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	<title>Fundación Proa - Auditorium &#187; Cristi Puiu</title>
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		<title>ProaCine. September. Three exercises of interpretation, by Cristi Puiu</title>
		<link>http://proa.org/eng/events/2014/09/1091/</link>
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		<pubDate>Sun, 14 Sep 2014 20:32:04 +0000</pubDate>
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				<category><![CDATA[Films]]></category>
		<category><![CDATA[Cristi Puiu]]></category>
		<category><![CDATA[New Romanian Cinema]]></category>
		<category><![CDATA[Three exercises of interpretation]]></category>

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		<description><![CDATA[During September, ProaCine presents Three interpretation exercises, by romanian director Cristi Puiu. Based on Three dialogues and The story of the Antichrist, books written in the late nineteenth century by the russian philosopher and theologian Vladimir Soloviev; and freely inspired in the series of films Six Moral Tales, by french director Eric Rohmer; Puiu&#8217;s film an amazing [&#8230;]]]></description>
				<content:encoded><![CDATA[<p><strong>During September, <strong>ProaCine </strong>presents<em> Three interpretation exercises</em>, by romanian director Cristi Puiu. Based on <em>Three dialogues</em> and <em>The story of the Antichrist</em>, books written in the late nineteenth century by the r<strong>ussian </strong>philosopher and theologian Vladimir Soloviev; and freely inspired in the series of films <em>Six Moral Tales</em>, by french director Eric Rohmer; Puiu&#8217;s film an amazing and hypnotic acting exercise and a deep reflection on the nature of morality and religious faith.</strong></p>
<p><strong>Author of <em>The Death of Doctor Lazarescu</em>, Cristi Puiu was invited to conduct an intensive acting workshop three weeks in France, for which decided to work on the texts of Soloviev as a way to access the aesthetics of Rohmer, &#8220;The Soloviev`s book was published in 1900, and asked them to turn him into a <strong>2011</strong> text. They could improvise as they wanted, but they could´t lose the sense of the text. When I watch movies, sometimes I have problems, because I feel that the actors are pretending. For more correctly say his texts warn that their minds are elsewhere, only through the observation of their corporeality. I do not care about the specific words that the actors, I worked with were saying, as long as the saying them were mentally emotionally and spiritually present. &#8220;</strong></p>
<p><strong><em>Three interpretation exercises</em> is part of the selection of films made ​​by the international programmer Richard Peña during <strong>ProaCine</strong> 2014.  The program of Peña seeks to study the relationship of performance as an expressive medium in contemporary cinema through a set of films centered primarily on the human figure.</strong></p>
<p><span style="color: #ff6600;"><strong>FUNCTIONS</strong></span><br />
<span style="color: #ff6600;"><strong>SUNDAY 7, 14 and 21 SEPTEMBER &#8211; </strong><strong>AT 18 pm.</strong></span></p>
<p><span style="color: #ff6600;"><strong>ADMISSIONS </strong></span><br />
<span style="color: #ff6600;"><strong>auditorio@proa.org</strong></span></p>
<p><strong><a href="http://proa.org/online/pdf_1418_esp.pdf" target="_blank"><img alt="Press Kit" src="http://www.proa.org/esp/events/wp-content/uploads/2014/05/pdf1.gif" width="32" height="31" /><br />
</a></strong><a href="http://proa.org/online/pdf_1418_esp.pdf" target="_blank">Press Kit</a></p>
<p><a href="http://www.proa.org/esp/events/wp-content/uploads/2014/09/Tres-ejercicios-567.jpg"><img alt="Tres-ejercicios-567" src="http://www.proa.org/esp/events/wp-content/uploads/2014/09/Tres-ejercicios-567.jpg" width="567" height="319" /></a></p>
<p><strong>FICHA TÉCNICA<br />
</strong><em>Three Interpretation Exercises</em> / <em>Tres ejercicios de interpretación<br />
</em>Director: Cristi Puiu<br />
País: Francia, Rumania/ Año 2013<br />
Duración: 157 min<br />
Formato: Digital<br />
Producción: Nathalie Rizzardo, Anca Puiu<br />
Productora: Chantier Normandes, Mandragora production<br />
Cámara: Luchian Ciobanu, Edición: Dragos Apertri; Sonido: Jean-Paul Bernard;<br />
Director de obra: Stephanie Hubert<br />
Actores: Ludovine Anberree, Marion Bottolier, Ugo Broussot, Anne-Marie Charles, Anne Courpron, Perrine Guffroy, Hillary Keegin, Nathalie Meunier, Barnabe Perrotey, Jean-Benoit Poirier, Diana Sakalauskaite, Patrick Vaillant.</p>
<p><a href="http://www.proa.org/esp/events/wp-content/uploads/2014/09/PC14_04_Still10-567-auditorio.jpg"><img alt="PC14_04_Still10-567-auditorio" src="http://www.proa.org/esp/events/wp-content/uploads/2014/09/PC14_04_Still10-567-auditorio.jpg" width="567" height="319" /></a></p>
<p><strong>SINOPSIS<br />
</strong></p>
<p>Cinema and philosophy –this thesis is not mine– create concepts. A concept gives some order to experience, and filmic shots allow seeing experience in a different way. In <i>Three Interpretations</i>, Puiu adapts the books <i>Three Conversations</i>, and <i>A Short Tale of the Antichrist</i>, by Vladimir Soloviov, which were written in the early 20th century. Everything began with an interpretation workshop given by the Rumanian director in Chantiers Nomades, Toulouse. This extraordinary film elliptically dedicated to Eric Rohmer began there, as actors were invited to use this philosopher’s ideas and to establish a dialogue with them in various places and situations; here¸ concepts are present over the filmic staging and, actually, they are the true main characters.</p>
<p>Divided in three different chapters (“The Mouse Is under the Table,” “The Cat Is on the Chair,” and “The Cat Is on the Bough”), in each of them four characters argue about love, death, the presence or absence of a deterministic character over our actions, freedom, the Antichrist, political pacifism, and Weerasethakul’s <i>Syndromes and a Century</i>. A not often quoted Biblical passage appears in the three episodes and, beyond the exegesis proposed in each occasion, this repetition suggests the way in which concepts live in people and have an influence over their points of view.</p>
<p><a href="http://www.ficunam.unam.mx/en/index.php/programacion/pelicula-2014/trois-exercices-dinterpretation">http://www.ficunam.unam.mx/en/index.php/programacion/pelicula-2014/trois-exercices-dinterpretation</a></p>
<p><a href="http://www.proa.org/esp/events/wp-content/uploads/2014/09/PC14_04_Still01-567-auditorio.jpg"><img alt="PC14_04_Still01-567-auditorio" src="http://www.proa.org/esp/events/wp-content/uploads/2014/09/PC14_04_Still01-567-auditorio.jpg" width="567" height="346" /></a></p>
<p>Three films based on Three Conversations by Russian writer and philosopher Vladimir Solovyov.The actors&#8217; &#8216;exercises&#8217; develop into a minimalistic trilogy on cinema and literature, social and spiritual life, acting in film and in real life.</p>
<p>This trilogy (consisting of the films <b>The Cat is On the Chair, The Mouse is Under the Table </b>and <b>The Monkey is On the Branch</b>) is<b> </b>the result of a workshop at the French artists’ studio Chantiers Nomades. Puiu was inspired by <i>Three Conversations</i>, the masterpiece by 19th-century Russian philosopher Vladimir Solovyov. The treatise, subtitled &#8216;About War, Morality and Religion&#8217;, is embedded in refined character studies. In his subdued cinematography, Puiu always puts the acting first.<br />
In <b>The Cat</b>&#8230; Anne-Marie and her daughter Ludivine receive their old friends Diana and Bernabé for lunch. In <b>The Mouse</b>…<b> </b>the academic Ugo takes his childhood friend Jean-Benoit, a soldier, out to lunch with Patrick and his wife Marion. In <b>The Monkey</b>&#8230;<b> </b>we see the girlfriends Hillary, Perrine, Anne and Nathalie talk as they have lunch. All discuss life, friendship, war and faith. In the evening, all the groups meet in a light-footed scene in which they hold a séance.</p>
<p><a href="http://www.filmfestivalrotterdam.com/en/films/trois-exercises-d-interpretation/">http://www.filmfestivalrotterdam.com/en/films/trois-exercises-d-interpretation/</a></p>
<div><strong><a href="http://www.proa.org/esp/events/wp-content/uploads/2014/09/PC14_04_Still11-567-auditorio.jpg"><img alt="PC14_04_Still11-567-auditorio" src="http://www.proa.org/esp/events/wp-content/uploads/2014/09/PC14_04_Still11-567-auditorio.jpg" width="567" height="319" /></a></strong></div>
<div><strong><br />
DIJO LA PRENSA<br />
</strong>Puiu’s potentially dry experiment proves by turns sobering, ironic, absurd and cathartic, the repeated text registering differently every time thanks to niceties of staging, camera placement and a guiding visual aesthetic that loosely evokes the cinema of Eric Rohmer (Puiu has even confessed to thinking of “Interpretation” as his “Moral Tales”).  The first segment’s sedentary setup exposes the fragile nature of academic complacency, its lengthy static group shots artfully transforming into emotionally charged closeups.  The one-room location of the second segment, however, lends the characters space to wander as Luchian Ciobanu’s lensing expresses the same vague restlessness that affects the characters. The film’s extraordinarily nuanced mise-en-scene concludes with the third installment’s two-tiered space and interconnected rooms, where players navigate freely and purposefully.<br />
<strong>Revista Variety</strong>,  por Ronnie Scheib<br />
<a href="http://variety.com/2013/film/reviews/film-review-three-exercises-of-interpretation-1200991802/" target="_blank">http://variety.com/2013/film/reviews/film-review-three-exercises-of-interpretation-1200991802/</a><br />
<span style="line-height: 1.5em;"> </span></div>
<div>
<p>The amazingly flexible camera and sound work are of course essential to create the illusion that the viewer is eavesdropping on actual, authentic conversations, but above and beyond everything else, there is this team of unknown performers who, in what sounds like a condensed Mike Leigh pre-shoot session, had just three weeks to work out with Puiu the script in all its details and to perform it on camera (each of the episodes took three days to shoot). And yet, they rarely put a foot wrong, if at all.<br />
<strong>Screen Daily</strong>, por Dan Fainaru<br />
<a href="http://www.screendaily.com/reviews/the-latest/three-exercises-of-interpretation/5057216.article" target="_blank">http://www.screendaily.com/reviews/the-latest/three-exercises-of-interpretation/5057216.article</a></p>
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		<title>ProaCine 2014</title>
		<link>http://proa.org/eng/events/2014/09/proacine-2014/</link>
		<comments>http://proa.org/eng/events/2014/09/proacine-2014/#comments</comments>
		<pubDate>Fri, 12 Sep 2014 21:32:38 +0000</pubDate>
		<dc:creator><![CDATA[admin]]></dc:creator>
				<category><![CDATA[Films]]></category>
		<category><![CDATA[Abbas Kiarostami]]></category>
		<category><![CDATA[Alexei Fedorchenko]]></category>
		<category><![CDATA[Ben Rivers]]></category>
		<category><![CDATA[Ben Russell]]></category>
		<category><![CDATA[Cristi Puiu]]></category>
		<category><![CDATA[ProaCine]]></category>
		<category><![CDATA[Richard Peña]]></category>
		<category><![CDATA[Shirin]]></category>

		<guid isPermaLink="false">http://proa.org/eng/events/?p=1099</guid>
		<description><![CDATA[The films chosen by Richard Peña, program director of the Lincoln Center Theater since 1988, New York Film Festival programmer and cycle prestigious New Directors / New Films. Being one of the greatest popularizers of independent film in the United States, was invited by Proa to select films that are part of the 2014 schedule. [&#8230;]]]></description>
				<content:encoded><![CDATA[<p><strong>The films chosen by Richard Peña, program director of the Lincoln Center Theater since 1988, New York Film Festival programmer and cycle prestigious New Directors / New Films. Being one of the greatest popularizers of independent film in the United States, was invited by Proa to select films that are part of the 2014 schedule.</strong></p>
<p><strong>AUGUST</strong><br />
<strong><em>Shirin</em> (2008), Abbas Kiarostami </strong><br />
<strong>Features: Sundays 17, 24 and 31<br />
</strong><a style="line-height: 1.5em;" href="http://www.proa.org/esp/events/wp-content/uploads/2014/07/shirin_568.jpg"><img alt="shirin_568" src="http://www.proa.org/esp/events/wp-content/uploads/2014/07/shirin_568.jpg" width="568" height="379" /></a></p>
<p><strong>SEPTEMBER</strong><br />
<strong><em>Three exercises of interpretation</em> (2013), Cristi Puiu </strong><br />
<strong>Features: Sundays 7, 14, 21 and 28<br />
</strong><b style="line-height: 1.5em;"><a href="http://www.proa.org/esp/events/wp-content/uploads/2014/07/tres_ejercicios_567.jpg"><img alt="tres_ejercicios_567" src="http://www.proa.org/esp/events/wp-content/uploads/2014/07/tres_ejercicios_567.jpg" width="567" height="346" /></a></b></p>
<p><strong>OCTOBER</strong><br />
<strong>First on Moon (2005), Alexei Fedorchenko </strong><br />
<strong>Features: Sundays 5, 12, 19 and 26<br />
</strong><a style="line-height: 1.5em;" href="http://www.proa.org/esp/events/wp-content/uploads/2014/07/primeros_luna_567.jpg"><img alt="primeros_luna_567" src="http://www.proa.org/esp/events/wp-content/uploads/2014/07/primeros_luna_567.jpg" width="567" height="354" /></a></p>
<p><strong>NOVEMBER<br />
</strong><strong>A Spell to Ward off The Darkness (2013), Ben Rivers and Ben Russell<br />
</strong><strong>Features: Sundays 2, 9, 16 and 23<br />
</strong><a style="line-height: 1.5em;" href="http://www.proa.org/esp/events/wp-content/uploads/2014/07/un_hechizo_568.jpg"><img alt="un_hechizo_568" src="http://www.proa.org/esp/events/wp-content/uploads/2014/07/un_hechizo_568.jpg" width="568" height="355" /></a></p>
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