ParisDOC – Feedback pro 2020

Centre Pompidou, Petite Salle
Place Georges-Pompidou, 75004 Paris

Does documentary cinema interest collectors?

The permeability of contemporary art and cinema has long existed both in artistic and filmmaking practices and the exhibition of works. Today, an increasing number of works are being created by a new generation of filmmaker-artists recognised not only by the world of art but also cinema. Yet, the two markets obey strongly opposing logics (on the one hand, a value indexed on rarity and speculation over time, on the other, an industrial economy of the multiple that plays on novelty and seeks the widest possible visibility over ever-shorter periods). But is their compatibility really in question? Is one field more adept than the other at promoting a work and its author, or are new perspectives and new collaborations opening up for the documentary genre and those who make it? Will these collaborations remain specific, marginal and exceptional, as in the art market, or will they be duplicable as in workings of the film industry?

Moderated by : Pascale Cassagnau (PhD in Art History, art critic, inspector general of artistic creation, responsible for the audio-visual content of the Centre national des arts plastiques) 
Speakers : Corinne Castel ( producer, Les Volcans), Josée et Marc Gensollen (psychiatrists, art collectors), Clarisse Hahn (filmmaker, video maker, photographer), Nathalie Mamane-Cohen (art collector), Michel Rein (gallerist)

From what standpoint do festivals select films? personal, aesthetic, geographical, political point of view

Today, it is still in Western Europe and North America that the most influential festivals – those where the films and filmmakers crowned by international acclaim – are “discovered”. This recognition is still subordinate to the Western view, to the weight of the representations of self and of others on this side of the world, and to the international financial and political power relations. This domination has been based on, even justified by, the long upheld idea of the universality of art. Yet, questions of diversity and “inclusion” – not only in terms of gender, geographical origin or social background, but also of films, filmmakers, audiences and teams – are now being raised in all cinematographic spheres, and particularly the world of festivals, some of which are working actively on this. At this critical juncture, it is vital that we ask ourselves what spurs us in this first act of choosing films: from what standpoint do we watch them. From what place – intimate, aesthetic, cultural, geographical, political – do we build a selection?

Moderated by : Catherine Ruelle (grand reporter, critique de cinéma, auteure, présidente de l’association Racines)
Speakers : Fatma Chérif (artistic director Gabès Cinéma Fen, filmmaker ), Claire Diao (distributor Sudu Connexion, member of Directors Fortnight selection committee, speaker of Ciné Le Mag, Canal Plus Afrique, director of publication for the review Awotele, founder and programmer of Quartiers Lointains), Hicham Falah (delegate general festival international de documentaire d’Agadir Fidadoc, artistic director of the International Women’s Film Festival of Sale), Martin Horyna (member of Program Department Karlovy Vary International Film Festival ), Birgit Kohler (co-director of Arsenal – Institute for Film and Video Art in Berlin, member of the selection committee for the Berlinale Forum from 2002-2019, responsible of the section Forum in 2019)