveries of the connected world

Ivan Tsarévitch
et la Princesse Changeante

International Competition

Coup de grâce

Dawn of the deaf

The Disappearance of Willie Bingham

Madam Black

Mars IV

Strangers in the night

Subotika, land of wonders

Tunnelen

Animated Competition

Belle comme un cœur

A coat made dark

Iâhmès et la grande dévoreuse

The Itching

La rentrée des classes

Teeth

Made in France Competition

Kitchen

Of men and mice

Le Plan

Quenottes

Retrosexe

Vardoger

M for Murder

M for Murder proposes nine films about serial killers, those obscure and abject objects of our desire, which we consume voraciously in news stories,  ction and cinema. Our serial killers are very different from one another, faithful to FBI pro les which emphasise a surprising diversity of social origins, motives and lifestyles, and the impossibility of establishing a generic portrait. Lang’s mentally unstable M is a compulsive female child killer. Friedkin’s Cruisings bring us a ritualistic sadist, targeting gays in New York’s S&M culture. The Tooth Fairy and Hannibal Lecktor, however, those dazzling evil geniuses of Mann’s Manhunter owe more to literature or cinema than reality. As does Lustig’s psycho-scalper in the extravagant Maniac, but these films so thoroughly engross that they require little or no suspension of disbelief.

Serials, the FBI informs us, need not be loners; many are family men, well-integrated into a community, so check out Fleisher’s De Salvo in The Boston Strangler. Others benefit financially from their kills, as the monstrous Mexican couple of Ripstein’s cruel Deep Crimson. Kargl’s Angst picks the brain of a madman, through intense interior monologues, but it is Henry, Portrait of a Serial Killer that is something far more terrifying. McNaughton’s hyper-real portrayal of this faceless murderer blurs the distance between film and reality, submerging viewers into the sickening world of the real thing. Need fresh air? Try Hamer’s elegant black comedy Kind Hearts and Coronets, whose dispossessed aristocrat ingeniously disposes of seven family members. Enjoy M for Murder, it’s got a 70% FBI stamp of approval. At least.

M le Maudit

Noblesse oblige

L'étrangleur de Boston

Cruising

Maniac

Schizophrenia

Henry, portrait d'un serial killer

Manhunter

Carmin profond

Universal Monsters

“It’s morbid. No one wants to see that sort of thing,” is what Carl Laemmle, the head of Universal Studios told his son Junior in 1931. He was referring to Frankenstein, which he thought unworthy of cinema. He had already begrudgingly allowed Junior to produce Dracula, but he attributed its monumental success to a one-time uke. Fortunately, Frankenstein was a hit, and Laemmle was proved wrong again. Universal had been into horror films since 1923, but these atmospheric newcomers, in uenced by European cinema, were markedly di erent. Tod Browning’s suave, erotic vampire and James Whale’s melancholy Monster were indeed disturbing and morbid for 1932 audiences, but that did nothing to deter their appetite. Cinema bookings were prolonged across America, and some theatres ran films around the clock to meet demand.
Universal was to follow up with other films, soon becoming a trendsetter in American horror. This revival presents seven of the films, remastered in state of the art 2k. To watch these films today, rendered timeless by their ingenious craftsmanship and artistic sensibility, is an in nitely pleasurable experience.

 

Dracula

Frankenstein

La Momie

L'Homme invisible

La Fiancée de Frankenstein

Le Loup-garou

L'étrange créature du Lac noir

Dario Argento Retrospective

“It’s morbid. No one wants to see that sort of thing,” is what Carl Laemmle, the head of Universal Studios told his son Junior in 1931. He was referring to Frankenstein, which he thought unworthy of cinema. He had already begrudgingly allowed Junior to produce Dracula, but he attributed its monumental success to a one-time uke. Fortunately, Frankenstein was a hit, and Laemmle was proved wrong again. Universal had been into horror films since 1923, but these atmospheric newcomers, in uenced by European cinema, were markedly di erent. Tod Browning’s suave, erotic vampire and James Whale’s melancholy Monster were indeed disturbing and morbid for 1932 audiences, but that did nothing to deter their appetite. Cinema bookings were prolonged across America, and some theatres ran films around the clock to meet demand.
Universal was to follow up with other films, soon becoming a trendsetter in American horror. This revival presents seven of the films, remastered in state of the art 2k. To watch these films today, rendered timeless by their ingenious craftsmanship and artistic sensibility, is an in nitely pleasurable experience.

 

L'oiseau au plumage de cristal

Le chat à neuf queues

4 mouches de velours gris

Les frissons de l'angoisse

Suspiria

Ténèbres

William Lustig Retrospective

Maniac

Vigilante

Maniac cop

Tribute to David Bowie

The year 2016 has been a particularly tragic year after the deaths of a number of icons, including that of David Bowie, two days after his new album was released. It was seen as tragic for the music industry, but the elusive legend also belonged to the fraternity of the silver screen. Too rarely seen as an actor, he was always consummate in his work and put his own stamp on a handful of acclaimed fantastic movies. The legitimacy of a musician to play a major role on the screen is a question that will inevitably arise, but Bowie’s recognition was assured following his performance in Nagisa Oshima’s Merry Christmas, Mr. Lawrence.

He was a versatile, totally committed artist, but overshadowed by his own name, audiences rarely forgot that it was the Ziggy Stardust singer playing a role. Whether a vampire alongside Catherine Deneuve in Tony Scott’s The Hunger or an extraterrestrial in Nicolas Roeg’s The Man Who Fell to Earth, he was above all the androgynous, surrealistic and one-of-a-kind David Bowie.

For one of his last films, Christopher Nolan o ered him the part of Nikola Tesla in The Prestige. Despite his brief appearance, he is a sorcerer who works his magic. Bowie, the actor and man of cinema, merges into the symbolic.

 

L'Homme qui venait d'ailleurs

Excentric Night

In partnership with the Cinémathèque française, the Festival will once again nish on a high note with a new edition of its Eccentric Night. From midnight to the wee hours of the morning, you will have the chance to watch three B movies interspersed with a programme of trailers carefully selected from the Cinémathèque collections. The programme consists of a zombie film considered to be one of the naffest films of all time, a Rahan ersatz in a Star Wars sauce and, finally, a Taiwanese monster film that makes Space Sheri Gavan and Message from Space: Galactic Wars seem like masterpieces. If you manage to survive, you will be served breakfast at dawn.

 

Virus Cannibale

Yor, le chasseur du futur

Les hommes d'une autre planète

Indie Game Contest

Carus

Decay Alien Escape

Double Kick Heroes

Fighting Space

Goo Saga

Hacktag

Heart @ Hack

Koloro

MachiaVillain

Mars Underground

Modsork

Outskirts

Tetra: Save the Tetras

Tower of Samsara

unWorded

Your Star

VR Film Corner

Burlap

Evolution of Verse

Invasion

Killer Deal

Sonar

Game in Virtual Reality

Dark Days

Dragon Flight

S.E.N.S

Round Tables

Les détournements artistiques du jeu vidéo

Le financement du jeu vidéo

Le son dans le jeu vidéo

Events

Keys of fury:
Exposition Raquel Meyers

Raquel Meyers: Artiste KYBDSLOYD

Philip K. Dick dans tous ses états

Retrogaming

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Master class Dario Argento

Master class William Lustig

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Jaws at the Municipal Baths

Jurassic Park open air screening

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Nightmares from the past

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Fantastic Village

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Zombie Aperitif

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Star Trek : Live Long and Prosper

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Master Class : Set design at the Cinema

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The "Demain si j'y suis" collection

Guest of Honor

Dario Argento

International competition jury

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William Lustig, jury president

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Veronika Franz

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Brontis Jodorowsky

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John Ajvide Lindqvist

Crossovers competition jury

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Stéphane Libs

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Jérôme Malien

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Swen de Pauw

Short-films jury

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Étienne Jaxel-Truer

JuryStephaneMartinez-3019

Stéphane Martinez

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Romain Zaniboni

Indie Game Contest jury

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Sébastien Gaillard

id ceciler-2894

Maria Kalash

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Juliette Noureddine

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Étienne Périn

Video Games speakers

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Mathieu Maire du Poset

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Aurélie Reveillaud

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Nicolas Bredin

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Frédéric "Elmobo" Motte

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Fanny Barnabé

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Raquel Meyers

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Tatiana Vilela Dos Santos

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Pauline Augrain

Student jury

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Anna Dossman

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Nael Moryoussef

JuryJeuneLea-OK-3327

Léa

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Juline

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Sophie Gredel

OscarLemerle-OK-3326

Oscar Lemerle

Guests

Ali-PIC2-3272

Ali Abassi

Bauer-3313

Jean Bauer

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Ruggero Deodato

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Julia Ducournau

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Marc Lahore

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Billy O'Brien

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Michel Ocelot

Gilles Penso_noirblanc-3307

Gilles Penso

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Baptiste Planche

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Dan Pringle

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Christopher Smith