LES NUITS EN OR
The Tour 20192018
What is the Tour
It is to highlight the directors of the Nuits en Or Class that the Academy of César invites them to participate in the Tour: a stay in Europe punctuated by professional meetings and the discovery of great places of cinema and of European culture, ending in the French capital by presenting their films to the public at UGC Odeon (the Long Program in Paris).
At the end of this Tour, the Academy organizes at UNESCO, the Gala Dinner of the Nuits en Or in their honor where each and every one is accompanied by an illustrious godmother or godfather of cinema that he will have chosen.
The Guest of Honor
Xavier Legrand, director of the movie "Jusqu'à la garde", having received the César 2019 for the Best Film, is the Guest of Honor of this edition. He will meet on this occasion all the directors of the Nuits en Or 2019 Class.
Some festivals that honor the short film sometimes have the malicious pleasure of indulging in puns to titrate their events: Courts of a night, Long view of the Court, Make Short, A Fist is short ... a bit like the hairdressing salons have fun with their Mo'Tifs, Adult'Hair or Coiff '& Me.
Past the joke, the short format is much more serious and demanding than we think. The short film is generally considered as a test shot, a format that can prove itself. It is true that it allows this, but it is reductive to consider it only as a first attempt. A short story also does not have to be a summary of a longer future. A short film can not be the synthesis of a next longer film. A short film is a film in itself and the necessity of the time of its history must be at the center of the design of it. The best shorts are those who have been content with this constraint.
I wrote my first screenplay, the short Before you lose everything, with this perspective. I did not want to lock myself in the first attempt of the beginner or offer an excerpt from my future feature film Until the Guard. I simply had to build the concept of the film by tapping into the essence of its story: the escape of a woman and her two children fleeing the terror and violence of the family home. Fleeing as fast as possible meant not wasting time in the story while taking all my time to embody it. It was about taming time rather than confronting it, while challenging me to put this short story into a long-term story.
The short film is a work, and there are no small stories in the big cinema: a short story by its duration is also a great story in its Time. Let's continue to celebrate the cinema, whether short or long, as long as it is big, beautiful and good.