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8 September 1988, Julio Iglesias enters the stage of Camp Nou in Barcelona. The stadium is packed. 100,000 people, conquered, even before it started. Julio Iglesias is a crooner, Latin version, an idol. 300 million albums sung in 14 languages, 2600 gold or platinum records, 5 decades of tours, awards and fans per thousands …. A velvet voice and a look of ember, Spanish seduced the planet by whispering sweet words. And became the ideal ambassador of his native country. Armed with his talent and charm, Julio Iglesias created his legend. The story of a young Spaniard who set out to conquer the world. A Conquistador.

Disponible en entier en cliquant ici .

A cinematographic “cadavre exquis”. Authors, directors, actors pirates of images who falsified cinema. From Man Bites Dog to Jan Bucquoy’s biopic, this free journey in the “cine-belgitude” has for vocation to approach these marvellous eccentrics followers of a overexcited situationism.

On the occasion of the entry into the repertoire of the Ballet de l’Opéra de Paris in Mayerling, guest coach Karl Burnett discusses his work of transmission. A specialist in Benesh notation, he worked with Kenneth MacMillan and now choreographs for the Company’s dancers. He revisits MacMillan’s virtuoso neo-classical style and how each step is linked to the ballet script. The very dark role of Prince Rudolph, one of the most complicated in the repertoire, is for the interpreters a psychological and technical tour de force.

For some time, genre cinema has taken a new place in French cinema. The public seems to be there, the distributors are interested, the CNC is launching a support program, the broadcasters are asking, the revenues are there, calls for projects are multiplying.

And it seems timely. A new generation of filmmakers, accompanied by young producers, shows a furious desire to tackle the genre.

And then the coronation. During the Cannes Film Festival 2021, to everyone’s surprise, the jury chaired by Spike Lee distinguished the second feature from a young French director. Julia Ducournau receives the Palme d’Or for Titanium. When she thanks the jury, the director questions her, and with him all the cinema, and thanks him for “letting the monsters in”.

But what is the filmmaker talking about? What are the monsters whose return she highlights? Is this sentence a program? Is she talking only about France and its cinema?

This is what this documentary proposes to explore.

Visit the exhibition Pionnières, now closed, with Catel Muller, author and designer, Aurélie Saada, musician and director, and then Charlotte Abramow, photographer and director. Three artists today tell us about the pioneers of the Roaring Twenties.

All the videos: https://museeduluxembourg.fr/fr/actualite/trois-artistes-daujourdhui-en-compagnie-des-pionnieres

Revealed on the big screen at the turn of the 2000s after debuting in television series, Laurent Lafitte has established himself as a leading actor, able to shine in cinema or on stage, at ease in all genres. Guest of honor of this episode of the show Cinema par…, he has a carte blanche to tell his trade, expose his tastes in cinema and thus tell himself in a hollow.

December 28, 1895 has always been told as a revolutionary date: that of the invention of cinema. However, there was already a «cinematic eye» before the arrival of the Cinématographe des frères Lumière. He gradually awakened to give birth to the spectator we are today at the turn of the 20th century in Paris. Between the advent of the modern city, exchanges between painting, photography and animated images, the film offers to relive the birth of the modern look.

To see in full on Arte.tv, ici.