Honorary Members
Liliane de Kermadec
scriptwriter
« Le Naufrage des Mimosas » “MURMUR of the RUINS” « La Victoire de Samothrace » . « A quiet place » – « Le Petit Octobre » .– « Idéal Hôtel » « Une vie meilleure » – « Babylone » – « TELEGRAPH TRAIL »– « LES SYMPTÖMES DE L’AMOUR » « LENINALLEE » « LE PETIT POMMIER » – « La Renarde » – « Flora Tristan » – « One long night” – « ALOÏSE » – « HOME SWEET HOME »
director
2010 « CINEMA ON WHEELS » CINÉ CINEMA (China) In DEVELOPMENT « LE NAUFRAGE DES MIMOSAS » feature – 2009 – PÉRIPÉTIES ET PERSPECTIVES DES ACTEURS DE L’OPERA DE P2KIN » CINE-CLASSIC TV (Beamlight Prod. ) 2008 – « LE MURMURE DES RUINES» feature – “ÉTOILES ET PETITS PAS” doc. 2007 Best in the dance and music category REELHEART festival TORONTO- « SUR LA POINTE DES PIEDS » doc. (Belair media Prod – arte) – « NOS RËVES d’EUROPE » doc. (Human Rights Ligue) – « L’HISTOIRE NATURELLE D’ ARMAND DAVID » (KTO TV) IDFA Amsterdam ECOFILMS Rhodes Festivals – 2004 – « MARRIAGE IN INDIA» doc – (Bel air media Prod) – « THE VERY DEAR INDEPENDANCE OF NAGORNO FARABAKH. doc. (KTO) IDFA Amsterdam Thessalonique – Barcelone – Varsovie – San Francisco (Award for editing) – Women Film Fest. Créteil Paris – Human Rights Festival Paris – 2003 – « IMPRESSIONS D’AIX » MEZZZO – “PAUL ANDREU: BATIR L’OPERA DE PEKIN” – doc. (TV5 CITYZEN TV 2) – 2001 – ” LES HUGUENOTS A CHARLESTON” (FR 2) doc. 2000 – “POW WOW” arte 1999-1998 doc. “The chinese silk road ” (VOYAGE TV – RAI) – 1997 – “UNE PETITE REINE” short (TEVA TV) – 1996 – ” LE CINEMA DE GRAND-PERE” doc. (CINE CLASSIC TV) – 1994 – “LE LIVRE DES ROIS” – 1993 « LA PISTE DU TELEGRAPHE » feature 1990/1988 “LES SYMPTOMES DE L’AMOUR ” serie : (arte LA SEPT LA NEF Munich) 1991 – 1990 -LENINALLEE” – “DANTE ET BEATRICE à LIVERPOOL” “SUCH A FAR AWAY LOVE” “LE VISAGE DE L’AMOUR” “L’AMOUR MÈNE À FLORENCE “LES FLONFLONS DE HONFLEUR” 1984 “LES BROUILLARDS DE LA VISTULE” musical (A2) “UN MOMENT D’INATTENTION” feature (A 2 TV ) – 1983: “MERSONNE NE M’AIME” (A2 TV 2) 1982 American Art 1981 FR3 “UNE PLACE AU SOLEIL” doc (FR 3) – “LE PETIT POMMIER” feature (FR3) “MADELEINE ou LA TROISIEME JEUNESSE (doc) (FR 3) – 1976 “CINÉ-TRAIN” doc – 1974 « ALOÏSE » official select Venise Cannes Moscou Londres Washington Sorrente Los Angeles Festivals with Delphine Seyrig, Isabelle Huppert, – 1973 “LE PACIFIQUE ET LE TEMPS DES CERISES” doc. (A2) – “LE TOUR DU MONDE” AIR FRANCE – “FEMMES CONSEILLÈRES MUNICIPALES” (doc.) (FR 3) – 1972 “HOME SWEET HOME” feature Tokyo Cannes Film Festival – 1971 – “LE NOIR-COULEUR” KODAK -:”IMAGES DU CIEL” AIR FRANCE 1970 – “AGNÈS VARDA et VIVA” doc (FR 3) – “VACANCES VERTICALES” SNCF “IMAGES DE FRANCE” H. CARTIER-BRESSON ORTF – “LE CHAMPAGNE C’EST ELLE Oscar Industrial Film Festival Biarritz – “CREDIT LYONNAIS” – “L’ESPACE D’UN INSTANT” 1969 – “AMOUR AMOUR” short (ORTF) – 1968 “MOANDA” (Delpire Prod) doc – 1967 JOSEF LOSEY – DIRK BOGARDE – ROBERT ALDRICH interviews (ORTF) – “LES PARFUMS” – “LA BOURGOGNE INSOLITE” “LA RECREATION” – “DIM DAM DOM” (ORTF) -1966 Pub : HECHTER – 1965 “QUI DONC A REVE” (Delpire Prod) short – 1964 – Pub CITROEN – AIR FRANCE – Kodak 1963 “LE TEMPS D’EMMA” (Delpire Prod.) short (Lion de Saint Marc Award Venise Film Festival) court-métrage (Lion de Saint Marc Festival Venise) 1962 Photographe plateau “Muriel” (Alain Resnais) 1961 “Cleo de cinq à sept” (Agnès Varda) ect.- Comédienne.”La Jungle des villes” (B. Brecht) “Akara” (R. Weingarten) “Yerma” (F.Garcia Lorca) “La plus forte” (Strindberg) ect… École de Mime Jacques Lecoq – Ecole d’art dramatique du Vieux Colombier Paris – Conservatoire d’art dramatique et lycée à Nancy après une escapade pour naître à Varsovie.
Gianfranco Rosi
Gianfranco Rosi was born and raised in Asmara, Eritrea and then moved to Rome and Istanbul. He attended University in Italy where he studied Political Science and worked in Milan as an assistant photographer. He then went to New York, where he graduated from the New York University Film School. Since then he has worked as a director and free-lance cameraman. He has produced, directed and photographed both Boatman and Below Sea Level amongst many other projects.
His latest film El Sicario, produced by Arte and Les film d’ici, is the confession of a Juarez hit man
He is a guest lecturer at New York University Film School, and the CCC in Mexico City and teaches documentary at SUPSI in Switzerland and Accademia dell’immagine in L’Aquila
director
Award Below Sea Level (2008)
VENICE 08: ORIZZONTI AWARD
VENICE 08: DOC.IT AWARD (best doc. of the festival)
VENICE 08 : LANCIA AWARD (best film of the festival)
IDFA 09: BEST OF FESTIVALS
ITALIA FILM FEST: BEST ITALIAN DOC. 08
CINEMA DU REEL 08: GRAND PRIX
CINEMA DU REEL 08: PRIX DES JEUNNE
ONE WORLD HUMAN RIGHTS FILM FEST Prague: GRAND PRIX
BELLARIA Film Fest. BEST ITALIAN DOC. 09
AUDIENCE AWARD SALINA DOC.FILM FESTIVAL 2009
2009 EUROPEAN FILM ACADEMY AWARDS NOMINATION
2010 MAGNIFICENT 7 at European feature Doc. Festival Belgrade
Award Boatman
PRODUCED, DIRECTED, PHOTOGRAPHED, BY GIANFRANCO ROSI
EDITED BY JACOPO QUADRI
OFFICIAL COMPETITION SUNDANCE FILM FEST. 94
OFFICIAL SELECTION TORONTO INT’L FILM FESTIVAL 94
OFFICIAL SELECTION LOCARNO INT’L FILM FEST 93
other AWARDS:
NEW DIRECTORS/ NEW FILM THE FILM SOCIETY OF LINCOLN CENTER 94
BEST FILM AT HAWAII INT’L FILM FEST 94
BEST FIRST FILM AT BOMBAY INT’L FILM FEST. 94
BEST FILM AT FESTIVAL DEI POPOLI 93
BEST FILM AT PARNU INT’L FEST. 94
OUTSTANDING FILM AT HONG KONG INT’L FILM FEST94
JURY SPECIAL MENTION AT CINEMA DU REEL 94
JURY SPECIAL MENTION AT IDFA 94
JURY HONORABLE MENTION AT MONTREAL WORLD FILM FEST. 94
COMPLETE FILMOGRAPHY
1985 Car Wash (short)
1985 Coney Island (short)
1986 Roosevelt Island (short)
1987 Vaudeville (short)
1993 Boatman (premiere Sundance film fest)
2001 Afterwords (premiere Venice film fest.)
2004 Face addict as DP (premiere Locarno film festival)
2008 Below Sea level (premiere Venice film fest)
2010 The Sicario produced by Arte France and Les Film D’ici
Tom Stern
Acclaimed cinematographer Tom Stern began his feature film career as a gaffer and best boy on a string of well-regarded independent features, including Sam Fuller’s “White Dog” (1982). The film brought him in contact with cinematographer Bruce Surtees, who hired him as gaffer and chief lighting technician on most of Eastwood’s features from the early 1980s through the early 2000s. After striking out on his own for projects like “American Beauty” (1999), he re-teamed with Eastwood as cinematographer on such critical and box office hits as “Million Dollar Baby” (2004), “Flags of Our Fathers” (2006), “The Changeling” (2008) and “Gran Torino” (2008). The level of artistry he brought to his craft, which was paid proper tribute by an Oscar nomination in 2008, made him among the finest directors of photography working in the industry.
Born Thomas Evans Stern in Palo Alto, CA on Dec. 16, 1946, he was the son of an aeronautical engineer for United Airlines, who bestowed a fascination for all things mechanical on his son. The family relocated to France in 1960, where the teenaged Stern began experimenting with cameras and photography. The family returned to the United States in 1963, and Stern attended college at the newly opened St. John’s in Santa Fe, NM, where he took advantage of the school’s four year liberal arts program. During his sophomore year, he met a transfer student from the school’s campus in Annapolis, MD who was interested in shooting a film, and asked Stern to photograph it. Having no prior knowledge of how to operate a film camera, Stern read the manual and completed his first job as a cinematographer.
The finished product helped Stern get into graduate school at Stanford University, where he concentrated in film studies. Stern amassed countless hours of experience shooting student movies, but decided that his chances for steady work might be stronger in lighting rather than directing or cinematography. His mechanical aptitude made him an ideal candidate for the job, and he was soon working as a gaffer on educational films and documentaries beginning in the early ‘70s. By the middle of the decade, he had graduated to Hollywood films; among his earliest credits as best boy and/or gaffer was the Joan Micklin Silver newspaper drama “Between the Lines” (1977).
He found the pace of the industry a bit too strong for his liking, so he returned to Palo Alto after the Silver film and began seeking alternatives to his current way of life. But a call for work in Los Angeles brought him back into the fold, and by the early ‘80s, he was working regularly for major and independent features in California. Among his credits during this period was the controversial Sam Fuller drama “White Dog” (1982), which marked his first partnering with Oscar nominee Bruce Surtees, Clint Eastwood’s main cinematographer for much of the 1970s and 1980s. Stern’s first job on an Eastwood film came with 1982’s “Honkytonk Man,” and he would continue to work as gaffer or chief lighting technician on most of the actor-director’s films through 2000’s “Space Cowboys.”
In addition to his work with Surtees and Eastwood, Stern served as gaffer or chief lighting technician on films ranging from “The Goonies” (1985) for director Richard Donner to “French Kiss” (1995) and “American Beauty” (1999). He also collaborated frequently with the latter film’s cinematographer, the legendary Conrad L. Hall, on numerous commercials. Stern’s relationship with Hall was so strong, and the elder cinematographer’s talent such an influence on him, that when Hall died in 2003, Stern left the industry for six months to grieve for his mentor. At the end of that year, Stern received a call from Eastwood to work on his latest film, the thriller “Blood Work,” which launched his career as a director of photography.
Stern soon became Eastwood’s cinematographer of choice for a spectacular series of features that earmarked the director’s output in the 21st century. He was behind the camera for “Mystic River” (2003), “Million Dollar Baby” (2004), and Eastwood’s meditations on bravery in World War II, “Flags of Our Fathers” (2006) – which earned him a Satellite Award – and “Letters from Iwo Jima” (2006). In addition to these films, he was director of photography on such successful movies as “The Exorcism of Emily Rose” (2005) and “Things We Lost in the Fire” (2007). The year 2008 proved to be one of his most successful to date – not only did he shoot Eastwood’s “The Changeling” (2008) and “Gran Torino” (2008) – but the former picture brought him Academy Award and BAFTA nominations for Best Cinematography.
Gérald Goualin
Apres des études juridiques à Toulouse, a été directeur général adjoint du conseil général et jusqu’en 2008 directeur général du syndicat mixte du musée Toulouse-Lautrec d’Albi. Homme de culture, il a en tant que directeur général du syndicat mixte de l’abbaye-école de Soreze, considérablement contribue au développement du Festival “Musiques des Lumières” qui, depuis, a acquis une notoriété qui dépasse largement les frontières.
