Juliette Binoche plays a middle-aged woman caught in a make-believe world of social networking in which lies, dreams and reality are blurred.
Attractive professor Claire, 50, is a single mother of two children. Her relationship with her younger lover, a photographer, is difficult. To get back at him, she makes friends on Facebook with his assistant Alex, 29. Using a fake profile, she masquerades as 24-year-old Clara, and Alex takes the bait. As their flirty chat intensifies, Alex decides he wants to meet this woman of his dreams. Claire always manages to invent new excuses to keep him at bay in real life without alienating him online. Her children and her job fall by the wayside as she increasingly succumbs to the allure of her parallel world – until realities begin to blur and a disaster occurs.
Claire is a sort of 'anti-heroine', who is both complex and paradoxical. Her tragic dimension, therefore, is tinged with destructive guilt. However, she overcomes her humiliation and sorrow by expressing her life force through another, imaginary woman. Let’s say that she is a distressed person, partly the victim of our society as it is today. In any case, the feeling of being past one’s 'prime' or rejected, in other words the awareness that time has gone by and that it can push us to the sidelines, isn’t limited to women, it is universal…
France, Belgium, 2019
Screenplay: Safy Nebbou, Julie Peyr Camille Laurens (novel)
Cinematography: Gilles Porte
Music: Ibrahim Maalouf
Editing: Stéphane Pereira
Cart: Juliette Binoche (Claire Millaud), Nicole Garcia (dr. Catherine Bormans), François Civil (Alex Chelly), Marie-Ange Casta (Katia), Guillaume Gouix (Ludovic Dalaux), Charles Berling (Gilles), Jules Houplain (Max), Jules Gauzelin (Tristan), Francis Leplay (Serge), Pierre Giraud (Paul), Sonia Mohammed Cherif (student), François Genty (patient), Claude Perron (Solange)
Festivals, awards (selection): Berlinale 2019, Shanghai 2019
A universal story of friendship, rebellion and the irresistible power of gathered youth, set to a soundtrack as eclectic and electrifying as the scene it gave birth to, Beats is a story for our time.
1994. Best mates Johnno and Spanner share a deep bond, forged through childhood. Now on the cusp of adulthood, life is destined to take them in very different directions. But this summer is going to be different for them. The explosion of the free party scene and the largest counter-cultural youth movement in recent history is happening across the UK. In pursuit of adventure and escape the boys head out on one last night together to an illegal rave: a journey into an underworld of anarchy and freedom that ends with a full-on collision with the forces of law and order.
I was introduced to that scene of underground techno parties and it was a hugely transformative experience for me. I grew up in Aberdeen at a time when there was a lot of violence and hard drug use and I found my teenage years quite scary. But I was introduced to this world of … it all sounds a bit cheesy … of love and communal joy and fun and friends. At the time I didn’t consider that that in itself could be considered an almost political experience but looking back it was.
Great Britain, 2019
Screenplay: Kieran Hurley, Brian Welsh
Cinematography: Benjamin Kracun
Music: Stephen Hindman, Penelope Trappes
Editing: Robin Hill
Cast: Cristian Ortega (Johno), Lorn MacDonald (Spanner), Laura Fraser (Alison), Ross Mann (D-Man), Gemma McElhinney (Laura), Amy Manson (Cat), Rachel Jackson (Wendy), Brian Ferguson (Robert)
Antoine Roquentin, the protagonist of Sartre’s novel Nausea, feels confronted by the bare existence of things, objects either organic inanimate or man-made, experiencing fear and nausea when in contact with other people or their bodies.
Co-production: Anton Podbevšek Theatre and Studia humanitatis; in cooperation with Cankarjev dom
Directed by: Matjaž Berger
Bozo Vrećo is one of the most famous contemporary singers and composers of the traditional Bosnian Sevdah music.
His castrato voice, with a range between lyric soprano and lyric tenor, is considered a gift of God by the public, and as such attracting lots of attention by the press in the Balkans and more and more throughout the world. His visual identity, defined by a feminine-masculine duality, perfectly complements his musical and artistic expression.
Božo´s highly unique a cappella interpretation of sad and tragical Sevdah love songs already quite early in his career resulted in his compositions being featured in theatre pieces and documentary movies. Even The New York Times referred to his "angel-like" voice and considered him and his work "a synonym for freedom".
Bidzina Murgulia, David Kavtaradze, Aleksandre Birkaia, Giorgi Janashia, Nikolozi Birkaia, Tornike Dzadzamia
Georgian folk songs get a new lease on life through the sonorous singing of Iberi, a six-person vocal and instrumental ensemble that explores the emotional potential of age-old polyphony and traditional instruments.
Songs reflect Georgian life, even as many Georgians move in cosmopolitan urban worlds, far from the farms, orchards and rural celebrations that birthed the music.
Iberi embrace every aspect of these traditions, including the toasts and feast songs that are intimately entwined with Georgia’s notoriously abundant hospitality, but also the urban folk songs, lullabies, liturgical chants, and historical ballads that still play important roles in everyday moments and grand occasions.
When Rafael Riqueni made a grand comeback to the stage after a long absence in his native Seville in 2014, he was received with a historic ‘olé’.
In his hands, the hands of all the wise men of the guitar seemed to conspire.
On his début in Slovenia he will play his already classical flamenco repertoire of soleás, bulerías and tangos. Well accompanied by two other distinguished flamenco guitarists Salvador Gutiérrez and Manuel de la Luz he will present his new CD Parque de María Luisa: a lyrical walk through a park in Seville where the colours and smells of the city on the Guadalquivir come together.
The concert forms part of the Bi Flamenco Festival in cooperation with the Dutch Flamenco Biennial
Alireza Ghorbani, vocals; Saman Samimi, kamancheh; Milad Mohammadi, tar; Hussein Zahawy, percussion
Ghorbani’s voice can be tender, subdued and mournful and then rise to exalted improvisatory passages using skilful displays of tahrir, the rapturous yodelling technique of classical Persian singing. Alireza Ghorbani is the custodian of this remarkable voice, one of the most distinctive of the new generation of classical Persian singers. Born 1973 in Tehran, he learnt to recite the Qur’an at an early age, going on to study the tar (lute) and to master the numerous scales of Middle Eastern music.
Since emerging as a singer in the 90s, he has recorded dozens of albums, exploring and interpreting both classical and modern poetry and most recently gaining international recognition with his album of Persian love songs with kamancheh virtuoso Saman Samini.