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Monthly Film – February

Pierrot le Fou (Pierrot the madman) 1965
by Jean-Luc Godard

February Poster for mail versionThursday 19th February 2015 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

 

Synopsis

Uninterested in his wife, Ferdinand Griffon wearies of his stagnant life. But when the couple hires an enigmatic baby-sitter, Marianne Renoir, Ferdinand falls head over heels in love with her and abandons his family. He soon discovers, however, that his mistress is not who she seems. Pursued by foreign thugs, Ferdinand and Marianne steal a car and embark on a crime spree through the French countryside all the way to the Mediterranean.

Ferdinand Griffon, marié à une femme riche, s’ennuie dans le milieu mondain dans lequel elle l’entraîne. Au cours d’une soirée, il rencontre Marianne, une étudiante qu’il a connue cinq ans auparavant. Délaissant sa femme, il passe la nuit chez elle et prend la décision de ne plus en bouger. Son épouse demande le divorce. Marianne, mêlée à des affaires louches, trouve un cadavre dans son appartement. Les amants fuient avec la voiture du défunt et prennent la direction de la Côte d’Azur, où Marianne dit vouloir retrouver son frère. Sans le sou, ils attaquent une station-service. Marianne se plaît à appeler son amant «Pierrot». Leurs aventures les conduisent au bord de la mer…

Reviews of the film

Jean-Paul Belmondo mooches up to Samuel Fuller at a cocktail party and, naturally, asks him his thoughts on cinema. Fuller replies: ‘Film is like a battleground. Love. Hate. Action. Violence. Death. In one word: Emotions.’ His succinct and, let’s be honest, utterly hip rejoinder fluently captures what we’re about to undergo with Godard’s mischievous, free-associative tenth film, ‘Pierrot le Fou’, re-released here in a restored print as part of the BFI’s continuing Nouvelle Vague season.

The party ends and we’re launched into the lunatic orbit of Belmondo’s Ferdinand and Anna Karina’s Marianne: he a rakish, unemployed adman choking on consumerist jargon and bourgeois conformity, she a happy-clappy coquette with unspecified links to an underground military faction. Each is an impulsive, alienated, despairing soul who finds solace in the other’s desire for chaos and withdrawal. They flee Paris for the south of France in a hail of gunfire and Gauloises. They converse in disjointed, inhumanly droll patter, break into song, duff up gas station attendants and eagerly concoct a new civilisation on a deserted beach. Then, as their relationship begins to fray, it all goes horribly wrong…

Basing his film ever so loosely on Lionel White’s pulp crime novel ‘Obsession’, Godard inventively drapes genre pastiche, literary references, flash inserts and cheeky agitprop over a robust ‘Bonnie and Clyde’-like framework to deliver a film which, in spirit, feels like both the sum total of his past work and an exhilarating sign of things to come. It’s a wild-eyed, everything-in-the-pot cross-processing of artistic, cinematic, political and personal concerns, where the story stutters, splinters and infuriates its way to an explosive finale. Taken as a whole, we’re right back to that word again: emotions.

~ David Jenkins 2009, TimeOut

Solitude, fatigue, ratage, trahison, chagrin, intermittence du coeur, suicide. Le fond est cafardeux. La forme, elle, est affamée, c’est une boulimie prométhéenne d’art et de signes. BD, roman américain, série noire, musique symphonique, twist, chansonnette, peinture espagnole, pop art, lettrisme, architecture, poésie, mode, pub : cinquante ans après Picabia et vingt ans avant le sampling, Godard pratique l’accumulation, le court-circuit, le collage, le recyclage, comme nul autre dans le cinéma.

Il est jeune, dingue amoureux des hanches d’Anna, il est dans l’élan, il fonce vers l’absolu, emprunte, donne énormément. Du Technicolor, de la Côte d’Azur, de l’action, de l’amour, de la haine, en veux-tu, en voilà. Le cinéma ? De l’émotion. C’est l’ami Samuel Fuller qui le dit…

Godard fait comme si, et de cette imitation naît son devenir. Pierrot le Fou est le plus romantique et le plus romanesque de ses films. Plus exactement : celui qui a le plus envie de l’être. Entre éloge et fracture, enthousiasme et dérision, Godard balance, mais c’est le lyrisme – mélancolique – qui l’emporte. Parce que l’art sert à passionner le désert de la vie, Ferdinand et Marianne s’imaginent en personnages – elle persiste à l’appeler Pierrot -, jouent à s’aimer, s’aiment vraiment, s’ennuient, se perdent de vue et se retrouvent, hélas trop tard. Le hurlement de désespoir de Belmondo fait mal. Aussi mal que, dans la vraie vie, l’éloignement de Karina, qui abandonne son Pygmalion.

~ Jacques Morice 2010, Telerama.fr

Monthly Film – January

La religieuse (The Nun) 2013
by Guillaume Nicloux

THE NUN-FOR MAILThursday 22nd January 2015 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

More Suitable for Adults

Synopsis

France, in the 1760s. Born to a bourgeois family, Suzanne (Pauline Etienne) is a beautiful young girl with a natural talent for music. Despite her faith, she is dismayed when her parents send her off to a convent, expecting her to become a nun. Suzanne first resists the rules of the convent, but soon finds out that she is an illegitimate child, leaving her no other option than to pronounce her vows and suffer the consequences of her mother’s sin.

XVIIIe siècle. Suzanne, 16 ans, est contrainte par sa famille à rentrer dans les ordres, alors qu’elle aspire à vivre dans « le monde ».
Au couvent, elle est confrontée à l’arbitraire de la hiérarchie ecclésiastique : mères supérieures tour à tour bienveillantes, cruelles ou un peu trop aimantes…
La passion et la force qui l’animent lui permettent de résister à la barbarie du couvent, poursuivant son unique but : lutter par tous les moyens pour retrouver sa liberté.

Reviews of the film

Denis Diderot’s infamous 18th century novel of faith, hypocrisy and the oversexed sisterhood is given a classy makeover in director Guillaume Nicloux’s The Nun (La Religieuse). Altogether engaging if not all that original, this polished period piece is primarily a showcase for budding Belgian actress Pauline Etienne, whose studied portrayal of a rebellious young abbess should propel her into further starring roles in the future, if not to a possible prize in Berlin, where the film premiered in competition. Released in France by Le Pacte in late March, The Nun will convert those viewers who like their costume dramas well performed and squeaky clean.

Although this is Nicloux’s tenth theatrical feature, he’s yet to achieve auteur status in Europe, and is known more as a capable director of thrillers (The Key, Cette-femme la). While nothing in The Nun feels inspiring or truly groundbreaking, it’s certainly a well-handled package, and the strong performances are abetted by superb technical contributions, including crisp color photography by Bruno Dumont regular Yves Cape and, most notably, a series of gorgeous period costumes by Anais Romand (Holy Motors). The habits may not make the monk, but they definitely make these nuns look fabulous.

~ The Hollywood Reporter

Avec son air d’angelot, on lui donnerait le bon Dieu sans confession. Mais le bon Dieu, dans La religieuse, Suzanne Simonin, alias Pauline Étienne, n’en veut justement pas, du moins pas cloîtrée entre quatre murs. D’ailleurs, ne lui parlez pas de religion, la jeune actrice belge de 23 ans n’y croit pas. Pour préparer son rôle très émouvant de jeune fille du XVIIIe siècle qui se révolte contre son père et plusieurs mères supérieures parce qu’elle est obligée de prendre le voile pour expier les péchés de sa mère, elle est tout de même allée s’enfermer dans un couvent. Elle en est repartie au bout de deux jours : “On ne pouvait pas parler aux soeurs. Et puis elles chantaient faux.” Et pourtant, comme dirait Galilée, elle tourne, et merveilleusement bien. Avec grâce. Le cinéma, comme Dieu, n’exclut pas des révélations. C’est très rare, mais cela arrive, une actrice qui mue sous nos yeux avec son rôle, transcendée, habitée, crevant l’écran.

Par François-Guillaume Lorrain ~ Le Point

Monthly Film (November)

Capitaine Conan (Captain Conan) 1996
by Bertrand Tavernier

CAPTAIN CONAN POSTER FOR MAILThursday 20th November 2014 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 
 
 
 
 

Synopsis

Bulgaria near the end of World War I: Conan, warrior and wolf, leads a band of 50 ruthless French fighters who love hand-to-hand combat. Their motto: “We forgot to take prisoners, Captain.” At war’s end, the unit goes to Bucharest, where Conan tries to keep them out of trouble, defends them when they behave as warriors, and finds he’s unsuited for peacetime.

His friendship with Norbert, a teacher turned lieutenant, is tested when Norbert accepts a job as court-martial prosecutor because he’s learned that Conan will be facing charges and he wants to protect his friend. When they are sent to the Russian border to fight Bolsheviks, Conan is back in his element and Norbert is off the hook.


Les Balkans, septembre 1918. Alors que l’armistice est signe en France, seule l’armée d’Orient n’est pas démobilisée et reste en état de guerre. Casernes dans Bucarest, les soldats sèment le désordre, pillent et tuent. Norbert a la delicate mission de faire condamner les coupables, les hommes du capitaine Conan, son ami a qui l’on doit, sous le commandement de Franchet d’Esperrey, la prise du mont Sokol. Malgré la fureur de Conan, qui défend ses soldats envers et contre tout, Norbert fera son devoir.

Reviews of the film

Bertrand Tavernier’s tough, contemplative wartime epic ”Capitaine Conan” unfolds in historical limbo, set among French troops who continue fighting in the Balkans even after the Armistice ending World War I has been declared. That atmosphere of strife and confusion ably mirrors the film’s moral climate, in which Mr. Tavernier brings his characteristic acuity to bear in weighing the meaning of combat and the ethics of a true warrior. Conan (Philippe Torreton), the film’s brave and stubborn hero, is a fighter by nature, for better and for worse.

In a vast yet subtle film that was a major winner of last year’s Cesar awards in France (Mr. Tavernier’s direction and Mr. Torreton’s formidable performance were both honored), a true story becomes the starting point for an elaborate moral inquiry. ”Capitaine Conan” is based on a 1934 autobiographical novel by Roger Vercel, who presents himself as the story’s resident ethicist, a solemn young officer named Lieutenant Norbert (Samuel Le Bihan).

By JANET MASLIN ~ New York Times

Depuis La Vie et rien d’autre et La Guerre sans nom, on sait à quel point Tavernier s’intéresse au versant caché des conflits. Pour l’armée d’Orient, la guerre de 14-18, ce fut plutôt 14-19 : après l’armistice, celle-ci n’est pas démobilisée. Tavernier accuse. L’armée et ses généraux guignols qui n’ont aucune conscience de ce qui se passe sur le terrain. L’injustice de la guerre qui contraint la société à fabriquer des meurtriers pour les réprouver ensuite. Dans son dénouement, Capitaine Conan est d’une violence glacée. Après les horreurs de la guerre, les horreurs de l’après-guerre : la culpabilité et l’inactivité qui rongent. Avec ce coup de poing magnifique, Tavernier a gagné un césar, et son acteur principal, l’étonnant Philippe Torreton, aussi. Mais c’est l’ensemble de la distribution qui est remarquable.

 

Isabelle Danel ~ telerama.fr

Monthly Film (September)

L’Intrus (The Inruder) 2004
by Claire Denis

L'INTRUS poster for mailThursday 18th September 2014 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

 

Synopsis

Louis Trebor (Michel Subor), an ex-mercenary living in the Jura Mountains, is increasingly suffering from a heart condition. He abandons his home, his beloved dogs, and his estranged son (Grégoire Colin) in pursuit of a black market heart transplant in Korea before traveling to Tahiti, where he spent time in his youth, in hopes of reconnecting with a son he’s never met.

A la veille d’une transplantation cardiaque, un homme malade décide de quitter la montagne où il mène une existence solitaire pour partir vers les îles à la recherche d’un passé et d’un paradis perdus.

Reviews of the film

Magnificent is how in Claire Denis custody, across the film, the same slow, hypnotic rhythm, the same distance, half fascinated mid-familiar, vis-à-vis its main character. The same sweetness that emerges images cuts both ways: a kind of spell that takes the form of a mysterious poison, inoculated into the narrative.

“Magnifique est la manière dont Claire Denis garde, d’un bout à l’autre du film, le même rythme lent et hypnotique, la même distance, mi-fascinée mi-familière, vis-à-vis de son personnage principal. La douceur même qui se dégage des images est à double tranchant : une sorte d’envoûtement qui prend la forme d’un venin mystérieux, inoculé goutte à goutte dans le récit.”

~ Vincent Malausa, Cahiers du Cinéma

Monthly Film (July)

Du vent dans mes mollets (The Dandelions) 2012
by Carine Tardieu

POSTER FOR MAILThursday 17th July 2014 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

 

Synopsis

Rachel, shy little 9 year old, loved by her father and stifled by a possessive mother, meets Valérie, a fearless and shameless girl of her age. With her new friend, she engages to profanity, indecency and nonsense, and opens up to life.

Rachel Gladstein (Juliette Gombert), petite fille timide de neuf ans, aimée par son père (Denis Podalydès) et étouffée par une mère juive possessive (Agnès Jaoui), fait la connaissance à la rentrée des classes de Valérie (Anna Lemarchand), une fillette intrépide et effrontée de son âge. Rachel, influencée par sa nouvelle amie, se livre à son tour aux grossièretés, aux gestes scabreux et aux bêtises. Elle dort avec son cartable sur le dos à la veille de la rentrée des classes, et doit consulter la psychologue Mme Trebla (Isabella Rossellini) qui va entrer dans son intimité.

En parallèle une amitié s’installe entre les parents des deux fillettes, et notamment entre Michel Gladstein, installateur chez Mobalpa et Catherine (Isabelle Carré), la mère divorcée de Valérie. La jalousie naissante de Colette Gladstein face à ce rapprochement la portera à s’interroger sur son couple qui souffre de routine et de lassitude.

Reviews of the film

“Tardieu adapted the book with original scribe Moussafir, and they have imposed a more classical story structure on what was a motley compilation of recollections (inspired by a one-woman show). But in the attempt to construct a fully formed family, in which each member has her or his cross to bear, what made the original such a compelling read — namely, the outlook of a sassy 9-year-old on a world she only partially comprehends — is further pushed into the background. The confessional visits to Madame Trebla are now only perfunctorily connected to the narrative, and the mother-daughter bond is but one of several occasionally shifting relationships. The fact that “The Dandelions” was cut by three editors is of no help in keeping things focused.

Thankfully, the appealing cast ensures auds will stick with the characters throughout. Jaoui, of Tunisian-Jewish descent herself and as plain and dowdy as she’s ever appeared onscreen, credibly incarnates the overly protective matriarch who’s so focused on making the world a better place for her daughter that she sort of forgets about Rachel’s particular needs.”

– Boyd van Hoeij, Variety

 

Monthly Film (June)

Lumumba 2000
by Raoul Peck

lumumba-posterThursday 19th June 2014 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

 

Synopsis

The true story of the rise and fall of the formerly vilified and later redeemed leader of the independent Congo, Patrice Lumumba. Using newly discovered historical evidence, Haitian-born and Congo-raised writer and director Raoul Peck renders an emotional and tautly woven account of the mail clerk and beer salesman with a flair for oratory and an uncompromising belief in the capacity of his homeland to build a prosperous nation independent of its former Belgium overlords.

Dans l’infinie beauté nocturne d’une savane africaine, deux hommes ont reçu pour mission de découper trois cadavres. De les brûler. De les enterrer. Ici s’achève la vie de Patrice Lumumba, qui fut durant trois mois Premier Ministre du Congo nouvellement indépendant. Mais ici commence également son histoire…

Reviews of the film

“Why does the United States so often back the reactionary side in international disputes? Why do we fight against liberation movements, and in favor of puppets who make things comfy for multinational corporations? Having built a great democracy, why are we fearful of democracy elsewhere? Such thoughts occurred as I watched “Lumumba,” the story of how the United States conspired to bring about the death of the Congo’s democratically elected Patrice Lumumba–and to sponsor in his place Joseph Mobotu, a dictator, murderer and thief who continued for nearly four decades to enjoy American sponsorship.” – Roger Ebert – rogerebert.com

“This is a movie about chaos and regret, focusing on the unleashing of forces greater than any one person could hope to handle and the carnage, however necessary, left in their wake. Mr. Peck’s gambit works, and the result is a great film and a great performance. ” – Elvis Mitchell, New York Times

Awards

  • Best Feature Film – Acapulco Black Film Festival 2001
  • 2nd place Best African film movie – Milan African Film Festival 2001

Monthly Film (May)

Rapt (Abduction) 2009
by Lucas Belvaux

RAPT POSTER for mailThursday 22th May 2014 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

 

Synopsis

Industrialist and a man of power, Stanislas Graff is kidnapped one morning in front of his building by a commando of gangsters. Then began an ordeal lasting several weeks. Cut, humiliated, denied his humanity, he resists leaving no outlet to his captors. He accepts everything without revolt, without art, without complaint, by the dignity it meets barbarism. Cut off from the world, receiving only scraps of information by his captors, Graff does not understand that nobody wants to pay the amount that would set him free. Outside, his world crack as the revelation of his personality. All he had managed to keep in privacy, his secret garden is revealed to his family by the police investigation or by that of the press. Everyone finds a man who is a far cry from the one imagined.

Homme d’industrie et de pouvoir, Stanislas Graff est enlevé un matin comme les autres devant son immeuble par un commando de truands. Commence alors un calvaire qui durera plusieurs semaines. Amputé, humilié, nié dans son humanité, il résiste en ne laissant aucune prise à ses ravisseurs. Il accepte tout sans révolte, sans cri, sans plainte, c’est par la dignité qu’il répond à la barbarie. Coupé du monde, ne recevant que des bribes d’informations par ses geôliers, Graff ne comprend pas que personne ne veuille payer la somme qui le délivrerait. Au-dehors, son monde se fissure au fur et à mesure de la révélation de sa personnalité. Tout ce qu’il avait réussi à garder d’intimité, son jardin secret, est révélé à sa famille par l’enquête de police ou celle de la presse. Chacun découvre un homme qui est loin de ressembler à celui qu’il imaginait.

Reviews of the film

“A police procedural movie turns into a moral state-of-the‑nation picture and a rather good one. ” – Philip French – The Observer

“The tone of the film Belvaux is very dry, rigid, serious (…) Belvaux merely describes the consequences of such a story (basically, no matter how he may have inspired by the kidnapping of Baron Empain in the 1970s) in the context of our time and the state of development of our consciences and our societies.” – Jean-Baptiste Morain, Les Inrockuptibles

Awards

  • Nomination for Best French Film ~ César 2010
  • Lucas Belvaux ~ Nomination for Best Director – César 2010
  • Yvan Attal ~ Nomination for Best Actor in a leading role – César 2010
  • Anne Consigny ~ Best Supporting Actress – César 2010

Monthly Film (April)

Couleur de peau : Miel (Approved for Adoption) 2012
by Jung Sik-jun, Laurent Boileau

couleur-de-peau-miel-poster

Thursday 17th April 2014 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

 

Synopsis

There are 200,000 Korean children scattered throughout the world since the end of the Korean War. Born in 1965 in Seoul and adopted in 1971 by a Belgian family, Jung is one of them.

Adapted from the graphic novel Skin Color: Honey, the film returns to a few key moments in the life of Jung: the orphanage, the arrival in Belgium, the family life, difficult adolescence … It tells us events which led him to accept his intermingling. Uprooting, identity, integration, motherly love, as stepfamily and mixed, are all themes with poetry, humor and emotion.

Realized in a stunning blend of real and cartoon images, between present and memories, occasionally using historical and family archives, Skin Color: Honey is an autobiographical narrative animation exploring new lands.

Ils sont 200 000 enfants coréens disséminés à travers le monde depuis la fin de la guerre de Corée. Né en 1965 à Séoul et adopté en 1971 par une famille belge, Jung est l’un d’entre eux.
Adapté du roman graphique Couleur de peau : Miel, le film revient sur quelques moments clés de la vie de Jung : l’orphelinat, l’arrivée en Belgique, la vie de famille, l’adolescence difficile… Il nous raconte les événements qui l’ont conduit à accepter ses mixités. Le déracinement, l’identité, l’intégration, l’amour maternel, tout comme la famille recomposée et métissée, sont autant de thèmes abordés avec poésie, humour et émotion.
Réalisé dans un étonnant mélange d’images réelles et dessinées, entre présent et souvenirs, utilisant à l’occasion des archives historiques et familiales, Couleur de peau : Miel est un récit autobiographique d’animation qui explore des terres nouvelles.

Reviews of the film

“Testimony without pity, a poignant authenticity.” – Marie-Noëlle Tranchant, Le Figaro

“Like Marjane Satrapi, Jung told, through the graphic novel, his childhood destiny buffeted by the winds of history – like her, he suffered exile and denied its origins . before accepting Their style, however, is the opposite: black and white and authoritarian traits in Persepolis oppose smooth lines and gray and white washes of color skin. Honey (… ) the sepia tone replaces the monochrome and inserts live image punctuate a narrative rich in emotion, humor and poetry that caters to both small and large. These techniques make the film look like a kaleidoscope sensations and moods whose poignant melancholy refers to the work of Isao Takahata.”
– Christophe Narbonne, Première

Awards

  • Audience Award and UNICEF 1st Price ~ International Festival of Animated Film Annecy 2012
  • Grand Prize and the Audience Award ~ Festival of Animated Film in Zagreb 2013

Monthly Film (March)

Le Salaire de la Peur (The Wages of Fear) 1953
by Henri-Georges Clouzot

Salaire de la peur POSTER for mail

Thursday 20th March 2014 – 6.00pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

Synopsis

In a desert town in Central America, burnt under the sun, four adventurers accept a suicide mission against a premium of $ 4,000: conveying 500 km, two truckloads of nitroglycerin to extinguish a burning oil wells. The manager of the SOC, the American company practicing drilling in the country, tested and chose Mario, Luigi, and Bimba Smerloff. Jo, a small Parisian gangster off the plane, is too old to travel. But at the moment of departure, Smerloff is found and Jo, who is no stranger to the disappearance, takes his place. The journey is long and dangerous …

Dans un village désertique d’Amérique centrale, brûlé par le soleil, quatre aventuriers acceptent une mission suicide contre une prime de 4.000 dollars : convoyer sur 500 kilomètres, deux camions chargés de nitroglycérine pour éteindre l’incendie d’un puits de pétrole. Le gérant de la SOC, la compagnie américaine qui pratique des forages dans tout le pays, procède à des essais et choisit Mario, Luigi, Bimba et Smerloff. Jo, un petit gangster parisien débarqué de l’avion, est trop vieux pour être du voyage. Mais au moment du départ, Smerloff est introuvable et Jo, qui n’est pas étranger à cette disparition, prend sa place. Le voyage est long et périlleux…

Reviews of the film

Upon its original release, Bosley Crowther of The New York Times wrote “The excitement derives entirely from the awareness of nitroglycerine and the gingerly, breathless handling of it. You sit there waiting for the theatre to explode.”

In 1982, Pauline Kael called it “the most original and shocking French melodrama of the 50s.”

In 1992, Roger Ebert stated that “The film’s extended suspense sequences deserve a place among the great stretches of cinema.”

In 2010, the film was ranked #9 in Empire magazines “The 100 Best Films of World Cinema.”

Awards

  • Palme d’Or ~ Cannes Film Festival 1953
  • Golden Bear ~ Berlin Film Festival 1953
  • BAFTA Best Film ~ British Film Institute 1955

Albert Camus

Albert Camus in the depths of winter...

A world–citizen writer and philosopher

Winner of the Nobel Prize for Literature, Albert Camus is the most widely read French author. 2013 marks the centenary of his birth: an occasion to remember all his masterpieces such as The Stranger (1942), The Plague (1946) and The Fall (1956).

CLUB LIVRE / BOOK CLUB
Conference by Samantha de Alwis

Exhibition Albert Camus 1913-2013

Wednesday 26 February 2014 – 6pm
@ Alliance Française de Kotte

“At any street corner, the feeling of absurdity can strike any man in the face.” – Albert Camus

Albert Camus contributed to the rise of the philosophy known as absurdism, which he saw as the result of our desire for clarity and meaning within a world and condition that offer neither.

“Any form of contempt, if it intervenes in politics, prepares or introduces fascism.” – Albert Camus

In his essay “The Rebel” (1951), he wrote that his whole life was devoted to oppose the philosophy of nihilism.

“Those who lack the courage will always find a philosophy to justify it.” – Albert Camus

However, he intended also to fight against any kind of totalitarianism and imperialism, their moral systems and idolatry of technology, while still delving deeply into individual freedom.

“Freedom is nothing else than a chance to be better.” – Albert Camus

Camus was awarded the 1957 Nobel Prize “for his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times”. The meaning of individual freedom could be considered a focal point in many of his novels and essays.

Samantha de Alwis is a former lecturer in French at University of Kelaniya and currently she teaches French, English and theatre at La Petite Fleur Schools.

ALBERT CAMUS 1913-2013

A DIGITAL INTERACTIVE, MULTIMEDIA AND MULTILINGUAL EXHIBITIONcamus2

The exhibition combines a minimal realization, a fresco and an Internet connection with a rich digital content fully interactive and multilingual, thanks to the QR codes technology. After downloading the dedicated application, the public, via a Wi-Fi connection from a Smartphone or a tablet, accesses to the content: critical texts, documents, numerous quotes, annotations, chronological markers, images, videos about Albert Camus, available in 14 languages. Hence, the visitor can build on his visit freely, create his own resources and share them on the Internet and social networks. The digital exhibition is equivalent to a space of 200 sqm.

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