In the village of Pluner-Trez in the north of Finistère, we advocate a certain idea of cinema. In this seventh art, where the author is raised to the top – or killed – Le Groupe Ouest, the laboratory of European cinema carries a collective ambition. As part of the annual selection, this structure helps eight projects grow. The principle is simple. “The authors work with midwives,” explains Antoine Le Bos, founder and co-director of the institution. In previous promotions, we count Lukas Dont, a golden camera for Guyrl, Huda Benyamine, co-winner with divineLayla Bouzid, who designed story of love and desire her beautiful feature film released in September, or Chloe Mazlo signing under the sky Alie, presented at Cannes Critics’ Week. For four full-week sessions, the winners come to work on their script with the support of a pair of midwives “to avoid the figure of the master and to always have the logic of dialogue.” Around veteran Quebecer Marcel Beaulieu, whose sixty scripts have been brought to the screen, other filmmakers take turns helping residents. In the first screening Bulgarian and French-speaking director Ralitsa Petrova leopard in Locarno with godless, he himself is the star of the place that accompanies them. Another formerly on the program, Argentinean Pablo Aguero, director of the witches of Akelar, takes care of the second session. Third, director Delphine Gleizes, whose latest documentary handsome player invites himself into the daily life of a Top 14 rugby team, jumps into action.
We find in the list of winners some of the authors who crossed paths at festivals. Rashid Jaidani revealed catchphrasefavorite of the “Directors’ Biweekly” 2012, working on madness, around a female security guard dreaming of a movie. Eli Grappe, whose feature film Olgadepicting a Ukrainian gymnast forced to leave her country, tragically resonates with the current war, fights writer Victor Jestin to beautiful island, a costume film set in the 1930s: “It was a politically charged moment after the Crisis of 29, with traces of World War I and Hitler in power in Germany. It seems to me that I can repeat today’s questions, ”the director continues. Lebanese filmmaker Dana Bdeir, who won an award at the Sundance Film Festival for her short film Varsha, a strange elegy about a giant crane, is developing Pigeon War, the sisterly relationship is tormented around a passion for birds. Another director, Josa Anjembe, a former journalist with a documentary background, is working on it hurts me toowhere a homosexual couple is crossed by racism. She sees the Western group as a great opportunity. “I’m quite convinced of what I stand for, but working with the team allows you to identify gray areas or areas of misunderstanding in the script and reinforce weak points that deserve to be strengthened.” Azedine Kazri, along with two co-screenwriters Margot Dieudonné and Simon Serna, question modern Algeria in To bleed or not to bleed. Finally Elisabeth Vogler confronts in deer, thirty year old in the loneliness of the countryside. Animated by Caroline Cherrier. the last of the stones, a family history of Breton fishermen. As for Cyril Hopelen, he polishes Nugget which depicts a red ant.
Formed sixteen years ago, the western band is pursuing a kind of utopia. “The idea was to create a kind of collaborative paradise in logic, to create an ecosystem that best promotes ideas and stories for writers,” explains its founder. But the project goes beyond cinema. “What we are doing here is a metaphor for a more global social need, the need for cooperation and mutual assistance. We must put an end to the dominance of the ego at all costs. This project, based on mutual assistance and cooperation, seems to us both beautiful and necessary, and extremely productive.” Eli Grappe says nothing more. He joined a Western group to “break the hegemony of the director who knows his subject best. There is nothing better than the chorus of this workshop to question the film with people who have different experiences, points of view and ways of doing things.” Antoine Le Bos agrees. “Authors come in search of enthusiasm and imitation. The screenwriter is essentially a craftsman who needs to be fueled by collaboration. It is culturally necessary to destroy the myth of the author-demiurge, capable of everything, alone. It doesn’t work for 99.9% of filmmakers. Our own inconsistencies are hard to spot We are always blind to our own blind alleys in writing while we are the Einstein for the neighbor project. Then, using an athletic metaphor to support his point. “We increase the stride in size and strength by working together.”