Article 5During the entire duration of the Festival de Cannes, none of the films invited may be shown outside the Festival's official theatres before its official screening.
Article 6All films must be presented in their original language, with French subtitles. By "original language" is meant the language in which a film is or will be exhibited in its country of origin.It is for the Board of Directors to decide whether or not a film that does not exactly meet this criterion may participate in the Festival.French films must be subtitled in English on the print. All subtitling expenses are to be met by the film's producer. Moreover, all films with dialogues in a language other than English or French will be electronically subtitled in English. The screening of those subtitles will be operated by the Festival service provider.
Les Charlots ( 15 Films ) Fr DVDrip
Article 7The producers of feature films participating in Competition at the Festival de Cannes agrees to refrain from entering their films in competition at other international motion picture events should their films be awarded the Palme d'Or or the Grand Prix.
Article 8Feature films to be submitted for the Official Selection must be entered by March 17th, 2023. The registration deadline for short films is March 3rd, 2023
Feature films submitted for selection must reach the Festival Office by March 24th, 2023. Short films must be uploaded no later than March 10th, 2023.
Article 10Expenses for the shipping (for both import and export), screening and translation of films and/or cassettes presented to the Selection Committee with a view to their possible selection, are to be met by the film's producers or relevant body.All expenses for the transportation (round trip) and insurance of prints are also the responsibility of their owner.The Festival de Cannes covers storage and insurance costs for the prints of selected films while they are inside the official boundaries of the Festival, in Cannes.Should a print be lost or damaged, the Festival's responsibility may only be engaged to the extent of the value indicated by the producer on the Technical Data Sheet.
Directed by Jean-Pierre Dessagnat, who made one of the OSS 117 films before they were comedies and came to this after a TV Arsène Lupin. Though unknown in the UK, the Charlots were exported to India and Pakistan, where they were called the Crazy Boys, so apparently an English dub entitled The Crazy Boys vs Dracula was prepared for export in that direction.
Watching a range of French movies from different genres and eras not only gives you a glimpse into how French culture has changed throughout the years, but how the cinematic production of films has as well.
The 400 Blows (French: Les Quatre Cents Coups) is a 1959 French coming-of-age drama film,[3] and the directorial debut of François Truffaut. The film, shot in DyaliScope, stars Jean-Pierre Léaud, Albert Rémy, and Claire Maurier. One of the defining films of the French New Wave,[4] it displays many of the characteristic traits of the movement. Written by Truffaut and Marcel Moussy, the film is about Antoine Doinel, a misunderstood adolescent in Paris who struggles with his parents and teachers due to his rebellious behavior. Filmed on location in Paris and Honfleur, it is the first in a series of five films in which Léaud plays the semi-autobiographical character.
The 400 Blows is widely considered one of the best French films in the history of cinema; in the 2012 Sight & Sound critics' poll of the greatest films ever made, it was ranked 39th.[6] It ranked 13th in the directors' poll on the same list.
Truffaut made four other films with Léaud depicting Antoine at later stages of his life: Antoine and Colette (which was Truffaut's contribution to the 1962 anthology Love at Twenty), Stolen Kisses, Bed and Board, and Love on the Run.
Filmmakers Akira Kurosawa, Luis Buñuel, Satyajit Ray, Steven Spielberg, Jean Cocteau, Carl Theodor Dreyer, Richard Linklater, Tsai Ming Liang, Woody Allen, Richard Lester, P C Sreeram, Norman Jewison, Wes Anderson and Nicolas Cage have cited The 400 Blows as one of their favorite movies.[21][22] Kurosawa called it "one of the most beautiful films that I have ever seen".[23]
3.Another "Great Star of the American Stage" who was American-born but who grew up and began her career in Canada was Judith Evelyn (1913-1967). Her impressive career in the theatre, on radio and television, and in films has not received the critical attention it deserves. As she was born in the 20th century, Evelyn falls outside of the parameters of this study.Return to article
19.Montreal-born Norma Shearer (1900-1983), called "The First Lady of the Screen," was not a product of the theatre. She began her career in New York-based films in 1920 and in 1923 her future husband, the producer Irving Thalberg, brought her to MGM and Hollywood.Return to article 2ff7e9595c
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