WANG Bing & Jaime ROSALES en correspondance (Centre Pompidou, Paris, 2014)

By HarryTuttle -
 WANG Bing et Jaime ROSALES - Le geste humain
Centre Georges Pompidou, Paris, France
14 avril - 26 mai 2014

  • Rétrospective intégrale Wang Bing (Chine)
  • Rétrospective intégrale Jaime Rosales (España)
  • Correspondance Wang Bing - Jaime Rosales (3 vidéos)
  • Exposition de photographies sur le tournage de Père et fils, Traces et Un homme sans nom - Wang Bing
  • Installation vidéo Wang Bing (Père et fils, Traces, Crude Oil, correspondance avec Jaime Rosales), Jaime Rosales (correspondance avec Wang Bing)
  • Débat Wang Bing, Jaime Rosales, Emmanuel Burdeau (19 avril 2014) vidéo 1h14' (Chinois, français)
  • Interview de Wang Bing vidéo 17' (Chinois, français)
Bibliographie, liens internet 

* * *

Filmographie WANG Bing :

Les longs métrages
  • À L’ouest des rails (2003/Wang Bing/Chine) béta, 551’, coul
  • Fengming, chronique d’une femme chinoise (2007/Wang Bing/Chine) DCP, 192’, coul.
  • L’Argent du charbon (2009/Wang Bing/France, Chine) béta, 53’, coul.
  • L’Homme sans nom (2009/Wang Bing/France, Chine) béta, 97’, coul.
  • Le Fossé (2010/Wang Bing/Belgique, France, Hong-Kong) DCP, 113’, coul.
  • Les Trois soeurs du Yunnan (2012/Wang Bing/ France, Hong-Kong) DCP, 153’, coul.
  • ’Til Madness Do Us Part (2013/Wang Bing/Chine, France, Hong-Kong, Japon) DCP, 228’, coul.
Les courts métrages
  • Brutality Factory (2007/Wang Bing/Chine, Portugal) béta, 16’, coul.
  • Venice 70 : Feature Reloaded’s Part (2013/Chine, Italie) 1’34, coul

* * *

Filmographie de Jaime Rosales :

Les longs métrages
  • La Horas del dia / Les heures du jour (2003/Rosales/España) 35 mm, 103’, coul., vostf
  • La Soledad (2007/Rosales/España) 35 mm, 135’, coul. vostf
  • Tiro en la cabeza / Un tir dans la tête (2009/Rosales/Espagne) 35 mm, 85’, coul. vostf
  • Rêve et silence / Sueño y silencio (2012/Rosales/España, France) 35 mm, 110’, coul., vostf
Les courts métrages
  • Virginia no dice mentiras / Virginia ne ment pas (1997/Rosales/Cuba) vidéo, 13’, coul.
  • Episodio / Épisode (1998/Rosales/Cuba) vidéo, 12’, coul.
  • Yo tuve un cerdo llamado Rubiel (J’avais un cochon nommé Rubiel), Cuba, 1998, vidéo, 13’, coul.
  • Palabras de Una Revolución / Mots pour une révolution (1998/Rosales/Cuba) vidéo, 11’, n&b et coul., non sonore.
  • The Fish Bowl (1999/Rosales/Australie) vidéo, 10’, coul.



La correspondance filmée Jaime Rosales avec Wang Bing
  • T4 – Barajas Puerta J 50 (2009/Jaime Rosales/Espagne) vidéo, 10’, coul., vostf.
  • Happy Valley / Xi Yang Tang (2009/Wang Bing/Chine, Espagne) vidéo, 18’, coul., vo.
  • Red Land (2011/Jaime Rosales/Espagne) vidéo, 21’, coul., vostf.

Comments

easyblogger said…
Hi! Is there any e-mail address to which I can communicative with you guys? Thanks!
September 2, 2014 at 6:16 PM
HarryTuttle said…
harrytuttle.screenville(at)gmail
September 9, 2014 at 5:28 PM
Cesar Fernandez D said…
The 2004 terrorist attacks against Madrid's public transport system cost the lives of nearly 200 people and strongly affected the sense of security in the country. Spanish director Jaime Rosales' second feature film Solitary Fragments examines the effects of a similar kind of attack on several ordinary people living in Madrid. Adela (Sonia Almarcha), a single mother of a baby boy, finds a home as the flatmate of Inés (Miriam Correa), the daughter of Antonia (Petra Martínez), a widowed mother of three adult daughters. The unexpected terrorist strike drastically changes Adela's life and has an indirect effect on the other characters as well, namely Antonia's other two daughters Nieves and Helena (Nuria Mencía and María Bazán). The story in general is very much dependent on the mood as opposed to plot, which is borderline non-existent. The characters' personalities are revealed indirectly in conversations and long takes of mundane housework, such as ironing or cooking. The focus is on a completely personal level; the turning point of the story is passed very undramatically and the political and societal aspects of the attack are coldly ignored. However, slowly Adele, Antonia and the three sisters start feeling more real and by the quietly hopeful ending they have evolved as human beings.
Rosales is said to have been influenced by the cinema Robert Bresson and Yasujiro Ozu, which becomes immediately evident at the beginning of the film. Long static shots combined with a split screen where the other half may well stay empty of action for quite a while make it seem like Rosales considers any kind of camera movement or cutting between different angles a distraction. He also favours wide panoramic shots over tight close-ups and doesn't guide the audience's emotions with any kind of music. The economical, sparsely edited style is also utilized in the numerous conversation scenes where the two halves of the screen can focus on two characters simultaneously, even by having them talk straight to the camera, if not to the audience. consulta online medico online pediatra online medico online doctor online dermatologo online veterinario online veterinario online psychologist online abogado especialista online abogado online abogado online abogado online abogado online abogado online psicologo online doctor online psicologo online abogado online abogado online For the most part the passive, immobile and distant camera work creates a rather voyeuristic mood, as if the camera doesn't want to interfere in the action by getting too close to the characters. Nevertheless, looking past the surface, the manner of observing things from far is never out of place and allows room for thought in a different way than more ordinary direction would.
June 11, 2016 at 6:45 PM
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