Film and Videos programme

Night Tales

Cinéma des Beaux-Arts

Horaire : April 30th 2016 - 00:00 – 06:00

Photo credit : © Michelangelo Antonioni

A marathon of artists’ films and video will be screening all night at the Cinema des Beaux-Arts in the Théâtre Princesse Grace. The programme, curated by Leonardi Bigazzi, features several artists’ films and video that look at the night as a territory of freedom, secrets, transgression, dream and discovery. Or in some cases also fear and violence.



Night Tales part 1 (running time 78’) – Two screenings at 00:00 and 03:00

Nicolas Provost, Stardust, 2010, 20’

Filming in Las Vegas with a hidden camera, Nicolas Provost captures unstaged situations that he then uses to create a fictional narrative. Among his ‘actors’ are not only gamblers and other visitors of the Sin City but also real Hollywood stars like Jon Voight, Danny Trejo, Dennis Hopper and Jack Nicholson. All of them unwittingly become part of this exciting thriller that redefines the limits between fiction and documentary. In 2011 the film won the Tiger Award for shortfilm at the Rotterdam Film Festival.

Laure Prouvost, The Wanderer (Betty Drunk), 2011, 14’

The Wanderer (Betty Drunk) is one of the six episodes of the artist’s feature-length film project The Wanderer.  In this sequence we follow Betty, a young girl clearly in a state of intoxication, while she moves from one bar to another delivering a confused monologue directed both to other characters that she encounters and to the audience through the screen. The editing and the camera movements emphasise a sense of disorientation and anxiety in the viewer inducing a physical relationship to the film.

Signe Pierce and Alli Coates, American Reflexxx, 2014, 14’

Performance artist Signe Pierce is filmed while walking down a busy oceanside street in Myrtle Beach, South Carolina, wearing a short dress and a reflective mask. Director Alli Coates and Pierce agreed not to communicate until the experiment was completed but they would have never expected the reaction that this provoked. American Reflexxx tragically highlights the level of violence, both verbal and physical, that the American society has reached nowadays.

Loretta Fahrenholz, Ditch Plains, 2013, 30’

Shot in New York in the aftermath of Hurricane Sandy, Ditch Plains follows a group of dancers of the Ringmasters Crew in a sort of an End of Days street party. The zombie-like protagonists move frenetically through collapsed houses and streets full of bodies and debris. A post-apocalyptic urban landscape that is both real and surreal at the same time. The film is distributed by Arsenal – Institut für Film und Videokunst.


Night Tales part 2 (running time 64’) – Two screenings at 01:30 and 04:30

Neïl Beloufa, Kempinski, 2007, 13’ 58’’

Filmed in several towns in Mali, Kempinski is a portrait of a group of locals sharing their dreams and visions of the future by using only the present tense. The artist stages his tableaus vivant with figures emerging from the dark night illuminated only by fluorescent lights. In their night tales we loose the boundaries between imagination and reality and we inevitably start questioning our Western expectations on Africa.

Hicham Berrada, Natural Process Activation #3 Bloom, 2012, 5’ 35’’

Hicham Berrada research is focused on the activation of natural processes and of chemical reactions. The film follows the action of the artist breaking in the Parc Floral de Vincennes at night with a friend, to force a field of dandelions to open using an intense light. Accelerating the life cycle of these flowers becomes an extremely poetic gesture that highlights both the fragility and the beauty of life. Produced by Le Fresnoy ­ Studio national des arts contemporains.

Alvaro Urbano, The Ghost & the Host, 2014, 8’29’’

The Ghost & The Host was made while Urbano was in residency at the Villa Romana in Florence, the oldest German Art Prize in the world. Digging in the garden of the Villa the artist rediscovers traces of old sculptures and other relics of the past. But it’s under the moonlight, at night, that this mysterious world suddenly comes to life and all certainties of the day should be abandoned. The music score of the film is by the American artist Sergei Tcherepnin.

Arash Nassiri, Tehran-geles, 2014, 18’ 9’’

Projecting the past of a Middle East country into a Western present Tehran­geles is a fictional vision of Tehran, set within the urban landscape of Los Angeles. Through an aerial journey, we discover an architectural transposition of the two cities. While flying over the LA boulevards, personal migrant testimonies echo the collective story of the Iranian capital. Downtown, the buildings are saturated with neon signs pulsating with voices that take us on a hallucinatory trip. Produced by Le Fresnoy ­ Studio national des arts contemporains.

Anna Franceschini, THE PLAYER MAY NOT CHANGE HIS POSITION, 2009, 17’

Researching on the cinematic qualities of everyday objects in different contexts, Anna Franceschini’s film is an observation of the hypnotic and repetitive movements of the amusement games and rides at a Fun Fair. The title of the work and the absence of human figures suggest that the spectator is the protagonist of this show. Using the artist’s words: “Black, white, extra white, ultra black, color – color -color, flash, blur, fade out. End. This might be the best synopsis of the film, perhaps.” But in reality, it is not that simple. Produced with the support of the Rijksakademie van Beeldende Kunsten, Amsterdam.




Michelangelo Antonioni, La Notte, 1961, 123’ – Two screening at 00:00 and 02:30

Recently restored version in original sound with French subtitles

One of the greatest masterpieces of Italian cinema, La Notte, follows the events that occur to a married couple in the course of one day and night. Giovanni (Marcello Mastroianni), a successful writer, and his wife Lidia (Jeanne Moreau) are facing the tragedy of a friend who is gravely ill. Almost alienated from one another they try to find distraction at various events ending the evening at the house party of a rich Milanese industrialist. The sense of emptiness and isolation mounts as the couple struggles to communicate between themselves and the others. The film reflects the doubts, questions and preoccupations of a generation that was living the prosperity of the Italian economic miracle and at the same time was facing the contradictions of Modernity.