Cinémas hors circuits
Welcome to the Cinémas hors circuits site.
Dedicated to independent cinema, Cinémas hors circuits is a project to highlight the work of independent publishers/distributors, cultural activists without whom many films would have disappeared from memory. As active custodians of a significant part of the cinematic heritage, such publishers have to counter the blockbuster mentality of mainstream distribution and the concentration of distribution networks.
To enable both the general audience and professionals to discover the films such independent publishers promote, and to encourage debate around new challenges and opportunities in publishing, Cinémas hors circuits offers:
a portal for independent publishers
a fair: an event entitled Salon du DVD & des éditeurs indépendants de cinéma/The DVD & Independant Publisher's Fair which wich took place in Paris in 2008 and 2009, in Poitiers in 2010 & 2011.
| THE PUBLISHER/DISTRIBUTORS (PORTAL) :
68 Septante / Artus films / AV Prod / Bazaar&Co / Blaq Out / British Animation Awards / Centre audiovisuel Simone de Beauvoir / Chalet Pointu / Choses Vues / Cinéma Abattoir / Cinétrange / Clavis Films / Dérives / Doc Net Films / Dora Films / Doriane films / Ecart Production / ED Distribution / Epicentre Films / Filmarmalade / Index / JBA Production / JCG Production / K Films / La Cathode / La Famille Digitale / La vie est belle / Le chat qui fume / Les films du Paradoxe / Lowave / LUX / Malavida / Orbe / P.O.M. Films / Paris expérimental / Potemkine / PPT / Re:voir / Rouge Profond / Scope Éditions / Shellac Sud / Versus /
| A RANDOM TITLE
> Choses Vues
PIERRE CLEMENTI CINÉASTE - L'INTÉGRALE
Pierre Clémenti
France, 1967/1988
expérimental, essais
While filming BELLE DE JOUR by Luis Buñuel and BENJAMIN by Michel Deville, which both became very successful films that acquired international recognition, Pierre Clémenti bought a 16mm camera and began creating a film journal which included original material of both films. Similar to the North American underground cinematographers, which initially influence his work, Pierre Clémenti reclaims an absolute liberty of expression, straying from the usual means of narrating, representing and financing that were regularly found in the cinema of the time. He learned to handle the camera, and filmed the delicate flower that is the Paris underground ; his fellow actors, musicians, directors, and painters (Jean-Pierre Kalfon, Valérie Lagrange, Tina Aumont, and Fréderic Pardo, Nico and Philippe Garrel…). He quickly develops a style all his own. His first two films CARTE DE VOEUX and LIVRET DE FAMILLE (which together became known as VISA DE CENSURE N°X) are broadcast by an art gallery (Galerie Givaudan). To create his films independently he opted to finance the films with his own funds and turns to his various friends, actors, musicians such as Jean-Pierre Kalfon. As well good friends of his, Marie-Laure de Noailles and Gala Dali also financed many of his projects. Absent from the main stream films, his are often shown throughout the world at manifestations devoted to independent cinema.
Suppléments :
REVOLUTION... de Pierre Clémenti, mi journal filmé, mi ciné-tract sur les événements de mai 1968.