<html> <head> <title>ange-information</title> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> </head>  <body bgcolor="#FFFFFF" text="#FF3300" background="../images/cahier.gif" link="#666600"> <table width="730" border="0" height="139" align="center">   <tr>      <td width="16" height="453" nowrap>&nbsp;</td>     <td width="354" bgcolor="#99CC00" height="453" nowrap>        <p>PATRICK BOKANOWSKI :&quot;L'ANGE&quot; (1977-1982)<font size="5"> </font><br>         &nbsp;<br>         35mm color 70&#146; Musique de Mich&egrave;le Bokanowski. Avec Maurice          Baquet, Jean-Marie Bon, Martine Couture, Jacques Faure, Mario Gonzal&egrave;s,          Ren&eacute; Patrignani, Rita Renoir. S&eacute;lectionn&eacute; par le          Semaine de la Critique au Festival de Cannes 1982, Grand Prix du Jury          et Prix de la SACEM, Besan&ccedil;on, 1&deg; Prix du film exp&eacute;rimental          au Festival de Grenoble.<br>         &nbsp;<br>         &laquo;Cet artiste-alchimiste inclassable de la pellicule, auteur des          visions les plus fantastiques du cin&eacute;ma fran&ccedil;ais.&raquo;          Vincent Ostria, Cahiers du cin&eacute;ma. <br>         &laquo;La musique de Mich&egrave;le Bokanowski &eacute;chappe &agrave;          toute rh&eacute;torique habituelle &agrave; la musique du film, et repr&eacute;sente          une des plus &eacute;tonnantes aventures pour conjuguer le son et l&#146;image.&raquo;          Michel Chion.<br>         &laquo;Dans ce Brueghel ou Bosch en redingote fin XIXe, des personnages          &agrave; la Boltanski, infiniment attel&eacute;s &agrave; des t&acirc;ches          apparemment anodines ou simplement absurdes, &agrave; la fois mobiles          (par saccades grin&ccedil;antes) et fig&eacute;s dans une sorte d&#146;&eacute;ternit&eacute;          infernale, se rencontrent dans les parties diverses d&#146;un lieu insituable,          autour, semble-t-il, d&#146;un immense escalier expressioniste qui conduit,          tout de m&ecirc;me, &agrave; la lumineuse irradiation finale. Ce film,          programm&eacute; sans interruption dans une salle de Tokyo pendant pr&egrave;s          de dix ans (comme Le Sang d&#146;un po&egrave;te de Cocteau &agrave; New          York pendant les ann&eacute;es 50), a donn&eacute; dans le monde entier          une de leurs oeuvres-culte, comme on dit, aux amateurs de cin&eacute;ma-foudre,          c&#146;est-&agrave;-dire d&#146;un cin&eacute;ma qui envo&ucirc;te et          bouleverse au plus profond.&raquo; Dominique Noguez sur L'Ange.</p>       <p>&nbsp;</p>       <p>------------<a href="https://www.re-voir.com/formulaire.shtml" target="_blank">commander</a>------------------------------------------------------------</p>       </td>     <td width="20" height="453" nowrap>&nbsp;</td>     <td width="322" bgcolor="#3399CC" height="453" nowrap>        <p>&nbsp;</p>       <p> PATRICK BOKANOWSKI:&quot;L'ANGE&quot;<br>         &nbsp;<br>         35mm, color 70' Music by Mich&egrave;le Bokanowski with Maurice Baquet,          Jean-Marie Bon, Martine Couture, Jacques Faure, Mario Gonzal&egrave;s,          Ren&eacute; Patrignani, Rita Renoir Selected by Critic's Week, 1982 Cannes          Film Festival Grand Jury Prize and Prix de la SACEM, Besanon 1st Prize          for experimental film at the Grenoble Film Festival.<br>         &nbsp;<br>         ...this unclassifiable artist-alchemist of celluloid, author of the most          fantastic visions in French cinema.&quot; - Vincent Ostria, Cahiers du          cin&eacute;ma <br>         &quot;The music by Mich&egrave;le Bokanowski escapes all the usual rhetorics          of film music, and represents one of the most astonishing adventures in          conjugating sound and picture.&quot; - Michel Chion L'ANGE (1977-1982)          <br>         &quot;In this Brueghel or Bosch cloaked in a 19th century tail coat, characters          &quot;&agrave; la Boltanski,&quot; infinitely coupled to their either          seemingly trivial or simply absurd chores, at once mobile (in grinding          jerks) and frozen in a sort of infernal eternity, meet in various parts          of an unidentifiable location, on and around, it seems, an immense expressionist          staircase which leads, nevertheless, to a final luminous irradiation.          This film, programmed non-stop in a Tokyo cinema for nearly ten years          (as was Cocteau's &quot;Blood of a Poet&quot; in New York in the 50's),          has reached cult status among amateurs of a most deeply disrupting and          bewitching cinema.&quot; -Dominique Noguez </p>       <p>-------------------------------<a href="https://www.re-voir.com/formulaire.shtml">To          Order</a>--------------------------------------</p>     </td>   </tr> </table> </body> </html> 
