ARCHIVES 2016
International Fantastic Competition
Golden Octopus
Grave
Silver Méliès
I am not a serial killer
Jury Special Mention
Another Evil
Audience Award
Grave
Crossovers Competition
Award for the Best Crossovers Feature Film
Psycho Raman
Short Films Competition
Golden Octopus
The Disappearance of Willie Bingham
Silver Méliès
Tunnelen
Jury Special Mention
Subotika, land of wonders
Audience Award
Madam Black
Student Jury Award
The Disappearance of Willie Bingham
Best Short Film Made in France
Quenottes
Best Short Animated Film
Teeth
Indie Game Contest
Octopix for the Best Independent Video Game
Mars Underground
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
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.