Cannes Film Festival: Overview Cannes Film Festival Date: May 13 - May 24 2009 Location: Cannes, France Location: Cannes, France Notes: The festival takes place since 1946. In the years before 1955 the main festival award was named 'Grand Prix du Festival International du Film'. The current form of the Golden Palm has been used since 1997 and has been designed by Caroline Scheufele-Gruosi, CEO of Chopard. Awards Palme d'Or 1939: The first Cannes Film Festival had been planned for 1939. It had to be canceled, because World War II broke out. For its 55th anniversary in 2002 the festival decided to screen 12 films from the original selection, seven of which would be "in competition" and be retrospectively judged by a contemporary jury. 1959: The atomic bombs of 1945 are still taboo as a subject. Resnais's Hiroshima mon amour is excluded from the official selection in order not to upset the US government.

1964: The name of the festival's grand prix 'Golden Palm' is abandoned and changed to 'Grand Prix International du Festival'. (It will be called 'Golden Palm' again from 1975.) 1966: The Grand Prix is named 'Grand prix du vingtième anniversaire du Festival international du film' for the festival's 20th anniversary. 1966: A new non-competitive festival section called "Directors' Fortnight" is created. 1973: A new non-competitive and informative festival section called 'Étude et documents' is created. 1973: Another non-competitive festival section called 'Perspectives du Cinéma Français' is initiated by the French Film Directors' Society (1973-1991). 1975: The name of the festival's grand prix is again changed to 'Golden Palm' after it had been abandoned in 1964. 1975: A new non-competitive festival section called 'Les Yeux Fertiles' is created, focusing on films dealing with other arts (1975-1977).

1975: A day before the festival opens a bomb is found in the Palais. The 'People's Struggle Against the Perversion of Humanity', is never heard of again. 1976: A new non-competitive festival section called 'L'Air du temps' is created, focusing on films dealing with contemporary subjects (1976-1977). 1977: A new non-competitive festival section called 'Le Passé composé' is created, solely for compilations. It will be celebrated in 1977 only. 1978: A new non-competitive festival section called 'Un Certain Regard' is created replacing the sections 'Les Yeux Fertiles' (1975-1977), 'L'Air du temps' (1976-1977) and 'Le Passé composé' (1977). 1980: The surprise film, Tarkovsky's Stalker , is interrupted due to strikes held by the electricians. 1982: The festival poster is designed by Federico Fellini . 1983: The festival poster is designed by Akira Kurosawa .

1990: The retrospectives are introduced, from 1992 on called 'Cinéma de toujour'. 1992: The retrospectives become an official name: 'Cinéma de toujour'. 1992: The section formerly known as 'Perspectives du Cinéma Français' (1973-1991) is renamed to 'Cinémas en France'. 1998: The festival will have a short film jury from now on. 2002: The winning film for the first festival, which actually was canceled in 1939 due to the beginning of World War II, was decided on retrospectively by a jury in 2002. 2004: For the first time in the history of the festival, president Gilles Jacob gave the jury an opportunity to explain their Golden Palm choices. Golden Palm Given: 1955- The winning movie is chosen by a jury from the pool of movies which are part of the festivals 'official selection' (sélection officielle).

Grand Prize of the Festival Given: 1946-1947, 1949, 1951-1954 1959: The atomic bombs of 1945 are still taboo as a subject. Resnais's Hiroshima mon amour is excluded from the official selection in order not to upset the US government. The winning movie was chosen by a jury from the pool of movies which were part of the festivals 'official selection' (sélection officielle). Grand Prize of the Jury The winning movie is chosen by a jury from the pool of movies which are part of the festivals 'official selection' (Sélection officielle). Jury Prize The winning movie is chosen by a jury from the pool of movies which are part of the festivals 'official selection' (Sélection officielle). International Jury Prize Critics Week Grand Prize Given: 2000- The award is given by the press to the best feature film in the critics week section (La Semaine de la Critique) of the festival. Journalists and film critics are invited to vote after each screening.

If the winner is a French speaker, an additional grant of EUR 3,000 will be added by the Beaumarchais Foundation. (as of 2005) Mercedes-Benz Award Given: 1993-1999 The award is given to the best feature film in the critics week section (La Semaine de la Critique) of the festival. SACD Screenwriting Award Given: 2004- The award is given to the best screenwriter of a feature film in the critics week section (La Semaine de la Critique) of the festival. SACD Award Given: 1991-1992 The award is given to the best feature and short film in the critics week section (La Semaine de la Critique) of the festival. ACID Award The award is given by a jury formed of directors, who are members of ACID, in the critics week section (La Semaine de la Critique) of the festival. Canal+ Award Given: 1992- The award is given to the best short film in the critics week section (La Semaine de la Critique) of the festival.

Kodak Short Film Award The award is given to a short film revelation. Kodak Short Film Award - Special Mention Prix Grand Cru Given: 2006- The award is given to the best screenwriter of a short or mid-length film in the critics week section (La Semaine de la Critique) of the festival. Young Critics Award Given: 2000- The award is given to the best feature and short film in the critics week section (La Semaine de la Critique) of the festival. Grand Golden Rail Given: 1995- The award is given by a group of cinephile railwaymen to the best feature film in the critics week section (La Semaine de la Critique) of the festival. Small Golden Rail Given: 1995- The award is given by a group of cinephile railwaymen to the best short film in the critics week section (La Semaine de la Critique) of the festival.

Hohoa Award Given: 2003- The award is given to the best short film script (<20min) from the French overseas territories in the critics week section (La Semaine de la Critique) (as of 2008) Golden Coach Given: 2002- The award is a tribute paid by directors - and only directors - to fellow filmmakers for their courage and intransigence in their art. It is a homage to independence and pure cinematic genius. SACD Prize (Directors' Fortnight) The award is given to a French-language feature film in the Directors Fortnight selection. Label Europa Cinemas Given: 2003- The award is given to a European film in the Directors' Fortnight (Quinzaine des Réalisateurs) section of the festival to further its distribution. C.I.C.A.E. Award Cinémas de Recherche - Special Mention SFR Prize The award is given to the most audacious French short film from the Director's Fortnight international selection. It is awarded by a jury of professionals and young directors brought together by SFR.

SACD Short Film Award Unifrance Short Film Grand Prize Given: 2008- Unifrance Short Film Special Prize Gras Savoye Award Given: 1998-2007 The juried award is given to a producer/director of the best short film from a selection of films not awarded at other international festivals. (as of 2003) Gras Savoye Award - Special Mention Perspectives du Cinéma Award Perspectives du Cinéma Award - Special Mention Young Cinema Award 'La Chance de Cannes' Award Gary Cooper Award Given: 1961, 1963 The award is given in recognition of the human valor of the film's content and treatment. International Peace Award France Culture Award Given: 1999- The award is given to a domestic and a foreign film to honor the best cineaste of the year, who is not yet known widely.

Award of the Youth Given: 1982- A jury of seven young European cineastes (age 18-25) decides on the awards given to a French and a foreign film each, a first, second or third work from the parallel sections of the festival (La Quinzaine des Réalisateurs, Un Certain Regard, La Semaine de la Critique). From 1982 to 1988 the jury had been built from five young French. Since 2003 the traditional distinction between French and foreign film has been given up and just one film is awarded. Special Award of the Youth Regards Jeunes Prize Prix Regards Jeune Given: 2003- The award is decided on by an European jury of seven young cinephiles and given to a feature film (first or second feature) in each of the two sidebars: the Directors' Fortnight and the International Critics Week. (2009) The award is given to the best feature and short film in the critics week (La Semaine de la Critique) or Directors' Fortnight (Quinzaine des Réalisateurs) section of the festival.

(old rule) Cannes Junior Award Best Film for the Youth François Chalais Award The award is given to a documentary or a feature film which best captures life. Norman McLaren Award Given: 2005- The Norman McLaren Prize, created by the National Film Board of Canada under the aegis of the Cannes Film Festival, will be presented each year to the winner of the Short Film Palme d'Or. NFB Online Short Film Competition Given: 2005- Ten finalists are selected, the winner is then decided on by the online audiences. Cinema Prize of the French National Education System Given: 2003- Award of the City of Rome American Pavillon's Emerging Filmmaker Showcase Given: 2009- The award is given to both a male and female acting revelation. (as of 2005) DVD Design Award The DVD awards aim to recompense the artistic work of film companies latest releases. The award is given for DVD releases with films released after 1 January 1979. DVD Heritage Award The award is given for DVD releases which include restored copies, exclusive notes and material.

Palme d'Or - Best Short Film Birks Canadian Diamond Un Certain Regard - Best Director Critics Week - Special Mention Un Certain Regard - Special Distinction of the Jury France 4 Visionary Award Nikon Discovery Award - Special Mention Vulcain Prize for the Technical Artist SACD Prize (Directors' Fortnight) - Special Mention Illy Prize U B U W E B - Film & Video: Pierre Coulibeuf The player will show in this paragraph Balkan Baroque 1999 To purchase a high quality DVD of this film or other films by Pierre Coulibeuf email: regardsprod@wanadoo.fr BALKAN BAROQUE: SYNOPSIS Experimental fiction. The autobiography, both real and imaginary, of Marina Abramovic, Body Art artist. The film composes the life aesthetic of a woman in her era, with a personal history strongly marked by the Yugoslavia of Tito, everyday violence, the experience of physical and psychic limits... The voluntary evocation of the past makes something more secret, more intimate crop up: an unknown evolution that is embodied in fictions felt like authentic fragments of truth.

Balkan Baroque jumps from one identity to another, from a true story to an imagination, from a dream to a ritual... - the language of the body often taking over from the word, interrupting it or, on the contrary, stimulating it. (All the images in the film are original, whether inspired by performances or purely imaginary). STATEMENT Here and now In the film Balkan Baroque, one has the impression that the character invents the past as she speaks, here and now. This past seems to have no reality outside the moment it is evoked with the force that is characteristic of film work. Here, in Balkan Baroque, it has become the present, the present of the film unwinding before the viewer's eyes. What we see on the screen is in the process of happening-it is the very gesture that is given to us and not a report on it. The universe of the film is given in a perpetual present. In other words, this biography of Marina Abramovic, which implies a number of past things, is in process of unfolding before our eyes, here and now, as we watch Balkan Baroque. 'Elsewhere' and 'formerly' do not exist.

There is no longer a true reality, inherent and external to the film, so there is no longer anything but the sole reality of the projected images. The film, the universe that it reveals, suffices by itself, at every instant, erasing itself as it goes along, within a loop that is literally never-ending. We are therefore dealing with a subjective, mental unwinding. The work Balkan Baroque is not account of an exterior reality; it is its own reality. The only time to be considered for this biography is the projection time (63'). Balkan Baroque is pure fiction, an imaginary production in which Marina Abramovic plays different roles, including the role of the artist doing performances. CONCEPTS Balkan Baroque is guided by several principles: discontinuity (black and white as structuring elements); ritualisation and frontality; fiction (and not the documentary). The black of memory, from which arise the white images of the past (the artistic rituals). The images from memory are combined with fancies, fantasies and dreamlike waking images, as well as rituals of life (the kitchen, the dining room, the gymnasium...).

The discontinuity of memory, which blends images from the past with imaginations, life rituals with artistic rituals. Depending on its visual component, the film becomes the equivalent of an 'involuntary memory', with its breaks, its oversights, its absence of chronology. Thus, one can consider the film of the image and the film of the chronological, narrative voice. (Thanks to the form of statement, the narrative voice gives rise to other images in the spectator's mind.) The visual and sound components are autonomous and constitute the audio-visual image. But the visual image and the sound image communicate with each other in an underground manner, with numerous effects of resonance. The performances are adapted - in other words, transformed by the cinematic point of view (the shot imposes its law; Marina Abramovic becomes an actress). In the film, they take on a mental appearance, like memory-images or insistent, shimmering images that suddenly force their way through, climb as far as awareness and dilate the present. Balkan Baroque creates a character whose identity is multifaceted and continually inventing itself.

In this sense, the film creates its own reality, standing 'on the borderline' between real and imaginary, without one's truly knowing what is real and what is ima-ginary. Thanks to this distance, this interval, Marina Abramovic appears behind multiple masks. The film scoffs at representation and scrambles the codes. DESCRIPTION OF THE 35mm CINEMA VERSION: BALKAN BAROQUE A film by Pierre Coulibeuf, adapted from the performance Biography by Marina Abramovic. Actors: Marina Abramovic, Ulay, Paolo Canevari, Sean Kelly, Alexander Godschalk Director of photography: Dominique Le Rigoleur (AFC) - Sound: Eddy De Cloe - Editor: Thierry Rouden - Producer: Chantal Delanoë.

Production: Regards Productions (France) / Wega-Film (Austria) / Scarabee Film Productions (The Netherlands) / INA (France) with the participation of WDR/ARTE (Germany), ORF (Austria), Ministère de la Culture et de la Communication-Délégation aux Arts Plastiques, Centre National de la Cinématographie, Dutch Filmfund, Programme MEDIA de l'Union européenne and the support of Fonds EURIMAGES du Conseil de l'Europe Genre: experimental fiction - Format: 35 mm colour (frame: 1,66) - Sound: mono - Original Negative: Kodak 35 mm - Camera: ARRIFLEX 35 BL IV S - Lens set: Zeiss G.O. - Original version: English - Running time: 63 minutes - Year: 1999. World Premiere: 28th International Film Festival Rotterdam, The Netherlands (Jan. 1999) Cinema release in the Netherlands: 1 April 1999 Cinema release in France : 15 November 2000 Biography of Pierre Coulibeuf Born in Elbeuf (France) in 1949.

Lives in Paris. Filmmaker and visual artist. (Doctoral studies in Modern Literature-thesis on Pierre Klossowski and Leopold von Sacher-Masoch). Pierre Coulibeuf uses contemporary creation as material for his artistic work. In a cross-disciplinary relation to film genres (fiction, experimental...), as well as to modes of presenting the image in motion (35mm projection, installation, video, photography), his works invent a place and a language on the borderline of the other arts, critiquing established forms and questioning representations of reality. Since 1987, he has made short and feature-length films based on the universes of Pierre Klossowski, Michelangelo Pistoletto, Marina Abramovic, Michel Butor, Jean-Marc Bustamante, Jan Fabre, Meg Stuart... His films have been selected in many international film festivals (fiction, experimental, video art). Pierre Coulibeuf makes installations with his films and photographs in galleries and museums. He has been artist invited in the International Pavillion of the Bienniale of Contemporary Art of Mercosul, Porto Alegre, Brazil, in 2005. His works are part of main public collections.

1993- Leonardo da Vinci Grant from the French Ministry of Foreign Affairs for a residency in Italy (Cinema) 1995-96- Artist in residency at the Center of Contemporary Art of the Domaine de Kerguéhennec, Brittany, France 2001- Knight of the Arts and Literature's Order FILMOGRAPHY 2002-2003 Lost Paradise 2 & 3 2006 Who's who ?

(Who's Marina Abramovic ?, Who's Michelangelo Pistoletto ?, Who's Meg Stuart?) Delectatio morosa Collection cinématographique of National museum of modern art/Centre Pompidou, Paris (France) Fonds Régional d'Art Contemporain (FRAC) de Bretagne (France) Fonds National d'Art Contemporain (FNAC), Puteaux (France) Collection Claudine et Jean-Marc Salomon, Annecy (France) Fonds Départemental d'Art Contemporain de l'Essonne (France) Sammlung Goetz, München (Germany) GAM/Galleria Civica d'Arte Moderna e Contemporanea, Torino (Italy) NBK/Neuer Berliner Kunstverein, Berlin (Germany) CINEMA RETROSPECTIVES 1991: PIERRE COULIBEUF FILMMAKER. National museum of modern art/Centre Pompidou, Paris.

2004 -2005-2006: PIERRE COULIBEUF - THE DEMON OF PASSAGE (7 films in 35 mm): Rencontres internationales de la Photographie, Arles (France); Cinémathèque de Bergen (Norway); Otago Museum, Dundin (New-Zealand) ; Roma Film Festival (Italy) ; Image Forum Festival-Experimental Film & Video, Tokyo (Japan) ; Musée des Arts Visuels, Montevideo (Uruguay) ; International Biennial of contemporary art of Mercosul, Porto Alegre (Brazil) ; Itau Cultural, Sao Paulo, Brazil ; Museo de Arte Contemporaneo (MARCO), Monterrey (Mexique) ; Komunitas Utan Kayu, Jakarta (Indonesia) ; Estudio Abierto, Buenos Aires (Argentina) ; Teatro Miela, Trieste (Italy) ; CinéMac-Musée d'art contemporain de Marseille (France) ; Museo Nacional de Bellas Arte/MNBA, Buenos Aires (Argentina) ; PULSAR Caracas 2006 (Vénézuela)...

2006 : PIERRE COULIBEUF - WIE EIN SCHATTEN IN DER FERNE / COMME UNE OMBRE LOINTAINE Retrospective in Germany: Kino Arsenal, Berlin ; Abaton-Kino, Hamburg ; Filmmuseum München ; die naTo-Cinémathèque Leipzig ; Black Box, Düsseldorf ; Filmhaus im Künstlerhaus, Nüremberg ; Kommunales Kino, Hannover ; Kommunales Kino, Freiburg. BOOKS AND CATALOGUES - PAB L'ENCHANTEUR. Musée-Bibliothèque P.A. Benoit (collection "Les Cahiers de Rochebelle"), Alès, 1991. - C'EST DE L'ART. La Différence (collection Mobile Matière) Paris, 1993. - LE BUREAU DE L'HOMME NOIR. Artist book. 100 copies, 1994. - LE GRAND RÉCIT. Texts by P. Coulibeuf et Denys Zacharopoulos.

Center for contemporary art, Domaine de Kerguéhennec, Bignan, France, 1997. - LES GUERRIERS DE LA BEAUTÉ. Texts by Bruno Di Marino et Laurent Goumarre. Yellow Now (collection Côté Cinéma), 2003. - LE DÉMON DU PASSAGE. Under the direction of Laurent Le Bon, Curator at the National Museum of Modern Art/Pompidou Center. Co-edition Yellow Now / Ministry of Foreign Affairs, 2004 (French/English/Spanish). - PISTOLETTO / L'HOMME NOIR. Texts by Pierre Coulibeuf, Michelangelo Pistoletto, Bruno Di Marino. Actes Sud, 2004. - ...WIE EIN SCHATTEN IN DER FERNE /...COMME UNE OMBRE LOINTAINE. Co-edition Fine Arts Unternehmen Books, Switzerland / French Embassy in Germany - Bureau du Cinéma - Bureau des Arts Plastiques - AFAA, 2006. - MICHEL BUTOR MOBILE.

Texts by Jean-Luc Nancy, Bruno Di Marino, Pierre Coulibeuf. Yellow Now, 2006. - PAVILLON NOIR. Interview Angelin Preljocaj, Rudy Ricciotti. Photos by Pierre Coulibeuf. Éditions Xavier Barral, 2006.

FESTIVALS / EXHIBITIONS (selection) Centre d'art contemporain, Domaine de Kerguéhennec, France Centre d'art contemporain, Vassivière en Limousin, France 1996 Centre d'art contemporain, Domaine de Kerguéhennec, France 1999 28th International Film Festival Rotterdam, The Netherlands 35th Mostra Internazionale del Nuovo Cinema de Pesaro, Italy 23th Mostra Internacional de Cinema de Sao Paulo, Brazil Image Forum Festival-Experimental Film & Video, Tokyo, Osaka, Yokohama, Fukuoka, Japan 28th International Festival New Media & New Cinema, Montreal, Canada 2001 Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain 9th BIM/Bienniale of Moving Image, Centre pour l'image contemporaine, Genève, Switzerland 2002 55th Locarno International Film Festival, Locarno, Switzerland 29th Flanders International Film Festival, Gand, Belgium 2003 32th International Film Festival Rotterdam, Rotterdam, The Netherlands 26th Göteborg Film

 Festival, Sweden Image Forum Festival-Experimental Film/Video, Tokyo, Kyoto, Yokohama, Fukuoka, Japan 4th Seoul Net & Film Festival, Seoul, Korea Museum fur Angewandte Kunst, Köln, Germany ZKM / Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany Argos Festival, Argos Galerie, Bruxelles, Belgium 10th BIM/Bienniale of Moving Image, Centre pour l'image contemporaine, Genève, Switzerland 2004 3ème Tiburon International Film Festival, California, USA 57th Locarno International Film Festival, Locarno, Switzerland Théâtre des Salins-Scène Nationale, Martigues, France Rencontres Internationales de la Photographie, Arles, France Ultima Festival, Oslo, Norway 2005 26th FilmFestival Max Ophüls Preis, Sarrebrücken, Germany Image Forum Festival-Experimental Film & Video : Tokyo (Park Tower Hall) ; Kyoto (Goethe Institut) ; Fukuoka (City Public Library) ; Nagoya (Aichi Arts Center) ; Kanazawa (21st Century Museum of Contemporary Art) ;

 Yokohama (Yokohama Museum of Art, Japan Centre d'art du Domaine départemental de Chamarande, France Rencontres Internationales de la Photographie, Arles, France 58th Locarno International Film Festival, Locarno, Switzerland Art Star 2 Video Art Biennial, Saw Gallery, Ottawa, Canada Printemps de Septembre, Toulouse, France Saw Gallery*, Ottawa, Canada 5th International Bienniale of contemporary Art of Mercosul, Porto Alegre, Brazil Museo Nacional de Artes Visuales, Montevideo, Uruguay Museo de Arte Leopoldo Gotuzzo (MALG), Pelotas, Brazil 11th Bienniale of Moving Image, Centre pour l'image contemporaine, Genève, Switzerland Centre d'art du Domaine départemental de Chamarande, France 2006 Deichtorhallen-Haus der Photographie*, Hamburg, Germany Galerie der HGB-Hochschule für Grafik und Buchkunst*, Leipzig, Germany PLAY_Gallery for still and motion pictures*, Berlin, Germany Galerie Traversée*, Munich, Germany Neues Museum Weserburg, Bremen, Germany Kulturni cent

ar Beograda, Belgrade, Serbia DIVA Fair, New York, USA LOOP Video Art*, Barcelone, Spain Bibliothèque Nationale de France, Paris, France 59th Locarno International Film Festival, Locarno, Switzerland ART FRANCE BERLIN / PLAY_Gallery for still and motion pictures*, Berlin, Germany PULSAR Caracas 2006*, Periférico Caracas (G/O), Venezuela Taïpei Poetry Festival/tpf*, Taïpei, Taiwan Musée-Château, Annecy, France ARTICLES (selection) : - Pierre-Yves Walder, "Le Who's who de Pierre Coulibeuf", Pardo News, 9 August 2006 - Lewis Segal, "Critic's choice: Highlights of Dance Camera West 2006", LOS ANGELES TIMES, 28 May 2006 - Michael Stadler, "Schöner Schwarzer Mann", Abendszeitung, München, Allemagne, 16 May 2006 - Cornelia Gockel, "Wahn und Wirklichkeit", Süddeutsche Zeitung, Allemagne, 11

 May 2006 - Zorana Djakovic, "Pariz/Beograd, srodnost po izboru", Danas, Belgrade, Serbie, 15-16 April 2006 - Jean-Luc Douin, "Somewhere in between", Le Monde, 5 April 2006 - Jacques Morice, "Somewhere in between" Télérama n° 2934, 5 April 2006 - Fabienne Arvers, "Somewhere in between", Les Inrockuptibles n° 540, 4 April 2006 - Hendrik Pupat, "Zwischen den Bildern - Pierre Coulibeuf in der Galerie der Leipziger Hochscule für Grafik und Buchkunst, Leipziger Volkszeitung, Allemagne, 3 April 2006 (et 22/3/2006 : "Schaffensprozesse") - Katrin Bettina Müller, "In viele Häute schlüpfen", Tazplan Berlin, 18 March 2006 - Birgit Kohler

, "Somewhere in between - Pierre Coulibeufs Filme", Arsenal Programme, Berlin, March 2006 - Simone Regina, "C'è il demone di Coulibeuf", Il Piccolo, Italie, 17 November 2005 - Vidya Vencatesan, "Creating accidents of destiny", DNA Mumbai, Inde, 15 October 2005 - Zehra Jumabhoy, "The Demon of Passage", TIME OUT MUMBAI, Inde, 7-20 October 2005 - Anna Ängström, "Med Kroppen som blickfang", Svenska Dagbladet, Suède, 11 October 2005 - Äsa Ekelund, "Dansfilm rymmer nagot för alla", Stockholms Fria Tidning, Suède, 7 October 2005 - Camila Molina, "Começa a 5.a Bienal do Mercosul", Arte e Lazer, 30 September 2005 - Roberto Ribeiro, "Cultura: Bienal em Pelotas em forma de videos", DIARIO

 POPULAR, Pelotas, Brésil, 10 November 2005 - Thomas Hahn, "Somewhere entre-deux", Ballettanz - Das Jahrbuch 2005, Berlin, Allemagne, August 2005 - Joanne Giger, "Image fixe, image-mouvement", Pardo News, Suisse, 3-4 August 2005 - Nelson Di Maggio, "ARTE - Mercosur y Lyon, bienales a la vista", in La Republica- Uruguay, 17 July 2005 - Frédéric Maire, "Les derniers feux d'Irène", l'Express, Suisse, July 2005 - Towheed Feroze, "Festival of documentaries - Post modernist visions coated with lust" in NEW AGE Time Out (Dhaka, Bangladesh), 25 November 2004 - Marit Stommen, "The Body Laughs Last", Ballettanz, November 2004 - PY W, "Quand le cinéma entre dans la danse", Pardo News, Suisse, 8 August 2004 - Stephan

 Urbaschek, "Pierre Coulibeuf", in catalogue Fast Forward-Media Art Sammlung Goetz, October 2003 - Gwénola Martel, "'Guerriers' d'emphase - une fiction expérimentale sur l'univers singulier du chorégraphe Jan Fabre", Libération, 17 July 2003 - Thierry Fourneau, "Les guerriers de la beauté", Zeuxis n°11, Summer 2003 - Isabelle Fajardo, "Les guerriers de la beauté", Télérama n° 2792, 19-25 July 2003 - Rosita Boisseau, "La chambre double de W.

Forsythe - Le chorégraphe, acteur de cinéma, aveugle séparé du monde", Le Monde, 26 September 2002 - Daniel Kothenschulte, "Durch die Wüste - eine Reise vom Film zur Kunst und zurück auf dem Filmfestival in Locarno", Frankfurter Rundschau, 6 August 2002 (Francfort, Allemagne) - Marc Mercier, "Vidéo, Croatie : sous le signe du quetzal", Bref n° 46, Autumn 2000 - Emmanuelle Lequeux, "Balkan Baroque", Le Monde-Aden, 15-21 November 2000 - Charles-Edouard Leroux, "Balkan baroque", Le Courrier de Mantes, 15 November 2000 - Myriam Boutoulle, "Marina Abramovic au cinéma - Balkan Baroque", Connaissance des Arts n° 577, November 2000 - Cineinfo.fr, "Balkan Baroque", 22 November 2

000 - Yann Gonzalez, "Balkan Baroque", Chronic'art, 22 November 2000 - Frédéric Bas, "Balkan Baroque", Les Cahiers du Cinéma n° 551, November 2000 - Nicolas Thély, "baroque'n' roll", Les Inrockuptibles n° 265, November.

2000 - Marine Landrot, "Balkan Baroque", Télérama n° 2653, 18-24 November 2000 - Gilles Bastogy, "Marina au 3ème degré", Cassandre n° 38, November -December 2000 - Nishijima Norio, "Imageforum Festival 1999", Image Forum-contemporary art and film journal, vol.1 n°1, Summer 1999 (Tokyo, Japon) - Bruno Di Marino, "Il demone dell'arte", Segno Cinema n° 106, November -December 2000 (Roma, Italy) - Bruno Di Marino, "Marina recita Abramovic", Ars n° 24, Decembre 1999 (Roma, Italy) - Philippe Dagen, "C'est de l'art", Le Monde-Suppl.

Radio-Télévision, 12 January 1998 - Denys Zacharopoulos, "Insomnie", Arti International n°29, May-June 1996, (Athènes, Grèce) - Dominique Rabourdin, "C'est de l'art", L'Evénement du jeudi, 17-23 June 1993 - Florence Maillet, "Paroles d'artistes", Le Jour, 16 June 1993 - Michèle Lafabrie, "C'est de l'art", L'Oeil n° 452, June 1993 INTERVIEWS (selection) : - Elfi Reiter, "La metamorfosi perpetua del guerriero della bellezza - intervista a Pierre Coulibeuf", art'O n° 20, Spring 2006 - "Image fixe, image-mouvement" in Pardo News, Festival international du Film de Locarno, Suisse, 3 et 4 August 2005 - "Entretien avec Pierre Coulibeuf" in Film De Culte ( coulib

euf1.php), interview by Julie Anterrieu, 19 July 2003 - "Le guerrier de la beauté", interview by Stéphane Delanoë in Double n° 4, Winter 2003 - "Close encounters of another kind : Pierre Coulibeuf et Jean-Marc Bustamante", interview and text in Janus n°11, Summer 2002 (Anvers, Belgique) - "Rencontre avec Pierre Coulibeuf - à propos de Balkan Baroque", interview by Marceau Aidan and Lucien Logette in Jeune Cinéma n° 265, December 2000 - "A propos de Balkan Baroque et de quelques autres films", interview by Gisèle Breteau-Skira, in Zeuxis n°1, Autumn 2000 Festival de Cannes 2016 - Official Site / Live Separate addresses with a comma Send me a copy by email I wish to receive the Festival de Cannes newsletter * * Required fields Under French law n° 78-17 of 6 January 1978, modified relating to data processing,

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Question: What did the Festival International du Film become in 2002?
Answer: Festival de Cannes