Chacun son cinéma - Jedem sein Kino

Amazing director / especially movie of innaitu and Polanski

CHACUN SON CINEMA- TO EACH HIS OWN CINEMA

Nowhere have I found the shorts listed in the order they play on the DVD. I am listing them here but it is most fun to watch them without looking at the list as most name the director following the 3 minutes short and it is fun to guess who directed each work. Several themes reappear such as blindness, near empty cinemas, projection problems and self reverential moments.

OPEN-AIR CINEMA- Raymond Depardon ONE FINE DAY- Takeshi Kitano THREE MINUTES- Theo Angelopoulos IN THE DARK- Andrei Konchalovsky DIARY OF A SPECTATOR – Nanni Moretti THE ELECTRIC PRINCESS HOUSE- Hou Hsiao-Hsien DARKNESS- Jean-Pierre & Luc Dardenne ANNA- Alejandro González Iñárritu MOVIE NIGHT- Zhang Yimou THE DYBBUK OF HAIFA- Amos Gitai THE LADY BUG- Jane Campion ARTAUD DOUBLE BILL –Atom Egoyan THE FOUNDARY- Aki Kaurismäki UPSURGE –Olivier Assayas 47 years later- Youssef Chahine IT'S A DREAM- Tsai Ming-Ling OCCUPATIONS- Lars Von Trier THE GIFT- Raul Ruiz THE CINEMA AROUND THE CORNER- Claude Lelouch FIRST KISS- Gus Van Sant CINEMA EROTIQUE- Roman Polanski NO TRANSLATION NEEDED- Michael Cimino AT THE SUICIDE OF THE LAST JEW IN THE WORLD IN THE LAST CINEMA IN

THE WORLD David Cronenberg I TRAVELLED 9000 KM TO GIVE IT TO YOU –Wong Kar Wai WHERE IS MY ROMEO? –Abbas Kiarostami THE LAST DATING SHOW- Billie August IRTEBAK – Elia Suleiman SOLE MEETING –Manoel De Oliveira 5.557 MILES FROM CANNES WAR IN PEACE –Wim Wenders ZHANXIOU VILLAGE- Chen Kaige HAPPY ENDING- Ken Loach

Not on the DVD are a second Walter Salles short, Joel and Ethan Coen's WORLD CINEMA and David Lynch's ABSURDA, all delivered to late to be included.

List of actors and segments: http://www.imdb.com/title/tt0973844/

TO EACH HIS OWN CINEMA is a 2007 collection of 3-minute shorts by some 36 directors around the world on the theme of what cinema means to them. So many auteurs already make films about films inasmuch as they allude to classics, but here most of the shorts are actually set in cinemas, with audiences in rows of seating. You'll need to have a decent familiarity with the art-house canon before watching this, though. It's fascinating how so many of the directors, regardless of what continent they hailed from, choose to have French New Wave films playing in the background as their stories are told.

It opens with Raymond Depardon's "Open-Air Cinema", where a crowd of Egyptians watched an outdoor projection in Alexandria, and in spite of the unusual writing and the women's veils, they seem to be just like us. Zhang Yimou later does much the same in a Chinese village.

One of the remarkable aspects of this collection are the similar ideas. Two stories deal with thieves stealing purses in dark cinemas. Three deal with the blind and how they perceive cinema. Many look back to childhood/earlier eras. Hou Hsiao-Hsien's short recreates 1950s Taiwan on an elaborate set to show the typical visit to a cinema of his youth. Amos Gitai's film juxtaposes 1930s viewers of Yiddish cinema, a vibrant tradition destroyed by the Holocaust, with a modern Israeli audience in wartime. Youssef Chahine's looks back at his first visit to Cannes 47 years before.

Some of the films deal with serious political themes: Amos Gitai on the Israeli-Arab relations, David Croneberg on anti-semitism ,and Bille August with Danish-immigrant relations. However, there are also a number of overtly funny shorts, like Takeshi Kitano's, where a working man's chance to unwind by watching a film keeps getting interrupted by problems with the projector. In Lars Van Trier's contribution, Jacques Franz plays an annoying businessman who can't stop bragging about his success, though the extreme gore and violence that follows makes for very black humour. Elia Suleiman's is Buster Keatonish physical comedy in the modern world.

Some shorts are notable for continuing an aesthetic that the director had already established in an earlier film. Kaurismäki's short is his usual style of an ostensibly contemporary setting, but with 1950s rock music and working class people who speak utterly deadpan. (Unusually, however, it uses none of his typical troupe of actors.) Abbas Kiarostami's "Where is My Romeo?" is a sort of follow-up to his experimental film SHIRIN, which showed only the faces of numerous women as they watched a classic Iranian tale of love; here these women are watching "Romeo and Juliet" instead.

All in all, this proved a continuously engaging film, whose 2-hour running time just flew by for me. Nearly all the shorts were entertaining, the sole exceptions for me being Jane Campion's oddball short, where an adult woman plays an insect that vexes a projectionist, and Gus Van Sant's film with a randy teenager entering into the film being projected. Nothing here seems a must-see classic, but if you like a few of the directors here, you're sure to enjoy this set.

I am familiar with the Studio Canal (Region 2) release of the film. There are English subtitles, but the dialogue is rarely important: you can understand entirely what is happening from the movements of the actors. Only that small handful of shorts with narration really need subtitles. It should be noted that the Studio Canal release is missing the contributions by the Coen brothers and David Lynch. I'm not sure what is missing from other international releases.

Chacun son Cinema is a collection of 33 short films, 3-minute long each, made by renowned international directors, which was released in 2007 to celebrate the 60th anniversary of the Cannes Film Festival. The shorts revolve about the emotional connection of the director with movies in general, certain movies in particular, or some movie theaters.

As you can expect from a collection of short films, there are good bits, so-so bits, and bad bits.

The movies I liked the most were eight. I loved two of the Asian ones, "Movie Night" by Yimour Zhang and "Zhanxiou Village" by Kaige Chen, which really reminded me of my childhood and my relation with movies; they are beautifully shot and have special magical moments in them. I found hilarious "Cinema Erotique" by Polanski. "Cinema around the corner" by Lelouch is very stylish, while "The Foundry" by Kaurismoki and "Dans le Noir" by Konchalovsky are great concepts an thought- provoking films. I also liked the emotion (without the corn) in "Darkness" by the Dardennes and "Anna" by Iñarritu. Some of the others are still interesting an nice, some others a complete disappointment and waste of time.

The main flaws of the movie, to me, are 1/ the length being limited to 3 minutes, the director has a time constriction that doesn't allow to do much, really, and the stories in the shorts resent it. 2/ The regional unbalance in the selection of the movie directors, very French on the other hand, with a complete shocking absence of Spanish directors! 3/ The only sub-Saharan movie is not even made by an African director... that's a sort of Colonialism... 4/ The presence of that mediocre called Moretti chosen to represent Italy.

However, it is an interesting and enjoyable collection of stories. Cinema is full of magic and has shaped our lives since childhood, and this collection of shorts tries to honor that.

It's hard to review an anthology movie like this, as it's essentially 33 short films that all go for three minutes or less, and each is done by a different director. There are some recognizable names here (like David Cronenberg, Lars Von Trier, Takashi Kitano, and Jane Campion), and then a few I didn't recognize. Some of the shorts from filmmakers I know I really liked, and some really didn't do it for me at all. I feel like the cast members are generally a little less famous, but there are still a few big names in there from the world cinema scene.

Each short film has to revolve around a cinema in some way, and even with the uneven quality, I guess it is interesting to see how many different approaches all the filmmakers have to tackling such a broad concept. Some shorts are incredibly abstract, at least one was super self-indulgent and just terrible, and others are charming in their simplicity and bluntness (I think Lars Von Trier might have had the best of the lot for this reason - it was one of the only ones that got a real reaction out of me... also, Cronenberg's was a highlight).

It's hard to recommend something like this. It's creative and interesting, but also tedious in parts, and I'd say one-third of these shorts feel pretty disposable. Like, Gus Van Saint's is so weird, and I usually like his stuff. Same for Campion - not sure what was she thinking or trying to say there?

I think it would be fun to watch and react to with a friend who's also a huge, possibly slightly pretentious film buff. It's quite fascinating, but I don't really know many people who I could watch and discuss something like this with, but thank you for reading my ramblings; it's the next best thing I guess!