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Losey in Europe
Colin Gardner

Brecht’s Galileo (filmed directly between the two projects) than the vital political activists of filmmakers such as Costa-Gavras, Gillo Pontecorvo or even Resnais. Both Trotsky and Larrea led hermetic lives of purely textual production, one pathetically cut off from past glories, the other Oedipally alienated by the younger generation’s political apathy and unfocused rage. Much of this dearth of topical relevance is rooted in

in Joseph Losey
Will Higbee

, Kassovitz’s particular brand of social cinema can be compared with the spectacularisation of politics found in French civic cinema of the 1970s, employed by directors such as Costa-Gavras (with whom Kassovitz has recently worked) and Yves Boisset. Certainly Kassovitz would have been familiar with the work of these directors, if only due to the fact that such filmmakers moved within similar social, artistic

in Mathieu Kassovitz
Sarah Cooper

Secretary General of the Czech Communist Party) and ten others were condemned to death, while London and the remaining two were sentenced to life imprisonment. London was freed, however, in 1956. His book, The confession , is a vivid account of living under Stalinist rule, which filmmaker constantin Costa-Gavras decided to make into a film, L’Aveu (1970). On vous parle de Prague moves between newsreel footage of the Slansky

in Chris Marker
Manuel Benítez ‘El Cordobés’ and Raphael
Duncan Wheeler

the Iron Curtain in Tito’s Yugoslavia. On becoming Minister of Foreign Affairs in 1969, Gregorio López Bravo de Castro has stated that a major priority was establishing trade links with the Eastern Bloc. 62 Following the condemnation of the Soviet invasion of Czechoslovakia by the Spanish Communist Party, the Kremlin sold Franco’s Government much-needed coal during the 1969 miners’ strike in Asturias. 63 The location of the Oscar-winning film Z (Costa-Gavras, 1969) is never explicitly stated, but the script co-authored by Semprún implicitly references the

in Following Franco
Guy Austin

Klein’s documentary on the inaugural Panafrican Festival of 1969. The organisation also co-produced French films such as Z (Costa-Gavras, 1968) and Elise ou la vraie vie (Drach, 1970). By the mid-1970s, however, the only Algerian films to have covered their costs were Gillo Pontecorovo’s 1965 classic La Bataille d’Alger and Lakhdar Hamina’s 1968 comedy Hassan Terro (see Salmane 1976b : 22

in Algerian national cinema
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Le Thé au harem d’Archimède and Hexagone
Carrie Tarr

CAP d’électricien and four years of unemployment behind him. But whereas Charef was sponsored by Costa-Gavras, Chibane set up his own production company and took six years to make Hexagone , facing problems in raising funding at every stage. The original script failed to get the avance sur recettes , and in the end the shooting of the film was financed through support from the local community, thanks also to technicians and a local amateur cast who were

in Reframing difference
Laissez-passer, Effroyables Jardins and Monsieur Batignole

their actions ( 2003 ). They pretend to be resistants and this represents an ad hoc, spontaneous and ultimately counterproductive kind of heroism, made even more problematic when there are reprisals from the Germans, including taking hostages. The German authorities here will serve their own kind of justice by wrongfully convicting individuals and executing them unless the real culprits identify themselves. As previously seen in Séction spéciale (Costa-Gavras, 1975), the French judicial system of the time collaborated in delivering this perverted form of justice

in Reframing remembrance
Transcending the question of origins
Emna Mrabet

North African origin. The new figure of the Maghrebi youth would now replace that of the immigrant worker, which dominated the films of the 1970s such as Ali Ghanem’s film Mektoub? (1970) and Naceur Ktari’s Les Ambassadeurs (1975). The famous filmmaker Costa-Gavras and his wife helped produce Medi Charef’s work Le Thé au harem d’Archimède, which was released in 1985. Known in English as Tea in the harem of Archimedes, this was one of the first films ever made by a young man with North African immigrant roots to reach a wide audience. It paved the way for others, whose

in Reimagining North African Immigration
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Michael Temple

-authored tribute to Vigo, produced by François Margolin in 1995. The list of directors is as impressive as it is diverse: Catherine Breillat, Costa Gavras, Claire Denis, Raymond Depardon, Abbas Kiarostami and Parviz Kimiavi, Pavel Lungin and Raoul Ruiz. Most of the episodes take Vigo’s original as a springboard for formal remotivation and thematic speculation. Some redirect À propos de Nice towards contemporary fictional sketches set in the

in Jean Vigo
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Coline Serreau and politics (1972–96)
Brigitte Rollet

‘realism’ led to opposition between Les Cahiers du Cinéma and Cinéthique, both of Marxist persuasion in 1970. The debate (triggered by Costa Gavras’ political though mainstream films Z and L’Aveu released respectively in 1969 and 1970) centred on the possibility or otherwise of combining popular appeal with political effectiveness. The main contradiction is that for a political film to have an impact, to generate reactions and to change the dominant ideology, it has to be screened and viewed. In other words, to be seen it has to

in Coline Serreau