Marguerite Yourcenar a traversé le siècle. Romancière, essayiste, dialoguiste, traductrice, grande écrivaine consacrée de son vivant par la publication de ses œuvres dans la Pléiade, elle fut la première femme à entrer à l'Académie Française. Le documentaire s'attache à la fois à l'œuvre de l'auteure et à la ligne de vie suivie par celle-ci et notamment les longues années partagées avec Grace Frick.

Marguerite Yourcenar went through the century. A novelist, essayist, dialogue writer, translator, a great writer who was consecrated during her lifetime by the publication of her works in the Pleiade. She has been the first woman to enter the French Academy. The documentary focuses on both the work of the author and the life course followed by the author, and in particular the long years shared with Grace Frick.

Dominique Gros est réalisatrice pour la télévision depuis 1983. Auteure de documentaires de création. Elle obtient pour son premier film « Simone et Jacqueline, une résolution », le prix de création de la Télévision SCAM-SGDL. Boursière de la Villa Médicis Hors les Murs en 1985. Elle fait l’adaptation et la mise en scène de la pièce de Marguerite Yourcenar « Le Dialogue dans le marécage » en 1991 avec dans les rôles principaux : André Wilms, Hélène Lapiower, Denis léger-Millau.

Born in France in 1951, Dominique Gros lives her childhood and adolescence between France and Germany: classical studies, choir and theater conservatory. By 1983, Dominique Gros works for French television as a filmmaker. She is the author/director of over thirty documentary films for French television and Arte. For her first film "Simone and Jacqueline, a resolution", she is awarded the Television Creation SCAM-SGDL prize. She adapts, with Nathalie Léger, Marguerite Yourcenar's play "Dialogue in the swamp" and directs it for a theatrical fiction for Arte with the following actors: André Wilms, Hélène Lapiower, Denis léger-Millau in 1991.

Le titre est une allusion au Pillow Book de Sei Shonagon qui, au 10e siècle occupait la charge de dame de compagnie de l'Impératrice du Japon. Tout comme le livre, le film est une suite de notes personnelles sur des thèmes variés : les jardins japonais, les sorties en groupes, les enfants, les scènes de rue.

In 10th. Century Japan, Sei Shonagon, lady-in-waiting to the Empress, wrote of the goings-on at the Japanese court. Fearing vengeance, she hid these secret notes in her pillow. UTA MAKURA is also a collection of humorous observations on modern-day Japan ranging from waterfalls to shopping malls, from kids in kimonos to fresh makimonos, from ancient wisteria to teenage hysteria, from homemade noodles to live painted poodles.

 Voir un extrait du film / Watch an Excerpt

Née à New York, après des études secondaires en psychologie ainsi qu'en cinéma au Brésil et à Paris, elle commence son activité au sein de Ciné-Femmes, organisme de diffusion luttant pour le féminisme et sa visibilité. Elle devient elle-même cinéaste en 1980 et participe à l’organisation de festivals.

Born in New York (USA), she attended high-school in Rio de Janeiro before studying psychology and cinema at the Sorbonne University in Paris. Her activities began with her involvement in Ciné-Femmes, a diffusion organisation striving for feminism and its visibility. She becomes a filmmaker herself in 1980 and relinquishes her militancy. She takes part in the organization of festivals, notably in Jerusalem. Her fims explore the theme of transit, and can be situated according to Yann Beauvais between "film journal" and "film collage".

Des étoiles tombent : suivant une vieille croyance, les massifs gélatineux de Nostoc seraient un écoulement visqueux d'étoiles. Certains alchimistes les ont aussi considérés comme un type de météore, un sperme astral qui peut être vu lorsque, l'été, les nuits claires déferlent sur la terre virginale. (Dictionnaire de magie)

In "Vom Sterneschneutzen", I wanted to make a list of frequently-used visual moods and make the audience aware of them through disruptions, exaggerations, grotesque combinations and clear referencing of physicality. The audience should also only encounter these moods briefly and be referred to their own presence rather than being hijacked into the spaces created by the moods. Vom Sterneschneutzen begins in darkness with birdsong. Then follows bubbling and exuberant growth. Then a poem of the grandeur of the cinematic image. Then a transparent elf, who initially appears impalpable. Then a monologue describing the fascination for dead things. Then the tale of Eros shooting an arrow into his own behind, accompanied by hypnotic computer graphics. And then finally the thinker amongst the stars. And, following the titles, a shining person having difficulty swallowing – perhaps the meal was a bit too rich.

Karola Schlegelmilch a étudié la photographie à la HDK de Berlin et le cinéma expérimental à la Haute École d'arts plastiques de Braunschweig (HBK). Elle travaille ensuite dans les domaines du cinéma expérimental, de la photographie et des installations artistiques.

After studying Visual Arts and Visual Communication at the University of the Arts, Berlin and completing a Meisterschülerjahr (master class year) in experimental film at the Braunschweig University of Art (HBK), Karola Schlegelmilch worked in the areas of experimental film, photography and art installations. Her artistic projects includes for instance the means of perception of landscape, subtle manifestations of longing relating to life and fate in images, and vernacular West African architecture.

Comment fantasmer sur votre voisine dans la file d'attente du supermarché...

When a young woman spots a drop-dead gorgeous babe in line at the supermarket, she fantasizes wildly about meeting the woman and, well, you'll see.

C'est le deuxième court métrage de Barbara Rose Michels.

"Watching Her Sleep" is the second short fiction directed by Barbara Rose Michels.

Ce film parle d'une relation amoureuse et passionnelle qui se transforme presque imperceptiblement en obsession et folie.

A story about a young woman in Jerusalem descending into mental illness.

Cinéaste, artiste visuelle et graphiste, Cynthia Madansky réalise ici son premier film en solo. Elle a déjà collaboré avec Alisa Lebow sur le tournage de Internal Combustion, également présenté cette année.

Cynthia Madansky (co-producer, director, writer) is a filmmaker, visual artist, and graphic designer. She recently completed a conceptual art installation entitled "On the Jewish Question." In 1995, she also made two short films: "Internal Combustion," in collaboration with Alisa Lebow, and "We At Her," shown at the Jerusalem Cinematheque. Madansky is a graduate of the Whitney Independent Study Program and completed her MFA at Rutgers University.

Camille et Martin enseignent dans une université calviniste. Leur prochain mariage les destine tous deux à une brillante carrière académique, ce dont se réjouit à l'avance le révérend De Boer (le chapelain en chef) qui ne manque pas de rappeler aux deux promis , le jour du check up spirituel et moral, "qu'il n'existe pas au monde de livre saint qui ne réprouve l'homosexualité". Seulement voilà, Camille rencontre et désire Petra, artiste dans un cirque d'avant-garde...

Camille, a professor at a Protestant college, is engaged to Martin, a sympathetic minister and fellow professor. As "career Christians", they are urged to get married and to become co-chaplains of the New College of Faith. But Camille is vaguely unhappy with Martin and her life, and when her beloved dog dies suddenly, she begins to lose her grip. On the same day, in a laundromat, Camille meets Petra, a flamboyant circus performer, and is inexplicably attracted to her. Petra flirts brazenly with Camille. She draws her into the seductive world of the "modern primitive" circus. The two become friends, then more. For the first time in her proper and very intellectual life, Camille's desire comes rushing forward. She is shocked to find that she is infatuated with Petra. Soon, she believes that she is in love. But all is not well with the circus. Hounded by creditors, the circus must leave town, threatening to tear the new lovers apart. Meanwhile, part of Camille is still deeply attached to Martin, as he is to her. Terrified at the prospect of radical change, Camille is compelled to make a choice between the woman she wants and a man that she has loved. For Camille, the true duty of the soul is desire.

 Voir la bande-annonce / Watch the Trailer

Les films de Patricia Rozema, bien que variés dans le style et le contenu, ont toujours été marqués par une sensibilité humaine et tendre. Née à Kingston, en Ontario, et élevée dans la petite ville de Sarnia, dans une famille d'immigrants calvinistes néerlandais où la télévision était sévèrement restreinte, Patricia Rozema n'est pas allée au cinéma avant l'âge de 16 ans. Elle a ensuite étudié la philosophie au Calvin College et au Séminaire du Michigan. Après un bref passage dans le journalisme, son premier long métrage intitulé Le chant des sirènes, un film réaliste magique a fait l'un des débuts les plus marquants de l'histoire du cinéma canadien. En 1995, elle écrit et réalise une histoire d'amour lesbienne, When Night is Falling, qui a remporté de nombreux prix à travers le monde et reste un film culte.

Patricia Rozema's films, though varied in style and content, have always been marked by a humane and tender sensibility. Her work invariably shows social prescience and deep humanity. Born in Kingston, ON and raised in the small town of Sarnia, ON in a Dutch Calvinist immigrant family where television was severely restricted, Rozema didn't go to a movie theatre until she was 16 years old. Rozema then studied philosophy at Calvin College and Seminary in Michigan (Paul Shrader's alma mater). After a brief stint in journalism, her first feature, "I've Heard the Mermaids Singing," a magical realist film about a socially inept secretary in an art gallery made one of the most outstanding feature debuts in the history of Canadian cinema. In 1995, she wrote and directed a lesbian love story, "When Night is Falling," which won festival audience prizes around the world and remains a classic in the gay community.

Une remarquable histoire d'amitié entre Florence, lesbienne, qui a vécu une relation de 25 ans avec son amante et Shirley, mariée au frère de Florence. Entre elles deux, 55 ans de complicité, de musique et ... d'amour ?

A romance? Yes and no. A friendship? Not exactly. Meet Shirley and Florence, whose lifelong attachment to one another defies categorization. When Shirley Met Florence offers an intimate portrait of two women in their mid-sixties--one lesbian, the other heterosexual--whose love for one another and the music they create together, transcends differences.

Ronit Bezalel réalise et dirige des films depuis 1990. Ses films couvrent un large éventail de sujets, allant du démantèlement du logement public au football féminin professionnel. Ses documentaires ont été diffusés à l'international, projetés dans des festivals et utilisés comme outils d'enseignement dans des établissements du monde entier. Ronit Bezalel, a commencé sa carrière à l'Office national du film du Canada, où elle a créé le documentaire, When Shirley Met Florence (1994).

Ronit Bezalel has been producing and directing films since 1990. Her films cover a wide range of topics, from the dismantling of Public Housing to Professional Women's Tackle Football (co-directed with Laurie Little and Sree Nallamothu). Her documentaries have been broadcast internationally, played in festivals, and used as a teaching tool in educational institutions worldwide. Ronit Bezalel, began her career at the National Film Board of Canada, where she created the documentary, "When Shirley Met Florence" (1994).

Without Saying Goodbye réécrit l'histoire d'une relation-passion qui vient de se rompre. La narratrice s'adresse de nouveau à celle avec qui elle pensait vieillir. Elle laisse venir l'ambivalence, la haine, la colère, l'obsession et un autre genre de lien. A la fin, elle n'a plus rien à dire à celle qui était aussi celle - l'amie - à qui l'on dit tout. La voix off dramatise un texte très littéraire : Tanya Miller vient du théâtre et elle a indéniablement le sens de la mise en scène. La remarque vaut aussi pour les images : pas une image placée en contrepoint qui ne tombe juste.

"Without Saying Goodbye" rewrites the story of a relationship-passion that has just broken. The narrator again addresses the woman with whom she thought growing old. She leaves ambivalence, hatred, anger, obsession and another kind of bond coming. In the end, she has nothing more to say to the one who was also the one - the friend - to whom one says everything. The voice-over dramatizes a very literary text: Tanya Miller comes from the theater and she undeniably has the sense of staging. The remark applies also to the images: not a picture placed in counterpoint that does not fall right.

Without Saying Goodbye est le deuxième film de Tanya Miller.

"Without Saying Goodbye" is the second short film directed by Tanya Miller.