FIFA conclusion

www.artfifa.com

 Français plus bas

The 33e FIFA is now over. What great movies on art we saw. There is an official competition however and even though many films are excellent, only a few can be winners. The Grand Prize goes to the movie Before the last curtain falls, a German and Belgian collaboration by THOMAS WALLNER. This movie was shot for the last performance of the successful show Gardenia that was seen around the world including here in Montreal. What I loved about it was those intimate moments when the performers reveal some of the challenges they faced as transgendered humans in this world, the endless dream of finding true love, and the unbearable facts about aging.

There were two winners in the Jury Selection category: Concrete Love by  Maurizius Staerkle-Drux is about the architectural work of the Boehm family of Germany and Art War by  Marco Wilms a troubling movie about the challenges young artists face with audacity in the streets of Egypt.

FRANÇAIS

Before the last curtain falls

Le 33e FIFA est maintenant terminé. Que de bons films nous avons vus. Cependant il y a une compétition officielle donc alors que plusieurs films étaient excellents, seulement quelques uns sont des gagnants.  Le Grand Prix va au film  Before the last curtain falls, une collaboration Allemande et Belge de  THOMAS WALLNER. Ce film a été réalisé autour de la dernière performance du spectacle à succès international Gardenia qui a été présenté même à Montréal. Ce que j'ai aimé de ce film étaient les moments intimes durant lesquels les comédiens révélaient les défis auxquels ils faisaient face en tant qu'humains transsexuals dans ce monde, leurs rêves incessants de trouver le grand amour, et les faits insoutenables du vieillissement. 

Il y a deux gagnants dans la catégorie Prix du Jury: Concrete Love de  Maurizius Staerkle-Drux

qui rencontre la famille Boehm des architectes d'Allemagne et Art War de  Marco Wilms a un film troublant sur les défis que soulèvent audacieusement les jeunes artistes qui oeuvrent dans les rues d'Égypte. 

The other winners / Les autres gagnants:

Prix du meilleur film éducatif

THE SKIES OVER DRESDEN

Paul Cohen (Pays-Bas)

Prix de la création

LA PART DE L’OMBRE

Olivier Smolders (Belgique, France)

Prix de la meilleure œuvre canadienne

STRANGE AND FAMILIAR: HOME, HOPE AND

ARCHITECTURE ON FOGO ISLAND

Marcia Connolly, Katherine Knight (Canada)

Prix du meilleur essai

Parrainé par Le Devoir

LE RETOUR EST LE MOUVEMENT DU TAO :

ZHU XIAO-MEI ET LES VARIATIONS GOLDBERG

Michel Mollard (France)

Prix du meilleur portrait

I’M A CREATIVE ANIMAL

Barbara Seiler (Suisse, Allemagne)

Prix du meilleur reportage

BALLET BOYS

Kenneth Elvebakk (Norvège)

Prix du meilleur film pour la télévision

Parrainé par Digital Cut

WRITE DOWN, I AM AN ARAB

Ibtisam Mara’Ana Menuhin (Israël, Palestine)

Prix Liliane Stewart pour les Arts du design

Parrainé par la Fondation MacDonald Stewart

NEON

Eric Bednarski (Pologne)

Prix ICI ARTV pour la meilleure réalisation canadienne francophone

UNE COURTE HISTOIRE DE LA FOLIE

Isabelle Hayeur (Canada)

Prix Tremplin pour le monde ICI ARTV

BLACK AND TAN FANTASY / RÉPÉTITION

Mario Côté (Canada)

-LENA GHIO

The Woman in Gold // La Dame en Or

English Trailer
Bande Annonce

Français en bas

HELEN MIRREN plays Maria Altmann a World War II refugee living in the US who will take on the Austrian government to reclaim her heritage, one of the most famous GUSTAV KLIMT paintings, The Portrait of Adele Bloch-Bauer I,  now exhibited at the Neue Gallery of New York. As always Ms Mirren is exquisite as she brings the octogenarian to life with RYAN REYNOLDS in the role of Randol Schoenberg the lawyer who will take on the battle with her. The movie reconstructs Maria's escape from Austria with her husband, revisits who was Adele Bloch-Bauer, and we see once again the absurdity that were the two World Wars. The NAZI appropriated thousands of the most expensive masterpieces in the world during the war but after they lost some Austrian institutions kept some of the most precious ones. I really enjoyed this movie and I found Reynolds well cast and sharing just the right chemistry with Ms Mirren.

HELEN MIRREN joue le rôle de Maria Altmann une réfugiée juive de la Seconde Guerre Mondiale qui vivait aux États-Unis et qui s'en est pris au gouvernement Autrichien pour réclamer son héritage, un des plus magnifique tableau de GUSTAV KLIMT, Le Portrait d'Adele Bloch-Bauer I,  maintenant exposé à la Neue Gallery de New York. Comme toujours, Ms Mirren est exquise alors qu'elle donne vie à l'octogénaire avec RYAN REYNOLDS dans le rôle de Randol Schoenberg l'avocat qui sera son compagnon de bataille. Le film reconstruit l'évasion de Maria et son mari de l'Autriche, revisite qui était Adele Bloch-Bauer, et on revoit encore une fois l'absurdité qu'ont été les deux Guerres Mondiales.  Les NAZIs s'étaient appropriés des milliers d'oeuvres d'art précieuses pendant la guerre et après qu'ils eurent perdus quelques institutions Autrichienne avaient garder quelques-unes de plus précieuses. J'ai beaucoup aimé ce film et j'ai trouvé que Ryan Reynolds était un bon choix pour partager l'écran avec Ms Mirren avec laquelle il possède une excellente chimie. 

-LENA GHIO

FIFA my second heart-stopper

www.artfifa.com

I hope you are enjoying the huge selection of documentary films on all disciplines of art offered to Montrealers the FIFA this week. I simply must mention this exquisite film that was a complete revelation to me. When I saw the title and the description of the film Beatus: The Spanish Apocalypse, I expected to see a movie investigating a major painting of Spain I had yet heard of. Instead I was taken on a journey in time through some of the most exquisite libraries of the world, through monasteries and lush mountains to uncover pages and pages of hand made books illustrating the Apocalypse as seen through the eyes of the artist monks who made them based on the commentary of the monk, Saint Beatus of Liébana.


The film took fourteen years to make. We are guided throughout the film by Professor John Williams who spent three decades studying the mystical books. It is a collaboration of Murray Grigor and Hamid Shams who produce, direct and edit the documentary.

You will be able to see it this Friday March 27 at the Montreal Museum of Fine Arts starting at 1:30 PM preceded by an excellent short film Les Petits secrets des grands tableaux - Courbets where the secret text behind one of the painter's famous works is analyzed.

More updates on the ongoing festival coming soon.

-LENA GHIO

FIFA mon premier coup de coeur!

www.artfifa.com

PHILIPPE MATHIEU, directeur du Musée de la Marine, décide de lancer une investigation sur ce qui c'est vraiment passé entre le 2 juillet 1816  alors que 147 hommes sont naufragés sur un radeau improvisé et que seulement 15 seront rescapés le 17 juillet 1816. Cette tragédie maritime a été le sujet d'un important chef-d'oeuvre exposé au Louvre et réalisé par THÉODORE GÉRICAULT entre 1818 et 1819.

Le film est palpitant alors qu'on suit Mathieu qui rencontre professionnels et témoins, qui fait reconstruire le radeau et qui porte de nouvelles réflexions sur l'horreur qu'ont vécu ces pauvres hommes. En même temps on suit le processus créateur de Géricault qui multipli les esquises et les études.

https://vimeo.com/116876

Finalement, Mathieu se tient pour lui-même dans le pauvre radeau. Et là mon coeur   a crié. C'est impossible de croire que près de 150 hommes ont été lancé à la mer comme cela!

Je vous recommande ce film fortement. Il sera diffusé mardi le 24 mars 2015 à 16h00 au Musée des Beaux Arts de Montréal

 Je vous reviens avec d'autres options de visionnement bientôt!

-LENA GHIO

At the Movies / Au Cinéma

Français en bleu

THE GUNMAN  //  LE TIREUR

SEAN PENN is one of the producers in this action film directed by PIERRE MOREL. The synopsis sounds exciting: a sniper is hired to assassinate the minister of mines in the Congo by a group that wants to change conditions of abuse and exploitation. Terrier, Penn, is the gunman who is assigned the difficult task. Once his job is done, he must disappear so no one can trace the origins of the kill contract. This means he must leave behind the woman he loves, Annie, played by JASMINE TRINCA. JAVIER BARDEM plays a supporting role as the love rival of Terrier, Felix. Although there were a few moments of excitement in the film, for the most part it is stunning with ineptitude. Sometimes the action is so unbelievable I was laughing at the scene instead of being thrilled. Sean Penn in the role is disturbing. His very aged face in constant close-up is distracting in the context of the character he is playing. The women journalists who saw the screening with me agreed on this point. It  is too bad, but The Gunman missed the mark.

SEAN PENN est un des producteurs de ce film d'action dirigé par  PIERRE MOREL. Le synopsis donne l'impression d'un film excitant:  un sniper est engagé pour assassiner le ministre des mines au Congo par un groupe qui veut changer les conditions abusives qui relèvent de l'exploitation. Terrier, Penn, est le tireur à qui tombe la tâche difficile. Cependant, dès que la tâche est accomplie, il doit disparaître pour ne laisser aucune trace des origines du contrat meurtrier. Ceci veut dire qu'il doit abandonner la femme qu'il aime, Annie, interprétée par JASMINE TRINCA. JAVIER BARDEM joue un second rôle en tant que le rival amoureux de Terrier, Felix. Même s'il y a quelques moments excitants dans le film, pour le reste du temps il étonne par son inaptitude. Quelquefois l'action est tellement incroyable que je partais à rire au lieu de me sentir excitée. Sean Penn dans ce rôle est dérangeant. Son visage très agé, en gros plan constamment, est distrayant dans le contexte du personnage qu'il interprète. Les femmes journalistes qui étaient au visionnement de presse me secondaient sur ce point. Le Tireur a manqué sa marque.

THE DIVERGENT SERIE: INSURGENT
DIVERGENCE 2: L'INSURRECTION

The second installment of the Divergent serie, Insurgent,  is a little more subdued than the first movie. We reconnect with Tris, SHAILENE WOODLEY, and Four, THEO JAMES, hiding in the Amity faction after the revolt has destroyed the Abnegation faction in which Tris was born. Jeanine, leader of Erudite faction, KATE WINSLET, wants to discover the secret contained in a mysterious box. Only a 100% Divergent can open the box by passing through several dangerous simulations. So she puts Divergents to the test, killing them one by one. She orders a manhunt to find more Divergents to continue her ambitious quest and thus finds Tris and puts her on the deadly task. This movie is not an on the edge of your seat action thriller like the first one although there are excellent action scenes. It is more psychological, exploring the inner dimensions of the characters. These are expressed with the recurring imagery of shattering glass and buildings. There are a few good scenes of parkour that I truly enjoy. It is not a very strong film but I enjoyed many of its features.

Le deuxième film de la série Divergence, L'Insurrection est un peu plus feutré que le premier film. On retrouve Tris, SHAILENE WOODLEY, et Four, THEO JAMES, cachés dans la faction Amity après que la révolte a détruit la faction Abnegation dans laquelle est née Tris. Jeanine, la leader de la faction Erudite, KATE WINSLET, veut découvrir le secret contenu dans une boîte mystérieuse. Seuls les Divergent à 100% peuvent ouvrir la boîte en passant par plusieurs simulations dangereuses. Alors elle met les Divergents à l'épreuve, les tuant ainsi un après l'autre. Elle ordonne une chasse à l'homme pour repérer d'autres Divergents et continuer sa quête ambitieuse. C'est ainsi qu'elle retrouve Tris et la met à l'épreuve sur la tâche mortelle. Ce film n'est pas un film d'action qui nous garde en haleine comme le premier malgré quelques excellentes scènes d'actions. Il est plus psychologique et explore les dimensions intérieures des personnages. Celles-ci sont exprimées avec des images récurrentes d'éclatements de vitres et d'édifices. Il y a quelques bonnes scènes de parkour que j'aime bien. Ce n'est pas un film fort mais j'ai apprécié plurieurs de ses facettes.

-LENA GHIO

Einstein - The Mind of God - Life

In early March 2015, I watched an excellent documentary from the BBC: The Extraordinary Genius of Albert Einstein. In this program we revisit the landmark experiments outlined by Einstein to prove his theory of General Relativity. This experiment was to photograph a total solar eclipse to study how the sun's gravitational pull bends the light from far away stars.

As ALBERT EINSTEIN lay on his deathbed he was still attempting to understand "God's thoughts". He was befuddled by quantum mechanics and this led him astray from the answer he was seeking that I will demonstrate had been right before his eyes since the total solar eclipse experiments of 1919 and 1922. In his famous 1920 argument with physicist NIELS BOHR he maintained his view that "God does not play dice." He knew the truth intuitively but the technology of his time did not allow him to verify what he understood.

At the same time Einstein was attempting to link his intuitive understanding of the universe to mathematics so he could at last understand the mind of God, another man, Dr CARL JUNG, was trying to find the roots of human consciousness by comparing the recurrent archetypes in his patients’ dreams to those in the arts and myths of ancient civilizations.

Today's physicists are still struggling with the problem of integrating gravity into quantum mechanics. Science has come a long way with the practical applications of the electromagnetic force but has a long way to go to master gravity.

Lets return to Einstein's prediction that if we could photograph the sky behind a total solar eclipse we would see "that light passing near massive bodies such as the sun would appear to be bent." This experiment would prove his theory of General Relativity that describes gravity as the curvature of spacetime around celestial bodies. To accomplish the experiment, that was attempted on three dramatic occasions, the professional astronomers and photographers would have to be very precise about where on earth they would be positioned to meet the eclipse at a precise time to take the probative pictures; a precise point in space and moment in time. This experiment illustrates what must be understood before we can develop gravity-based technology. It is an application of the time of celestial mechanics as opposed to the time he was describing in his theory of Relativity. In the theory of relativity the measure of time is affected by linear motion in space of one or many components. In the time of celestial mechanics, time is the point where relativity shrinks into a precise point of alignment, a point where gravity is intensified. In the execution of Einstein’s total solar eclipse experiment, there is no relativity in those few minutes when the celestial bodies come together to form a precise alignment with the scientists who are standing at the precise place on earth, as an extension of this precise alignment, at a precise time, so he can witness and record the action of gravity. The time of celestial mechanics is the time of gravity. There is no way to verify the actions of gravity without this type of precise alignment with the time and space where the celestial bodies, like a clock, meet and form alignment geometries.

The experiments were a success that changed how humanity viewed the universe. Einstein proved that gravity, that he referred to as spacetime, tells matter and energy how to look, and, matter and energy tell gravity, spacetime, where to go.

In 2009 I wanted to test my Theory of Everything (TOE) by calculating a point in space and a moment in time when the clouds would form a human face in front of the sun. At that time I was not familiar with Einstein's total solar eclipse experiment. For years I had ruminated over this equation: E = MC 2 / G + RF = T + S. I am not a scientist; I am an artist who uses her practice to understand our relationship to the stars. Whenever I feel anxious, I calm myself down by working on impossible problems. Finding the Theory of Everything is of course the biggest one. I figured the only way E = MC 2 could become everything would be if it were divided by the rotating force and gravity that is also equal to the spacetime of celestial mechanics. The clumping action of gravity on particles is enhanced by the rotating force, G + RF, that gives the clumped matter cohesion in the same way as tensigrity does. This allows for the evolution of cycles, for growth to become possible. Once there are objects interacting in cyclic motions, we have the T + S of the preceding equation, the same T + S principle employed for Einstein's total solar eclipse experiment, and predictability begins.

Perhaps before the Big Bang the universe was a quantum field. Once gravity intervened it shaped the unpredictability of the quantum field into large objects that interacted with other large objects in predictable ways that resemble clockwork even while at the quantum level there remained apparent unpredictability. The very unpredictability of quantum fields is what allows gravity to create endless diversity. If quantum fields were predictable, stable, in the same way as celestial mechanics, there would be no innovation. Gravity can handle and work with endless contradictions because in its time frame everything works itself out eventually. 

To see how the lemon sapling forged its face follow this link. The bottom image is a mirror
collage of the half face seen above on the left side of the page.

Lets get back to my experiment. As a visual artist my interest was in finding recurring patterns that aligned with celestial mechanics. I was going to see how the approaching New Moon would affect the shape of the clouds during the few minutes it would be at the place in the sky I predicted the phenomena would occur. ( The Moons of Saturn, Gravity and the evolution of life)I looked at the same thing Einstein was envisioning with his experiment at the total solar eclipse but instead of looking beyond the eclipse to see the stars, I would be looking at the action of gravity at our level, in our daily world, to see its action on clusters of water particles, clouds. Also I did not put myself on earth to be in a direct line with the approaching New Moon, instead I calculated its position from a specific angle in relation to my position on the planet, a specific geometrical configuration that included other celestial bodies. To succeed, I had to behave in the same manner that the men who had photographed the total solar eclipses for Einstein did, I had to be at a precise place at a precise time because the phenomenon would last for only a few minutes. I succeeded in photographing the clouds shaping a human face in front of the sun at approaching New Moons exactly as I had predicted. It has been the most baffling phenomenon of my existence. It was only a few years after my last experiment that I asked myself why on earth I though of such an outlandish experiment? I remembered the anxiety I felt each time I set myself up to take the pictures: what if I am wrong? But I was right. 

There was one last new moon I had calculated that should have yielded the same type of imagery in the sky, a sun face. But to photograph the sun face I would have had to be in Rome. I could not afford to go. I decided the only thing I could afford was to plant seeds when the New Moon would be rising on the eastern horizon, which should theoretically affect the plants to somehow manifest the same motif as gravity had molded into the clouds, human features. One lemon sapling out of thirty seeds planted manifested human features in such a dramatic performance that I could only conclude the phenomena of evolution had at last been captured: gravity propelled forward by the Alignment Geometries of Celestial Mechanics (AGCM) had affected the shape and character of the plant beginning at the moment the seed was activated. The plant mirrored the motif appearing in front of the sun revealing gravity's love of repetition and its effect on the molecular structures of life. The sapling could only have produced this dazzling effect if its DNA had received instructions to do so. Matter and energy, the celestial bodies forming the AGCM with the New Moon I was investigating, informed Gravity where to go when the New Moon hit the eastern horizon as I was planting the seeds: Gravity, spacetime, told the plant how to look.

“God does not play dice”, the phenomena follow a rigorous principle.

The mind of God is observed at all levels of the universe and in extra-dimensions. If Einstein could have seen the results of my experiments, as modest as they are, he would have understood his intuition that God does not play dice. There IS predictability in the universe. There is an uncanny pervasive intelligence that is beyond the pettiness of current religious and political squabbles. And life is just one of its extraordinary manifestations.

The image on the left is a reproduction of a 16th century woodcut print depicting an alchemist being rejuvenated under a sun face. This image was one of many Dr Carl Jung studied to understand our psyche, our dreams, and the fact that each of us is programmed to address "the problem of God". The photograph on the right is the last sun face I photographed December 5 2010.

Because Einstein's theory of General Relativity can be proved by using total solar eclipses it links the theory of General Relativity to Dr Carl Jung’s quest to get at the roots of human consciousness. Where Einstein looks in outer space, and I look at space from our everyday perspective, Jung is looking into the inner space in each of us. Evidence of humans calculating the lunar cycles has been dated as long ago as 32 000 BC. Around 8 000 BC Egyptians, Babylonians and Mesopotamians are expanding their studies of astronomical cycles and include planets and stars. Every great civilization and religion grew around people studying astronomy and building their practical world around the myths it inspired. They also created symbols that repeated themselves from culture to culture even when they never had contact with each other, like the sun face. Even the science of today is but a great-great-grand-child of these practices. On three separate occasions I photographed the clouds forming a sun face, one of the most prevalent archetypes of the ancient world that is still very prevalent in modern cultures. This symbol has been central to most major spiritual systems in human history. If I could see and photograph the phenomenon three times, then it is very likely that some humans would have observed it since they began observing lunar cycles. Imagine how such a sight would have had profound impact on a primitive mind, right there in the middle of the sky, a huge face looking at you. The phenomenon is a recurrent one, but it is still rare. In ancient times all a person who had witnessed such an event could do was to recount it to others who may or may not have believed him. So it seems natural that the phenomenon would acquire a supernatural aura that would lead to myth making.

When Einstein wants to know the mind of God, he must look beyond all the belief systems and superstitions of our ancestors that still limit the minds of his contemporaries. He must integrate the new and baffling discovery of quantum mechanics to General Relativity. But he refuses to observe phenomenon, he is looking for a mathematical solution that will be supremely elegant by its simplicity. This decision makes it impossible for him to see the whole picture from which he could have deduced his mathematical solution.

A fresh look at Einstein's total solar eclipse experiment, put in context with my approaching New Moon experiments that captured the rare phenomenon of sun faces and produced at least one sapling that repeated the human face motif that was predicted in a life form, and Dr Jung’s work on the archetypes of our consciousness tells me that Einstein was looking at the mind of God but couldn’t recognize it. Einstein expressed his views about God in the universal sense of a formidable force that transcends the petty concerns of religions. When he conceived his total solar eclipse experiment he was on the right track, but he looked at it from the wrong perspective to recognize the unified field he intuited. He failed to distinguish that this great force, gravity, is also bending and shaping molecules, and us continually, with the time of celestial mechanics.

I used the equation E = MC 2 / G + RF = T + S to calculate when and where to photograph the sun face, to plant the seed that would bring into being a sapling that would produce human features and to grow two sets of Amaryllis of different sizes just because they were planted at different times. I wrote a paper demonstrating how the above equation proves extra-dimensions and eliminates the need for superstring theory to reach TOE. By following the phenomenology explored in my practice, we can link the archetypal language of our ancestors, who created religions to understand their world as they were evolving, to the concerns of contemporary physics. Curiously ancient man was trying to prove the existence of the ONE GOD, a force above all others, while modern man is searching for the unified field, all while looking at the same things. My equation brings the two worldviews together to reveal the "mind of God" Einstein knew was provable.

-LENA GHIO

Getting ready for the FIFA / On se prépare pour le FIFA

www.artfifa.com

Français plus bas

This Friday the 20th of March the public screenings for the 33rd FIFA begin. I have had the chance to see two films that will be presented this week-end.

Elsa Schiaparelli, left, in 1935,

 and Coco Chanel in 1929. 

  Credit Left, Fox Photos/Getty Images; 

right, Sasha/Getty Images        

First, Chanel vs Schiaparelli, le noir et le rose, a film about the intense rivalry of two powerful female fashion designers at an extraordinary time in human history. The elegant hard working COCO CHANEL and the aristocratic ELSA SCHIAPARELLI were both extremely gifted and shared similar heartbreak as young girls but their take on fashion was as individual as each of them was.

I love this 52 minutes movie that will be seen this Saturday 21st of March at 4:00 PM and again on Saturday 28th of March at 6:30 PM at Place des Arts. The reasons I loved it were many. I truly enjoy film archives where you can glimpse at the great people of the past. We can see the creations of these two designers in the context of their time, we get up close to the details of the embroideries that made their clothes so desirable. We see the way Schiaparelli's approach to fashion in the 1930s was more popular in Hollywood than the elegant subdued style of Chanel. These women both reached the pinnacles of success in the early years of women's emancipation and it is thrilling to see.

Then I saw Van Gogh, le choix de peindre, a film on the youth of VINCENT VAN GOGH, before he plunges into painting completely. We retrace his childhood and see in magnificent cinematography the chapel where his minister father gave sermons, the path he took to school as a child where he would walk past the headstone of his deceased older brother bearing his own name, the landscapes that inspired his art. TOM BARMAN reads the letters Vincent wrote to his brother Theo throughout the film produced by HENRY de GERLACHE. One screening will be Sunday March the 22nd at 6:30 PM and the other on Friday March 27th at 4:00 PM at the Montreal Museum of Fine Arts.

For more information on the programming follow this link: www.artfifa.com

FRANÇAIS

Ce vendredi le 20 mars les visionnements publiques du 33ième FIFA commencent. J'ai eu la chance de voir deux films qui seront présentés en fin de semaine.

Premièrement, Chanel vs Schiaparelli, le noir et le rose, un film sur la rivalité intense entre deux femmes puissantes du monde de la mode à un moment extraordinaire dans l'histoire de l'humanité. L'élégante et travaillante COCO CHANEL et l'aristocratique ELSA SCHIAPARELLI étaient toutes les deux très douées et avaient vécu des chagrins similaires durant leur enfance, mais leur approche à la mode était aussi individualiste que chacune d'elle. 

J'adore ce film de 52 minutes qui sera diffusé ce samedi le 21 mars à 16h et encore samedi le 28 mars à 18h30 à la Place des Arts. Les raisons que j'aime ce film sont multiples. J'aime beaucoup les films d'archives où on peut appercevoir les grands personnages de l'histoire. On peut voir les créations des deux designers dans le contexte de leur temps, on se rapproche des broderies qui ont rendus leurs vêtements si désirables. On voit comment l'approche de Schiaparelli plaisait plus au Hollywood des 1930 que le style minimaliste et raffiné de Chanel. Ces deux femmes ont atteint les sommets de la réussite aux débuts de l'émancipation de la femme et cela m'a épatée!

Tom Barman

Ensuite j'ai regardé Van Gogh, le choix de peindre, un film sur la jeunesse de VINCENT VAN GOGH, avant qu'il plonge dans le monde de la peinture complètement. On retrace son enfance et par le biais d'une magnifique cinématographie on visite la chapelle où son père faisait ses sermons, le chemin qu'il traversait pour aller à l'école et où il passait devant la pierre tombale de son frère ainé décédé qui portait le même nom que lui, ainsi que les paysages qui ont inspiré son art. TOM BARMAN lit les lettres que Vincent avait écrit à son frère Théo dans ce film réalisé par HENRY de GERLACHE. Il y aura un visionnement dimanche le 22 mars à 18h30 et un autre le vendredi 27 mars à 16h au Musée des Beaux Arts de Montréal.

Pour plus d'informations sur la programmation suivez ce lien: www.artfifa.com

MORE TO COME  //  PLUS À VENIR

-LENA GHIO

AROUND THE WORLD: Jenson Button gearing up for Australian Grand-Prix 12.03.2015 - 15.03.2015

Jenson Button and teammate Fernando Alonso gearing up for this week-ends race. An interview with Jenson Button.
Driving the MP4-30 in Barcelona earlier this year .

This is the beginning of new era for McLaren Honda in time for the 2015 Formula 1® Rolex Australian Grand Prix 12 – 15 March where it will debut the McLaren Honda MP4-30 with champion driver JENSON BUTTON at the helm.

“Melbourne has been very kind to me over the years,” Button said about the Australian Grand Prix circuit. “While we may be a year behind most other teams in experience, Honda is here to win and it’s only a matter of time until we are fighting in front.”

Honda Australia Director, Mr. Stephen Collins and Jenson Button also officially unveiled the highly-anticipated NSX Concept before it is moved to Honda’s on-track display, the Honda Power Room in Legends Lane, open to visitors attending the 2015 Formula 1® Rolex Australian Grand Prix 12-15 March.

Good on you mates!
-LENA GHIO

33e FIFA 2015 - Programming / Programmation 19.03.2015 - 29.03.2015

en français plus bas

The FIFA is a unique art film festival where the accent is put on the discovering the endless qualities of human creation. This morning we received a the programming for this 33rd edition of the festival.

Two films hit me hard and fast: ART WAR (Germany) by MARCO WILMS looks into the explosion of Street Art and contemporary art since the fall of HOSNI MUBARAK after 30 years as dictator in February 2011. The vibrancy and energy of this film rocked all the journalists present for the preview. I can't wait to see it.

Then there is the France and Germany collaboration Entre ciel et terre, quand le hip-hop devient art by ERIC ELLENA that explores the impact of street dance on the contemporary dance scene. The clip lasts only a few minutes but I was jumping out of my seat in anticipation!!!!

« Montreal, Tuesday March 3rd 2015 – The Society for arts and technology is proud to team-up with the FIFA for a second year and announce the presenting of Eric Ellena’s documentary entitled Entre Ciel et Terre quand le hip-hop devient art. Taking place on the 26th of march, the presentation of the movie, which will be projected simultaneously on six screens throughout the space, will be followed with animation by Ddimplz, music by DJ Victorious and live performances of contemporary and street dance by the Let Your Art Flow and Forêt Noire dance troops. »

Thursday March 26th at 9 PM.
Doors 20h30 – Movie projection 21h
First floor of the SAT, 1201 Boul. St-Laurent
18 years + / Price: 16$ (all included)


This year again you will be afforded more that 200 movies and a multitude of activities. If you go on the FIFA site you can buy your tickets starting this March 5th 2015. There is a benefit event on March 24th 2015 for which you can buy tickets and lets not forget the MIFA (25.03.2015 - 28.03.2015) this will be the 5th annual event for professionals.

And of course I will keep you updated with my selections and do not hesitate to share yours with us on this blog.

FRANÇAIS

Le FIFA est un festival sur les films sur l'art unique au monde qui met l'accent sur la découverte des infinies qualités de la création humaine. Ce matin nous avons reçu la programmation de cette 33e édition du festival.

Deux films m'ont frappée dure et vite: ART WAR (Allemagne) de MARCO WILMS qui regarde l'explosion du Street Art et de l'art contemporain après la chute de HOSNI MUBARAK en Février 2011, lui qui fut dictateur en Égypte pendant trente ans. La vitalité et l'énergie de ce film a secoué tous les journalistes présents au dévoilement. J'ai très hâte de le voir.

Ensuite il y a la collaboration Franco-Allemande   Entre ciel et terre, quand le hip-hop devient art par ERIC ELLENA qui explore l'impact du street dance sur la scène de danse contemporaine. La bande-annonce ne dure que quelques minutes que déjà je sautais de mon siège avec enticipation!!!!

« Montréal, le mardi 3 mars 2015 - La Société des arts technologiques [SAT] est heureuse de s’associer pour une deuxième année au FIFA et de présenter le 26 mars prochain le documentaire d’Eric Ellena Entre Ciel et Terre quand le hip-hop devient art. Le film, projeté sur six écrans en simultané, sera suivi d’une soirée animée par Ddimplz et DJ Victorious. Les collectifs de danse Let Your Art Flow et Forêt Noire livreront des performances de danse contemporaine et de danse de rue. »
Jeudi 26 mars à 21h
Portes à 20h30 - Projection 21h
Au rez-de-chaussée de la SAT, 1201 Boul. St-Laurent
18 ans et + / Prix: 16 $ (tout inclus)

Cette année encore vous aurez l'embarras de choisir parmi plus de 200 films et une multitude d'activités. Si vous vous rendez au site du FIFA vous pourrez vous procurer des billets dès le 5 mars 2015. Il y a une soirée bénéfice à laquelle vous pourrez participer ce 24 mars 2015 si il reste encore des places et n'oublions pas le  MIFA (25.03.2015 - 28.03.2015) qui sera là pour les professionnels pour une 5e année.

Et bien sûr je vous tiens au courant avec mes sélections et n'hésitez pas de partager les vôtres avec nous sur ce blogue.

TO BE CONTINUED  /  À SUIVRE

-LENA GHIO