We built our project by creating a montage from a photo by Jack Garofalo. On June 1, 1968 Catherine Deneuve was on the beach at Pampelonne, filming La Chamade by Alain Cavalier, adapted from the novel by Françoise Sagan. In this image she appeared mineral, volcanic, but also floral, organic, her gestures evoked the trance of a dervish, an almost mystical blooming but also joyful and romantic. We chose to melt her to the ground, to raise her body well above the original hill and to move the sea (ingredient of Cannes symbolism par excellence) into the background. Thus reconstructed and radically contrasted, it seems to us that the image has become more spectacular, stronger. The verticality of our typographical choice reinforces this upward dynamic and brings the poster closer to the Japanese print, thus helping to give it the timeless form we were looking for.

Artists like Hokusai or Hiroshige are for us masters of the poster who very subtly know how to install a dramaturgy, a tension, a balance of solids and voids, which we have always found very inspiring.

It is this narrative and graphic force that we wanted to instill for this 76th international film festival.

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This work is an archive of ideas, questions and introspection. With a simple line, I draw, then I isolate the images which are for me at the crossroads of a personal and universal topicality. The subjects talk about my place as a man in society and his behavior, networks, genealogies and seduction games. They are also the mirror of the ephemeral and the perpetual renewals, of the scale between the infinitely small and the infinitely large and more generally of our relationship to memory.
My drawing is the vector of my desire to continue to observe society with the gaze that a child casts on the adult world. I cultivate my naivety, I like to observe with shift and my work illustrates this will, this desire to question the world with candor and to give a lasting trace to these thoughts of a second, to archive reality with humility and perhaps also reassure me about my own existence.

Lionel Avignon 

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POP'Arty, the evening reserved for Center Pompidou members, is back!
Echoing this spring's program, this evening invites you to discover Germany from the 1920s to 2020. On the program: artistic and poetic performances, a ball, a DJ set, guests and a choice of visits to discover the exhibitions in a new light. From Charleston to cabaret, fly away to the Germany of the Roaring Twenties!

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The red carpet that leads up the steps to the hope of being in the limelight.
A poetic celebration of the insuperable quest for expression and freedom.
An upward journey to contemplate the past and move ahead towards the promise of a revival. From Tuesday, May 17 to Saturday, May 28, the Festival de Cannes will hold its 75th edition, and here is its poster.
 
Just as the unforgettable Truman embodied by the one-and-only Jim Carrey whose fingers brush his horizon, the Festival de Cannes takes the extreme nature of the world in its stride in order to grasp it again. The climate crisis, humanitarian disasters, and armed conflicts… the reasons for concerns are numerous. As in 1939 and in 1946, the Festival is once again asserting its strong conviction that art and cinema are where contemplation and the renewal of society unravel. And yet it remains faithful to its founding commitment enshrined in article 1 of its rules: « The purpose of the Festival International du Film, in a spirit of friendship and universal cooperation, is to reveal and showcase quality films in the interest of the evolution of the art of cinematography ».
Peter Weir and Andrew Niccol’s The Truman Show (1998) is a modern reflection of Plato’s cave and the decisive scene urges viewers to not only experience the border between reality and its representation but to ponder the power of fiction, between manipulation and catharsis.  Just as Truman escapes falsehood as he rises, the Festival, with its famous ascending red carpet, offers viewers the truth of the artists when they enter the theater.

The Truman Show du duo Peter Weir-Andrew Niccol et réalisé par Peter Weir (1998)

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a program of exceptional concerts from May 31 to July 3 at the Basilica of Saint-Denis and at the Maison d’éducation de la Légion d’honneur