Marin Karmitz<\/h2><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2024\/wp-content\/uploads\/2024\/10\/LFDC-Marin-Karmitz-1-1.jpg\" "\\"LFDC")
<\/span><\/div><\/div><\/div><\/span>\u201cHe was lucky enough to know Rossellini, Beckett, Kieslowski, Duras, Kiarostami and Godard. What did he do with all this luck? Movies.\u201d St\u00e9phane Paoli<\/h4><\/span><\/div><\/div><\/div>Marin Karmitz was born on October 7, 1938.<\/span><\/p>\nAfter graduating from IDHEC (Institut des hautes \u00e9tudes cin\u00e9matographiques) as a cinematographer, he started out as assistant director to filmmakers Jean-Luc Godard, Agn\u00e8s Varda, Jacques Rozier, Yannick Bellon and Pierre Kast. In 1963, he directed the documentary Les Idoles, then in 1964 his first short fiction film, Nuit noire Calcutta, based on a screenplay by Marguerite Duras. In 1965, he worked with Samuel Beckett on the adaptation of Com\u00e9die. The film was selected to open the Venice Film Festival that same year, and caused a scandal for its avant-garde form. 40 years later, the film won a prize at the Venice Art Biennale and is now shown in museums around the world. Marin Karmitz’s first feature film, in 1967, was Sept jours ailleurs, with Jacques Higelin, also selected for the Mostra. After May ’68, he made two films: Camarades (1970) and Coup pour coup (1972), which toured international festivals.<\/span><\/p>\nIn 1974, Marin Karmitz added a distribution structure to his own mk2 Productions, created in 1967. In 40 years, Marin Karmitz produced 108 films and distributed more than 350 theatrically: the Krzysztof Kieslowski trilogy, twelve films by Claude Chabrol, Godard, Resnais, Malle, the Taviani brothers, Angelopoulos, Pintili\u00e9, Van Sant, Nossiter, Kerrigan, Loach, Doillon, Lounguine, Kiarostami, Sang Soo, Haneke, Salles, Dolan…<\/span><\/p>\nThese productions have won over 150 awards and nominations at international festivals, including three Palmes d’Or at Cannes, three Lions d’Or at Venice, a Bear d’Or at Berlin, three Oscar nominations, and twenty-five C\u00e9sars…<\/span><\/p>\nSince May 1, 1974, Marin Karmitz has also been active as a cinema exhibitor, reflecting on the role of the cinema in the city. mk2 is now the third-largest circuit in Paris, with 11 complexes and 65 screens, and 6 custom-built theatres, and the third-largest exhibitor in Spain, with 10 cinemas and 128 screens. mk2 has just established a presence in Canada.<\/span><\/p>\nNumerous official events have paid tribute to Marin Karmitz’s work, including La Cin\u00e9math\u00e8que Fran\u00e7aise and the Centre Georges Pompidou in 1981, the MoMA in New York in 1989, the Tel Aviv Cin\u00e9math\u00e8que in 1992, the Madrid Cin\u00e9math\u00e8que in 1998, the Munich Cin\u00e9math\u00e8que and the Forum du Cin\u00e9ma Europ\u00e9en in Strasbourg in 1999, the Cairo Festival in 2002, and the Bologna Cin\u00e9math\u00e8que in 2003.<\/span><\/p>\nHis career has been honored by numerous awards, including the Prix Georges de Beauregard for Best Producer, the Independent Spirit Award for Best Producer in Los Angeles, the Career Award at the Cairo International Film Festival, the Federico Fellini Award at the Europacinema Awards, the Taormina Festival Award, and the European Parliament Prize for Cinema, presented by Viviane Reding. Marin Karmitz is Commandeur de la L\u00e9gion d’Honneur, Officier de l’Ordre National du M\u00e9rite, Commandeur des Arts et des Lettres, Chevalier du M\u00e9rite de la R\u00e9publique de Pologne, M\u00e9daille de Vermeil de la Ville de Paris.<\/span><\/p>\nIn parallel with his activities, Marin Karmitz has devoted himself to film industry issues through professional commissions, notably holding the positions of Chairman of the F\u00e9d\u00e9ration Nationale des Distributeurs de Films (2001-2006) and Chairman of the Bureau Liaison Industries Cin\u00e9matographiques (2002- 2003). Chairman of the Cultural Creation, Competitiveness and Social Cohesion group of the XIth Plan in 1992, then member of the Commission for the New Public Television (Cop\u00e9 Commission) in 2008, Marin Karmitz was appointed by French President Nicolas Sarkozy as General Delegate of the Conseil pour la Cr\u00e9ation Artistique from January 2009 to April 2011.<\/span><\/p>\nFor mk2’s 40th anniversary in 2014, numerous tributes were paid worldwide to Marin Karmitz and the company he founded: notably the MOMA in NEW-YORK (June 5 -23, 2014) and major international cultural institutions, such as the Cin\u00e9math\u00e8que Suisse (April 2014), the Istanbul Festival (April 5-20, 2014), the Jerusalem Festival (July 10-20, 2014), the BFI in London (in September 2014), or the Sao Paulo Festival (October 16-29, 2014).<\/span><\/p>\nMarin Karmitz also curated the Silences exhibition at Strasbourg’s Museum of Modern and Contemporary Art in 2009 and at Lisbon’s Berardo Museum in 2010. He presented his photography collection for the first time at Rencontres d’Arles 2010. In October 2017, La maison rouge fondation Antoine de Galbert hosted the exhibition \u00c9tranger R\u00e9sident, around his collection. In 2019, the exhibition \u00c9tranger r\u00e9sident, a selection of works from the Marin Karmitz collection, is presented at MUNTREF, Centre d’Art Contemporain et mus\u00e9e de l’Immigration in Buenos-Aires, Argentina, as part of BIENAL SUR 2019.\u00a0<\/span><\/p>\nIn September 2023, the Mus\u00e9e national d’art moderne, Centre Pompidou, presents 500 photographs, an exceptional encounter between two collections – the museum’s public collection and Marin Karmitz’s private collection.<\/span><\/p>\nSince February 2018, he has chaired the Institut pour la Photographie des Hauts de France.<\/span><\/p>\nDISTINCTIONS<\/span><\/p>\n
\nPalme d’or d’Honneur, Cannes Film Festival 2018<\/span><\/p>\nPrix Chaptal de l’Industrie 2017: Arts of Communication and Training<\/span><\/p>\nBest Producer of the Year 1995 (Independent Spirit Award, USA)<\/span><\/p>\nGeorges de Beauregard Award for Best Producer 1988<\/span><\/p>\nGrand Prix Jean Zay 2023 as part of the Festival R\u00e9cidive<\/span><\/p>\nEXHIBITION CURATOR<\/span><\/p>\n
\n2009: Silences exhibition, Mus\u00e9e d’Art Moderne de la ville de Strasbourg, and Berardo Museum of Modern and Contemporary Art, Lisbon<\/span><\/p>\n2010: Traverses exhibition, Rencontres de la photographie d’Arles, France<\/span><\/p>\n2017: \u00c9tranger R\u00e9sident exhibition, la maison rouge – fondation Antoine de Galbert, Paris<\/span><\/p>\n2019: \u00c9tranger r\u00e9sident exhibition, selection of works from the Marin Karmitz collection, MUNTREF, as part of BIENALSUR 2019, Buenos-Aires, Argentina<\/span><\/p>\n2023 : Exhibition Corps \u00e0 corps, Histoire(s) de la photographie, with Julie Jones, Mus\u00e9e national d’art moderne, Centre Pompidou, Paris<\/span><\/p>\nPUBLICATIONS<\/span><\/p>\n
\n1995 : Bande \u00e0 part, Grasset<\/span><\/p>\n2003 : Profession Producteur, Hachette Litt\u00e9rature<\/span><\/p>\n2009 : Silences, Editions des Mus\u00e9es de Strasbourg<\/span><\/p>\n2010 : Traverses, Editions Actes Sud<\/span><\/p>\n2016 : Com\u00e9dies, co-auteur Caroline Brou\u00e9 Editions Fayard<\/span><\/p>\n2017 : \u00c9tranger R\u00e9sident, Co-\u00e9dition Fage \u00e9ditions et La maison rouge<\/span><\/p>\n2023 : Corps \u00e0 corps, Catalogue de l\u2019exposition, \u00c9ditions Centre Pompidou<\/span><\/p>\n2023 : Corps \u00e0 corps, Album de l\u2019exposition, \u00c9ditions Centre Pompidou<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span>Kristin Thompson<\/h2><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2024\/wp-content\/uploads\/2024\/10\/Kristin-Thompson-LFDC-1.jpg\" "\\"Kristin")
<\/span><\/div>Kristin Thompson is an honorary member of the Department of Communication Arts at the University of Wisconsin-Madison, where she earned her PhD. Her books include <\/span>Eisenstein’s Ivan the Terrible<\/span><\/i> (1981), <\/span>Exporting Entertainment: America’s Place in World Film Markets 1901-1934<\/span><\/i> (1985), <\/span>Breaking the Glass Armor: Neoformalist Film Analysis<\/span><\/i> (1988), <\/span>Storytelling in the New Hollywood: Understanding Classical Narrative Technique<\/span><\/i> (1999), <\/span>Herr Lubitsch Goes to Hollywood: German and American Film after World War I<\/span><\/i> (2005), and <\/span>The Frodo Franchise: The Lord of the Rings and Modern Hollywood <\/span><\/i>(2007).<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span>Roberto Minervini\u00a0 \u00a0<\/span><\/h2><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2024\/wp-content\/uploads\/2024\/10\/LFDC-Roberto-Minervini-1.jpg\" "\\"LFDC")
<\/span><\/div>Roberto Minervini is an Italian-born film director who lives and works in the US. He is widely considered to be one of the world\u2019s most prominent auteurs of narrative documentaries, which combine dramatized and observational elements. After completing a Master\u2019s Degree in Media Studies at the New School in New York City in 2004, Roberto taught Documentary Filmmaking at the university level in Asia. In 2007, he moved to Texas, where he directed three feature films,\u00a0<\/span>The Passage<\/span><\/i>\u00a0(2011),\u00a0<\/span>Low Tide<\/span><\/i>\u00a0(2012) and\u00a0<\/span>Stop the Pounding Heart<\/span><\/i>\u00a0(2013), a Texas Trilogy that focused on rural communities in the American South. He then went on to direct two feature films set in Louisiana,\u00a0<\/span>The Other Side<\/span><\/i>\u00a0(2015) and\u00a0<\/span>What You Gonna Do When the World\u2019s on Fire?<\/span><\/i>\u00a0(2018), shifting to the political realm of American society and touching on social justice. In more recent years, he has begun to produce the work of other visionary filmmakers through his production company Pulpa Film, including Lisandro Alonso\u2019s\u00a0<\/span>Eureka<\/span><\/i>\u00a0(2023) and Payal Kapadia\u2019s first fiction film\u00a0<\/span>All We Imagine as Light<\/span><\/i>\u00a0(2024). Roberto\u2019s latest film,\u00a0<\/span>The Damned<\/span><\/i>\u00a0(2024), is his first fiction film set in the 1860s during the American Civil War, which was awarded Best Director at the Cannes Film Festival, in the Un Certain Regard section.<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span>Jacques Audiard<\/span><\/h2><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/filmedefestival.ro\/les-films-de-cannes\/editia-2024\/wp-content\/uploads\/2024\/10\/jacques-audiard-1.jpeg\" "\\"jacques")
<\/span><\/div>Since making his directing debut in 1994 with the taut crime thriller See How They Fall, Jacques Audiard has come to be regarded as one of France’s finest filmmakers. From the searing underworld dramas Read My Lips, The Beat That My Heart Skipped and A Prophet to his Palme d’Or-winning Dheepan, about Sri Lankan refugees living in France, alongside his relationship drama Rust and Bone, the Western The Sisters Brothers and heartbreakingly romantic Paris,13th District, Audiard deftly plays with the conventions of genre, infusing them with new vitality. His latest films, Emilia Perez, won two Awards at Cannes 2024: Prix du Jury and Award for Best Actresses.<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span>Marin Karmitz<\/h2><\/span><\/div><\/div><\/div><\/span><\/div><\/div><\/div><\/span>\u201cHe was lucky enough to know Rossellini, Beckett, Kieslowski, Duras, Kiarostami and Godard. What did he do with all this luck? Movies.\u201d St\u00e9phane Paoli<\/h4><\/span><\/div><\/div><\/div>Marin Karmitz was born on October 7, 1938.<\/span><\/p>\n
<\/span><\/div>\u201cHe was lucky enough to know Rossellini, Beckett, Kieslowski, Duras, Kiarostami and Godard. What did he do with all this luck? Movies.\u201d St\u00e9phane Paoli<\/h4><\/span><\/div><\/div><\/div>Marin Karmitz was born on October 7, 1938.<\/span><\/p>\nAfter graduating from IDHEC (Institut des hautes \u00e9tudes cin\u00e9matographiques) as a cinematographer, he started out as assistant director to filmmakers Jean-Luc Godard, Agn\u00e8s Varda, Jacques Rozier, Yannick Bellon and Pierre Kast. In 1963, he directed the documentary Les Idoles, then in 1964 his first short fiction film, Nuit noire Calcutta, based on a screenplay by Marguerite Duras. In 1965, he worked with Samuel Beckett on the adaptation of Com\u00e9die. The film was selected to open the Venice Film Festival that same year, and caused a scandal for its avant-garde form. 40 years later, the film won a prize at the Venice Art Biennale and is now shown in museums around the world. Marin Karmitz’s first feature film, in 1967, was Sept jours ailleurs, with Jacques Higelin, also selected for the Mostra. After May ’68, he made two films: Camarades (1970) and Coup pour coup (1972), which toured international festivals.<\/span><\/p>\nIn 1974, Marin Karmitz added a distribution structure to his own mk2 Productions, created in 1967. In 40 years, Marin Karmitz produced 108 films and distributed more than 350 theatrically: the Krzysztof Kieslowski trilogy, twelve films by Claude Chabrol, Godard, Resnais, Malle, the Taviani brothers, Angelopoulos, Pintili\u00e9, Van Sant, Nossiter, Kerrigan, Loach, Doillon, Lounguine, Kiarostami, Sang Soo, Haneke, Salles, Dolan…<\/span><\/p>\nThese productions have won over 150 awards and nominations at international festivals, including three Palmes d’Or at Cannes, three Lions d’Or at Venice, a Bear d’Or at Berlin, three Oscar nominations, and twenty-five C\u00e9sars…<\/span><\/p>\nSince May 1, 1974, Marin Karmitz has also been active as a cinema exhibitor, reflecting on the role of the cinema in the city. mk2 is now the third-largest circuit in Paris, with 11 complexes and 65 screens, and 6 custom-built theatres, and the third-largest exhibitor in Spain, with 10 cinemas and 128 screens. mk2 has just established a presence in Canada.<\/span><\/p>\nNumerous official events have paid tribute to Marin Karmitz’s work, including La Cin\u00e9math\u00e8que Fran\u00e7aise and the Centre Georges Pompidou in 1981, the MoMA in New York in 1989, the Tel Aviv Cin\u00e9math\u00e8que in 1992, the Madrid Cin\u00e9math\u00e8que in 1998, the Munich Cin\u00e9math\u00e8que and the Forum du Cin\u00e9ma Europ\u00e9en in Strasbourg in 1999, the Cairo Festival in 2002, and the Bologna Cin\u00e9math\u00e8que in 2003.<\/span><\/p>\nHis career has been honored by numerous awards, including the Prix Georges de Beauregard for Best Producer, the Independent Spirit Award for Best Producer in Los Angeles, the Career Award at the Cairo International Film Festival, the Federico Fellini Award at the Europacinema Awards, the Taormina Festival Award, and the European Parliament Prize for Cinema, presented by Viviane Reding. Marin Karmitz is Commandeur de la L\u00e9gion d’Honneur, Officier de l’Ordre National du M\u00e9rite, Commandeur des Arts et des Lettres, Chevalier du M\u00e9rite de la R\u00e9publique de Pologne, M\u00e9daille de Vermeil de la Ville de Paris.<\/span><\/p>\nIn parallel with his activities, Marin Karmitz has devoted himself to film industry issues through professional commissions, notably holding the positions of Chairman of the F\u00e9d\u00e9ration Nationale des Distributeurs de Films (2001-2006) and Chairman of the Bureau Liaison Industries Cin\u00e9matographiques (2002- 2003). Chairman of the Cultural Creation, Competitiveness and Social Cohesion group of the XIth Plan in 1992, then member of the Commission for the New Public Television (Cop\u00e9 Commission) in 2008, Marin Karmitz was appointed by French President Nicolas Sarkozy as General Delegate of the Conseil pour la Cr\u00e9ation Artistique from January 2009 to April 2011.<\/span><\/p>\nFor mk2’s 40th anniversary in 2014, numerous tributes were paid worldwide to Marin Karmitz and the company he founded: notably the MOMA in NEW-YORK (June 5 -23, 2014) and major international cultural institutions, such as the Cin\u00e9math\u00e8que Suisse (April 2014), the Istanbul Festival (April 5-20, 2014), the Jerusalem Festival (July 10-20, 2014), the BFI in London (in September 2014), or the Sao Paulo Festival (October 16-29, 2014).<\/span><\/p>\nMarin Karmitz also curated the Silences exhibition at Strasbourg’s Museum of Modern and Contemporary Art in 2009 and at Lisbon’s Berardo Museum in 2010. He presented his photography collection for the first time at Rencontres d’Arles 2010. In October 2017, La maison rouge fondation Antoine de Galbert hosted the exhibition \u00c9tranger R\u00e9sident, around his collection. In 2019, the exhibition \u00c9tranger r\u00e9sident, a selection of works from the Marin Karmitz collection, is presented at MUNTREF, Centre d’Art Contemporain et mus\u00e9e de l’Immigration in Buenos-Aires, Argentina, as part of BIENAL SUR 2019.\u00a0<\/span><\/p>\nIn September 2023, the Mus\u00e9e national d’art moderne, Centre Pompidou, presents 500 photographs, an exceptional encounter between two collections – the museum’s public collection and Marin Karmitz’s private collection.<\/span><\/p>\nSince February 2018, he has chaired the Institut pour la Photographie des Hauts de France.<\/span><\/p>\nDISTINCTIONS<\/span><\/p>\n
\nPalme d’or d’Honneur, Cannes Film Festival 2018<\/span><\/p>\nPrix Chaptal de l’Industrie 2017: Arts of Communication and Training<\/span><\/p>\nBest Producer of the Year 1995 (Independent Spirit Award, USA)<\/span><\/p>\nGeorges de Beauregard Award for Best Producer 1988<\/span><\/p>\nGrand Prix Jean Zay 2023 as part of the Festival R\u00e9cidive<\/span><\/p>\nEXHIBITION CURATOR<\/span><\/p>\n
\n2009: Silences exhibition, Mus\u00e9e d’Art Moderne de la ville de Strasbourg, and Berardo Museum of Modern and Contemporary Art, Lisbon<\/span><\/p>\n2010: Traverses exhibition, Rencontres de la photographie d’Arles, France<\/span><\/p>\n2017: \u00c9tranger R\u00e9sident exhibition, la maison rouge – fondation Antoine de Galbert, Paris<\/span><\/p>\n2019: \u00c9tranger r\u00e9sident exhibition, selection of works from the Marin Karmitz collection, MUNTREF, as part of BIENALSUR 2019, Buenos-Aires, Argentina<\/span><\/p>\n2023 : Exhibition Corps \u00e0 corps, Histoire(s) de la photographie, with Julie Jones, Mus\u00e9e national d’art moderne, Centre Pompidou, Paris<\/span><\/p>\nPUBLICATIONS<\/span><\/p>\n
\n1995 : Bande \u00e0 part, Grasset<\/span><\/p>\n2003 : Profession Producteur, Hachette Litt\u00e9rature<\/span><\/p>\n2009 : Silences, Editions des Mus\u00e9es de Strasbourg<\/span><\/p>\n2010 : Traverses, Editions Actes Sud<\/span><\/p>\n2016 : Com\u00e9dies, co-auteur Caroline Brou\u00e9 Editions Fayard<\/span><\/p>\n2017 : \u00c9tranger R\u00e9sident, Co-\u00e9dition Fage \u00e9ditions et La maison rouge<\/span><\/p>\n2023 : Corps \u00e0 corps, Catalogue de l\u2019exposition, \u00c9ditions Centre Pompidou<\/span><\/p>\n2023 : Corps \u00e0 corps, Album de l\u2019exposition, \u00c9ditions Centre Pompidou<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span>Kristin Thompson<\/h2><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span><\/div>Kristin Thompson is an honorary member of the Department of Communication Arts at the University of Wisconsin-Madison, where she earned her PhD. Her books include <\/span>Eisenstein’s Ivan the Terrible<\/span><\/i> (1981), <\/span>Exporting Entertainment: America’s Place in World Film Markets 1901-1934<\/span><\/i> (1985), <\/span>Breaking the Glass Armor: Neoformalist Film Analysis<\/span><\/i> (1988), <\/span>Storytelling in the New Hollywood: Understanding Classical Narrative Technique<\/span><\/i> (1999), <\/span>Herr Lubitsch Goes to Hollywood: German and American Film after World War I<\/span><\/i> (2005), and <\/span>The Frodo Franchise: The Lord of the Rings and Modern Hollywood <\/span><\/i>(2007).<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span>Roberto Minervini\u00a0 \u00a0<\/span><\/h2><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span><\/div>Roberto Minervini is an Italian-born film director who lives and works in the US. He is widely considered to be one of the world\u2019s most prominent auteurs of narrative documentaries, which combine dramatized and observational elements. After completing a Master\u2019s Degree in Media Studies at the New School in New York City in 2004, Roberto taught Documentary Filmmaking at the university level in Asia. In 2007, he moved to Texas, where he directed three feature films,\u00a0<\/span>The Passage<\/span><\/i>\u00a0(2011),\u00a0<\/span>Low Tide<\/span><\/i>\u00a0(2012) and\u00a0<\/span>Stop the Pounding Heart<\/span><\/i>\u00a0(2013), a Texas Trilogy that focused on rural communities in the American South. He then went on to direct two feature films set in Louisiana,\u00a0<\/span>The Other Side<\/span><\/i>\u00a0(2015) and\u00a0<\/span>What You Gonna Do When the World\u2019s on Fire?<\/span><\/i>\u00a0(2018), shifting to the political realm of American society and touching on social justice. In more recent years, he has begun to produce the work of other visionary filmmakers through his production company Pulpa Film, including Lisandro Alonso\u2019s\u00a0<\/span>Eureka<\/span><\/i>\u00a0(2023) and Payal Kapadia\u2019s first fiction film\u00a0<\/span>All We Imagine as Light<\/span><\/i>\u00a0(2024). Roberto\u2019s latest film,\u00a0<\/span>The Damned<\/span><\/i>\u00a0(2024), is his first fiction film set in the 1860s during the American Civil War, which was awarded Best Director at the Cannes Film Festival, in the Un Certain Regard section.<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span>Jacques Audiard<\/span><\/h2><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span><\/div>Since making his directing debut in 1994 with the taut crime thriller See How They Fall, Jacques Audiard has come to be regarded as one of France’s finest filmmakers. From the searing underworld dramas Read My Lips, The Beat That My Heart Skipped and A Prophet to his Palme d’Or-winning Dheepan, about Sri Lankan refugees living in France, alongside his relationship drama Rust and Bone, the Western The Sisters Brothers and heartbreakingly romantic Paris,13th District, Audiard deftly plays with the conventions of genre, infusing them with new vitality. His latest films, Emilia Perez, won two Awards at Cannes 2024: Prix du Jury and Award for Best Actresses.<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span>Marin Karmitz<\/h2><\/span><\/div><\/div><\/div><\/span><\/div><\/div><\/div><\/span>\u201cHe was lucky enough to know Rossellini, Beckett, Kieslowski, Duras, Kiarostami and Godard. What did he do with all this luck? Movies.\u201d St\u00e9phane Paoli<\/h4><\/span><\/div><\/div><\/div>Marin Karmitz was born on October 7, 1938.<\/span><\/p>\n
Marin Karmitz was born on October 7, 1938.<\/span><\/p>\n After graduating from IDHEC (Institut des hautes \u00e9tudes cin\u00e9matographiques) as a cinematographer, he started out as assistant director to filmmakers Jean-Luc Godard, Agn\u00e8s Varda, Jacques Rozier, Yannick Bellon and Pierre Kast. In 1963, he directed the documentary Les Idoles, then in 1964 his first short fiction film, Nuit noire Calcutta, based on a screenplay by Marguerite Duras. In 1965, he worked with Samuel Beckett on the adaptation of Com\u00e9die. The film was selected to open the Venice Film Festival that same year, and caused a scandal for its avant-garde form. 40 years later, the film won a prize at the Venice Art Biennale and is now shown in museums around the world. Marin Karmitz’s first feature film, in 1967, was Sept jours ailleurs, with Jacques Higelin, also selected for the Mostra. After May ’68, he made two films: Camarades (1970) and Coup pour coup (1972), which toured international festivals.<\/span><\/p>\n In 1974, Marin Karmitz added a distribution structure to his own mk2 Productions, created in 1967. In 40 years, Marin Karmitz produced 108 films and distributed more than 350 theatrically: the Krzysztof Kieslowski trilogy, twelve films by Claude Chabrol, Godard, Resnais, Malle, the Taviani brothers, Angelopoulos, Pintili\u00e9, Van Sant, Nossiter, Kerrigan, Loach, Doillon, Lounguine, Kiarostami, Sang Soo, Haneke, Salles, Dolan…<\/span><\/p>\n These productions have won over 150 awards and nominations at international festivals, including three Palmes d’Or at Cannes, three Lions d’Or at Venice, a Bear d’Or at Berlin, three Oscar nominations, and twenty-five C\u00e9sars…<\/span><\/p>\n Since May 1, 1974, Marin Karmitz has also been active as a cinema exhibitor, reflecting on the role of the cinema in the city. mk2 is now the third-largest circuit in Paris, with 11 complexes and 65 screens, and 6 custom-built theatres, and the third-largest exhibitor in Spain, with 10 cinemas and 128 screens. mk2 has just established a presence in Canada.<\/span><\/p>\n Numerous official events have paid tribute to Marin Karmitz’s work, including La Cin\u00e9math\u00e8que Fran\u00e7aise and the Centre Georges Pompidou in 1981, the MoMA in New York in 1989, the Tel Aviv Cin\u00e9math\u00e8que in 1992, the Madrid Cin\u00e9math\u00e8que in 1998, the Munich Cin\u00e9math\u00e8que and the Forum du Cin\u00e9ma Europ\u00e9en in Strasbourg in 1999, the Cairo Festival in 2002, and the Bologna Cin\u00e9math\u00e8que in 2003.<\/span><\/p>\n His career has been honored by numerous awards, including the Prix Georges de Beauregard for Best Producer, the Independent Spirit Award for Best Producer in Los Angeles, the Career Award at the Cairo International Film Festival, the Federico Fellini Award at the Europacinema Awards, the Taormina Festival Award, and the European Parliament Prize for Cinema, presented by Viviane Reding. Marin Karmitz is Commandeur de la L\u00e9gion d’Honneur, Officier de l’Ordre National du M\u00e9rite, Commandeur des Arts et des Lettres, Chevalier du M\u00e9rite de la R\u00e9publique de Pologne, M\u00e9daille de Vermeil de la Ville de Paris.<\/span><\/p>\n In parallel with his activities, Marin Karmitz has devoted himself to film industry issues through professional commissions, notably holding the positions of Chairman of the F\u00e9d\u00e9ration Nationale des Distributeurs de Films (2001-2006) and Chairman of the Bureau Liaison Industries Cin\u00e9matographiques (2002- 2003). Chairman of the Cultural Creation, Competitiveness and Social Cohesion group of the XIth Plan in 1992, then member of the Commission for the New Public Television (Cop\u00e9 Commission) in 2008, Marin Karmitz was appointed by French President Nicolas Sarkozy as General Delegate of the Conseil pour la Cr\u00e9ation Artistique from January 2009 to April 2011.<\/span><\/p>\n For mk2’s 40th anniversary in 2014, numerous tributes were paid worldwide to Marin Karmitz and the company he founded: notably the MOMA in NEW-YORK (June 5 -23, 2014) and major international cultural institutions, such as the Cin\u00e9math\u00e8que Suisse (April 2014), the Istanbul Festival (April 5-20, 2014), the Jerusalem Festival (July 10-20, 2014), the BFI in London (in September 2014), or the Sao Paulo Festival (October 16-29, 2014).<\/span><\/p>\n Marin Karmitz also curated the Silences exhibition at Strasbourg’s Museum of Modern and Contemporary Art in 2009 and at Lisbon’s Berardo Museum in 2010. He presented his photography collection for the first time at Rencontres d’Arles 2010. In October 2017, La maison rouge fondation Antoine de Galbert hosted the exhibition \u00c9tranger R\u00e9sident, around his collection. In 2019, the exhibition \u00c9tranger r\u00e9sident, a selection of works from the Marin Karmitz collection, is presented at MUNTREF, Centre d’Art Contemporain et mus\u00e9e de l’Immigration in Buenos-Aires, Argentina, as part of BIENAL SUR 2019.\u00a0<\/span><\/p>\n In September 2023, the Mus\u00e9e national d’art moderne, Centre Pompidou, presents 500 photographs, an exceptional encounter between two collections – the museum’s public collection and Marin Karmitz’s private collection.<\/span><\/p>\n Since February 2018, he has chaired the Institut pour la Photographie des Hauts de France.<\/span><\/p>\n DISTINCTIONS<\/span><\/p>\n Palme d’or d’Honneur, Cannes Film Festival 2018<\/span><\/p>\n Prix Chaptal de l’Industrie 2017: Arts of Communication and Training<\/span><\/p>\n Best Producer of the Year 1995 (Independent Spirit Award, USA)<\/span><\/p>\n Georges de Beauregard Award for Best Producer 1988<\/span><\/p>\n Grand Prix Jean Zay 2023 as part of the Festival R\u00e9cidive<\/span><\/p>\n EXHIBITION CURATOR<\/span><\/p>\n 2009: Silences exhibition, Mus\u00e9e d’Art Moderne de la ville de Strasbourg, and Berardo Museum of Modern and Contemporary Art, Lisbon<\/span><\/p>\n 2010: Traverses exhibition, Rencontres de la photographie d’Arles, France<\/span><\/p>\n 2017: \u00c9tranger R\u00e9sident exhibition, la maison rouge – fondation Antoine de Galbert, Paris<\/span><\/p>\n 2019: \u00c9tranger r\u00e9sident exhibition, selection of works from the Marin Karmitz collection, MUNTREF, as part of BIENALSUR 2019, Buenos-Aires, Argentina<\/span><\/p>\n 2023 : Exhibition Corps \u00e0 corps, Histoire(s) de la photographie, with Julie Jones, Mus\u00e9e national d’art moderne, Centre Pompidou, Paris<\/span><\/p>\n PUBLICATIONS<\/span><\/p>\n 1995 : Bande \u00e0 part, Grasset<\/span><\/p>\n 2003 : Profession Producteur, Hachette Litt\u00e9rature<\/span><\/p>\n 2009 : Silences, Editions des Mus\u00e9es de Strasbourg<\/span><\/p>\n 2010 : Traverses, Editions Actes Sud<\/span><\/p>\n 2016 : Com\u00e9dies, co-auteur Caroline Brou\u00e9 Editions Fayard<\/span><\/p>\n 2017 : \u00c9tranger R\u00e9sident, Co-\u00e9dition Fage \u00e9ditions et La maison rouge<\/span><\/p>\n 2023 : Corps \u00e0 corps, Catalogue de l\u2019exposition, \u00c9ditions Centre Pompidou<\/span><\/p>\n 2023 : Corps \u00e0 corps, Album de l\u2019exposition, \u00c9ditions Centre Pompidou<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div> Kristin Thompson is an honorary member of the Department of Communication Arts at the University of Wisconsin-Madison, where she earned her PhD. Her books include <\/span>Eisenstein’s Ivan the Terrible<\/span><\/i> (1981), <\/span>Exporting Entertainment: America’s Place in World Film Markets 1901-1934<\/span><\/i> (1985), <\/span>Breaking the Glass Armor: Neoformalist Film Analysis<\/span><\/i> (1988), <\/span>Storytelling in the New Hollywood: Understanding Classical Narrative Technique<\/span><\/i> (1999), <\/span>Herr Lubitsch Goes to Hollywood: German and American Film after World War I<\/span><\/i> (2005), and <\/span>The Frodo Franchise: The Lord of the Rings and Modern Hollywood <\/span><\/i>(2007).<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div> Roberto Minervini is an Italian-born film director who lives and works in the US. He is widely considered to be one of the world\u2019s most prominent auteurs of narrative documentaries, which combine dramatized and observational elements. After completing a Master\u2019s Degree in Media Studies at the New School in New York City in 2004, Roberto taught Documentary Filmmaking at the university level in Asia. In 2007, he moved to Texas, where he directed three feature films,\u00a0<\/span>The Passage<\/span><\/i>\u00a0(2011),\u00a0<\/span>Low Tide<\/span><\/i>\u00a0(2012) and\u00a0<\/span>Stop the Pounding Heart<\/span><\/i>\u00a0(2013), a Texas Trilogy that focused on rural communities in the American South. He then went on to direct two feature films set in Louisiana,\u00a0<\/span>The Other Side<\/span><\/i>\u00a0(2015) and\u00a0<\/span>What You Gonna Do When the World\u2019s on Fire?<\/span><\/i>\u00a0(2018), shifting to the political realm of American society and touching on social justice. In more recent years, he has begun to produce the work of other visionary filmmakers through his production company Pulpa Film, including Lisandro Alonso\u2019s\u00a0<\/span>Eureka<\/span><\/i>\u00a0(2023) and Payal Kapadia\u2019s first fiction film\u00a0<\/span>All We Imagine as Light<\/span><\/i>\u00a0(2024). Roberto\u2019s latest film,\u00a0<\/span>The Damned<\/span><\/i>\u00a0(2024), is his first fiction film set in the 1860s during the American Civil War, which was awarded Best Director at the Cannes Film Festival, in the Un Certain Regard section.<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div> Since making his directing debut in 1994 with the taut crime thriller See How They Fall, Jacques Audiard has come to be regarded as one of France’s finest filmmakers. From the searing underworld dramas Read My Lips, The Beat That My Heart Skipped and A Prophet to his Palme d’Or-winning Dheepan, about Sri Lankan refugees living in France, alongside his relationship drama Rust and Bone, the Western The Sisters Brothers and heartbreakingly romantic Paris,13th District, Audiard deftly plays with the conventions of genre, infusing them with new vitality. His latest films, Emilia Perez, won two Awards at Cannes 2024: Prix du Jury and Award for Best Actresses.<\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div> Marin Karmitz was born on October 7, 1938.<\/span><\/p>\n
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\nKristin Thompson<\/h2><\/span>
<\/span><\/div>Roberto Minervini\u00a0 \u00a0<\/span><\/h2><\/span>
<\/span><\/div>Jacques Audiard<\/span><\/h2><\/span>
<\/span><\/div>Marin Karmitz<\/h2><\/span>
<\/span><\/div>\u201cHe was lucky enough to know Rossellini, Beckett, Kieslowski, Duras, Kiarostami and Godard. What did he do with all this luck? Movies.\u201d St\u00e9phane Paoli<\/h4><\/span>