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FEBIOFEST PRAGUE 2022

Le Festival International du Film de Prague – Febiofest rend hommage au cinéma ukrainien et s’ouvre aux travaux en VR interactive

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- La manifestation tchèque, qui va commencer demain, a préparé une sélection de 90 films récents répartis dans ses différentes sections, compétitives et non-compétitives

Le Festival International du Film de Prague – Febiofest rend hommage au cinéma ukrainien et s’ouvre aux travaux en VR interactive
Altri cannibali de Francesco Sossai

Cet article est disponible en anglais.

The Prague International Film Festival – Febiofest will screen 90 films during its 29th edition (28 April-4 May). “The Prague IFF – Febiofest has always tried to respond to current events in society, and this year will be no different. Given the shocking, aggressive war waged by Russia against Ukraine, which is a global threat affecting us all, we have decided to create a special section called ‘Ukraine: Central Europe’. Art cannot save lives, but it can change our worldview. And in this case, it can help specific people. All proceeds from the admissions for this special section will be donated in support of humanitarian organisations and Ukrainian artists,” says Marta Švecová Lamperová, the artistic director of the Prague IFF – Febiofest.

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The retrospective dedicated to Ukrainian cinema will screen Valentyn Vasyanovych’s Atlantis [+lire aussi :
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interview : Valentyn Vasyanovych
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and Oleksii Taranenko’s I Work at the Cemetery, alongside Sergei Parajanov’s 1964 film Shadows of Our Forgotten Ancestors and Michail Kaufman’s In Spring, from 1929, among other titles. In addition, Oleh Sentsov will be honoured with the festival’s Kristián Award (which he won’t be able to receive personally, as he is still fighting in Ukraine), and his three features to date – Gamer, Numbers [+lire aussi :
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interview : Oleg Sentsov
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and Rhino [+lire aussi :
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– will get an airing at the event. Moreover, the festival is dedicating a special industry sidebar, called “Works in Progress – Focus on Ukraine”, to Ukrainian filmmakers who are currently living in the Czech Republic so that they can pitch their projects.

Six films directed by female filmmakers and one by a male helmer will be vying for the awards in the main competition focused on debuts and sophomore features. They are As in Heaven [+lire aussi :
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interview : Tea Lindeburg
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by Tea Lindeburg, Murina [+lire aussi :
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interview : Antoneta Alamat Kusijanović
interview : Gracija Filipovic
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by Antoneta Alamat Kusijanovic, Silent Land [+lire aussi :
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interview : Aga Woszczyńska
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by Aga Woszczynska, You Resemble Me [+lire aussi :
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interview : Dina Amer
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by Dina Amer, Her Way [+lire aussi :
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by Cécile Ducrocq, Other Cannibals [+lire aussi :
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interview : Francesco Sossai
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by Francesco Sossai and Vera Dreams of the Sea [+lire aussi :
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interview : Kaltrina Krasniqi
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by Kaltrina Krasniqi. Recent Central and Eastern European productions will be showcased in the Eastern Delights section, with the domestic dark comedy Somewhere Over the Chemtrails [+lire aussi :
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interview : Adam Koloman Rybanský
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by Adam Koloman Rybanský, 107 Mothers [+lire aussi :
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interview : Peter Kerekes
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by Peter Kerekes, the Romanian co-production Miracle [+lire aussi :
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interview : Bogdan George Apetri
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by Bogdan George Apetri, the Polish social “hiphopera” Other People [+lire aussi :
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interview : Aleksandra Terpińska
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by Aleksandra Terpińska and Darko Sinko’s Inventory [+lire aussi :
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interview : Darko Sinko
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.

The festival has decided to split both its Panorama and Generation sections into two. Panorama: Icons thus screens recent works by established filmmakers, such as Bergman Island [+lire aussi :
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interview : Mia Hansen-Løve
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by Mia Hansen-Løve, The Wedding Day [+lire aussi :
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interview : Wojciech Smarzowski
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by Wojciech Smarzowski and Lech Majewski’s Brigitte Bardot Forever, while Panorama: New Currents is orientated more towards “the most interesting and the most recent films from the big festivals”, with this year’s selection including Ursula Meier’s The Line [+lire aussi :
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interview : Ursula Meier
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and Teemu Nikki’s The Blind Man Who Did Not Want to See Titanic [+lire aussi :
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interview : Teemu Nikki et Jani Pösö
interview : Teemu Nikki, Jani Pösö et …
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. Similarly, Generation: Junior is dedicated to the youngest members of the audience (featuring Ivana Šebestová and Katarína Kerekesová’s Mimi and Liza – The Garden, and Alex Kronemer’s Lamya’s Poem, among others) and Generation: Plus to young adults (with Laura Wandel’s Playground [+lire aussi :
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interview : Laura Wandel
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and Flynn von Kleist’s I Don’t Wanna Dance [+lire aussi :
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, for instance).

The festival has traditionally run a separate section for comedies, where Florian Gallenberger’s It’s Just a Phase, Honey, Hannes Þór Halldórsson’s Cop Secret [+lire aussi :
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interview : Hannes Þór Halldòrsson
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and Fernando León Aranoa’s The Good Boss [+lire aussi :
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will be locking horns for the award, and an LGBTQI+ section called Queer Now (including Milica Tomović’s Celts [+lire aussi :
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interview : Milica Tomovic
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, Alli Haapasalo’s Girl Picture [+lire aussi :
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interview : Alli Haapasalo
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and Madiano Marcheti’s Madalena, among others). Meanwhile, the TV Now section will premiere solely domestic series: Dan Wlodarczyk’s Morning Glory, about families that are following alternative lifestyles asking the question of where the boundary lies between individual freedom and societal norms; Jan Hřebejk’s miniseries Behind the Curtain, which reflects on changing social and gender roles; and Czech Television’s first webseries, tbh, about the searingly topical issues that secondary-school students are currently facing. The Prague International Film Festival – Febiofest is also running a retrospective of Dutch provocateur Alex van Warmerdam, including Grimm Re-edit. For the second year running, a special section is being dedicated to VR works, this year reaching beyond the format of 360° films and adding more interactive fare plucked from Venice, Sundance and Tribeca.

The full line-up of the 29th Prague International Film Festival – Febiofest is available here.

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(Traduit de l'anglais)

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