News / Activities Imprimer
Activities - 03/05/2011
DIE FREMDE in 27 European countries and 23 languages
For the Festival of Europe, the European Parliament has placed the winner of the 2010 LUX Prize, Die Fremde (When We Leave, which was awarded Europa Cinemas Label at the Panorama at the 2010 Berlin International Film Festival), at the heart of a vast operation being carried out throughout the European Union. For Europa Cinemas this is a second partnership with the European Parliament after the invitation issued during Giornate degli Autori/Venice Days to 27 young European filmmakers (27 Times Cinema). Bertrand Peltier, administrator responsible for the LUX Prize, explains.
What does this 'Day of European Films’, based on the film by Feo Aladag, consist of?
The event does not actually take place over one single day. It involves the screening of the same film, Die Fremde, subtitled in the 23 European languages, across the EU's 27 Member States, around the same period of time: when the Festival of Europe takes place, on 9 May. This event is a response to Parliament’s wish, like that of the Venice jury, to create a European public space. In fact, the three conditions for this space are met in both cases: unity of action, place and time.
How does this event fit in with the development of European Parliament activities relating to the LUX Prize?
The LUX Prize must be brought into the public domain. The film lends itself to this very well, although this development is not specifically linked to this film. For the time being we have been working in two areas: European politicians and professionals. This is what I would call the B2B, Business to Business, phase. From now on, in a change I felt necessary after Cannes 2010, we must address the public at the same time. With these screenings we are also working towards a festival related to the LUX Prize, which we would like to organise throughout the European Union, based on the films selected for the prize.
Specifically, how are these screenings being organised?
Three organisations are working with us: Europa Cinemas, cooperating with the film theatres which will screen the films, local offices of the European Parliament, which are working with film theatres to make an event of these screenings, and the Goethe-Institute which has purchased the rights to screen the film within an institutional setting. Most of the film theatres belong to the Europa Cinemas Network. But we are also involved in the schedule of operations already in place. Thus in Brussels the screening is to take place in a UGC complex. In Paris, it is to be screened at the Town Hall and Forum des Images. As the film is mainly in German it is, notably, being screened in a version for people with little or no sight in Berlin and for the deaf and hard of hearing in Vienna. Discussions will take place around the film, in which some politicians will participate.
Are you happy with it?
Certainly! But there is one reservation: filmgoers will not be able to look at each other. At best, they will be aware that they are watching the film at the same time. With our planned festival, we want to go further and put in place forums for discussions on the films.
What is the role of digital projection?
We wanted to take maximum advantage of the potential of digital technology but this is not yet the case. In the future we would like to focus on a mixture of supports: combining digital and analogue technology, the Internet, traditional film theatres, cultural sites… At the end of the event we shall combine the 23 subtitled versions of the film on one single DCP. I believe that we are the only ones to wish to screen a single film in the 23 languages of the EU.