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The real story of George VI The King’s Speech :

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And just for fun, the swearing scene :

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Bright Star passe actuellement en VO au Lido à St Raphaël :

Voici les horaires :

BRIGHT STAR (v.o .) jeu 15h50 21h ven lun 14h 18h15 dim 18h40 mar 15h50

  this poem is  by John Keats, nowadays considered one of the major romantic poets.
   The sonnet “Bright Star” was adapted for Fanny Brawne, whom the poet was engaged to in the last years of his life.  Jane Campion based her biopic on John Keats’ ultimate years and the passion he and Fanny Brawne felt for each other.  Here is the trailer :

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Nelson Mandela’s biography is here

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Deux autres films britanniques sont à l’affiche.

Fish Tank, primé à Cannes (prix du jury). Il passe bientôt, allez le voir !

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Read more about it here

Read this article about films and video on demand.

from : http://www.economist.com

CANNES was quiet this week. Although the stars and the paparazzi went through the usual red-carpet routine, there was less extravagance and a smaller contingent of film-buyers than usual. Yet for makers of independent films, that was not the end of the world. In their business the action increasingly takes place not on the French Riviera but in American living rooms. Tricky, intelligent films are finding a home in the least glamorous corner of the television business.

Getting independent films into cinemas, never easy, has become much harder in the past year. Some specialist distributors, such as Warner Independent Pictures, have closed and others are buying fewer films. The credit crunch and the strong dollar have cut foreign sales. Meanwhile cheap digital-video cameras and editing software have produced a flood of content. Some 5,500 films are chasing buyers in Cannes this year. Last year just 606 new films were released in American cinemas. Many lost money. “The economics just do not make sense,” says Jonathan Sehring of IFC Films, an independent distributor.

Hence the rapid growth of an alternative. This year IFC will release about 100 films “on demand”, meaning they can be called up for a fee in most households that get their television via cable or satellite.

The reason for the rush is that, for low-budget films, the economics of video on demand do make sense. Cable companies, which take a cut when they sell a film, help with advertising. Mr Sehring says IFC makes about as much when a film is sold on demand as when a punter buys a cinema ticket, even though the ticket costs almost twice as much. He reckons he recoups his costs and returns money to filmmakers more than half the time—not bad for films that might otherwise have disappeared without trace.

It also makes sense to concentrate on a single marketing push. Heavy advertising helps keep blockbusters in people’s minds. But small, independent films are easily forgotten.

EPAThe action is on TV

By launching their creations on cable, filmmakers must give up the dream of creating a hugely profitable surprise hit like “Napoleon Dynamite”.

Distributors are learning what kinds of films are best suited to video on demand. Eamonn Bowles, Magnolia’s president, says it helps greatly if films are susceptible to brief synopsis. That means well-known names and obedience to genre conventions.  Documentaries may be better suited to the internet, since it caters so well to special-interest groups.

Whether accessed via cable television or the internet, video on demand is likely to grow. America’s suburbs are becoming much more diverse places, with more ethnic minorities, more people with degrees and more gays, according to Gary Gates, a demographer at the University of California, Los Angeles. The potential audience for independent films is thus dispersing beyond the places where independent cinemas are concentrated. Not everybody lives near an art-house cinema, but almost everybody has a remote control.