{"id":9839,"date":"2020-01-08T19:15:34","date_gmt":"2020-01-08T18:15:34","guid":{"rendered":"https:\/\/vdr.daisybell.ch\/news\/claire-denis\/"},"modified":"2024-01-15T15:48:51","modified_gmt":"2024-01-15T14:48:51","slug":"claire-denis","status":"publish","type":"invite-dhonneur","link":"https:\/\/2026.visionsdureel.ch\/en\/program\/guest-of-honour\/claire-denis\/","title":{"rendered":"Claire Denis"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\" id=\"h-a-tribute-to-one-of-the-most-iconic-contemporary-filmmakers\">A tribute to one of the most iconic contemporary filmmakers<\/h2>\n\n\n\n<p>Visions du R\u00e9el pays tribute to Claire De\u00adnis, a significant, radical and adventurous filmmaker, by awarding her the Sesterce d\u2019or Prix Raiffeisen Ma\u00eetre du R\u00e9el, She is a prominent figure in contemporary filmmaking, having directed over 30 feature-length films including six docu\u00admentaries. A selective retrospective is devoted to her work, and she will give a masterclass online during the Festival. This invitation is made in collaboration with La&nbsp;<a href=\"https:\/\/www.cinematheque.ch\/f\/\" target=\"_blank\" rel=\"noreferrer noopener\">Cin\u00e9\u00admath\u00e8que Suisse&nbsp;<\/a>and the&nbsp;<a href=\"https:\/\/www.ecal.ch\/fr\/100\/homepage\" target=\"_blank\" rel=\"noreferrer noopener\">ECAL<\/a>&nbsp;(Lau\u00adsanne University of Art and Design).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-masterclass\">Masterclass<\/h2>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"VdR2020 | Masterclass Ma\u00eetre du R\u00e9el Claire Denis (English version)\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/DSCDz-cjYBg?feature=oembed&#038;modestbranding=1&#038;showinfo=0&#038;rel=0\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n<div id=\"tabs-block_77294b0b087d9f0c1ba7e4cf0ac71d4a\" class=\"tabs\">\n\t\t<ul class=\"nav nav-tabs sticky-top\" role=\"tablist\">\n\t\t\t  \t<li class=\"nav-item\" role=\"presentation\">\n\t\t\t<a \n\t\t\t   \tclass=\"nav-link h3 mb-0 active pl-0\" \n\t\t\t   \tid=\"tab_id74-1-tab\" \n\t\t\t   \tdata-toggle=\"tab\" \n\t\t\t   \thref=\"#tab_id74-1\" \n\t\t\t   \trole=\"tab\" \n\t\t\t   \taria-controls=\"tab_id74-1\" \n\t\t\t   \taria-selected=\"true\">\n\t\t\t\t\tBiography\t\t\t<\/a>\n\t  \t<\/li>\n\t\t\t  \t<li class=\"nav-item\" role=\"presentation\">\n\t\t\t<a \n\t\t\t   \tclass=\"nav-link h3 mb-0 \" \n\t\t\t   \tid=\"tab_id38-2-tab\" \n\t\t\t   \tdata-toggle=\"tab\" \n\t\t\t   \thref=\"#tab_id38-2\" \n\t\t\t   \trole=\"tab\" \n\t\t\t   \taria-controls=\"tab_id38-2\" \n\t\t\t   \taria-selected=\"true\">\n\t\t\t\t\tFilmography\t\t\t<\/a>\n\t  \t<\/li>\n\t\t\t<\/ul>\n\t<div class=\"tab-content\">\n\t\t\t\t<div \n\t\t\t class=\"tab-pane pt-3 fade show active\" \n\t\t\t id=\"tab_id74-1\" \n\t\t\t role=\"tabpanel\" \n\t\t\t aria-labelledby=\"tab_id74-1-tab\">\n\t\t\t\t<p><!-- wp:paragraph --><\/p>\n<p>One of the most iconic figures of contemporary filmmaking, Claire Denis having spent her childhood in several African countries, comes to France as a teenager. Only then does she discover cinema, the high-school cine-club, and finally arthouse cinema at the French Cinematheque. She studies literature and economics, works for Niger\u2019s school television, and then registers at the Institute for Advanced Cinematographic Studies (IDHEC) in Paris. She directs various short films and becomes assistant director, working notably with Jacques Rivette (who will become the subject in 1990 of a documentary by Denis called\u00a0<i>Jacques Rivette, Le Veilleur<\/i>), Du\u0161an Makavejev, Roberto Enrico and Costa-Gavras. In 1983 she works with Wim Wenders on\u00a0<i>Paris, Texas<\/i>\u00a0and then on\u00a0<i>Wings of Desire<\/i>. After having assisted in 1986 Jim Jarmusch (whom she had met through musician John Lurie) on\u00a0<i>Down by Law<\/i>, she directs in 1988 her first film,\u00a0<i>Chocolat<\/i>, which is immediately selected at the Cannes Film Festival and nominated for the C\u00e9sar awards. It is also the first time she collaborates with Agn\u00e8s Godard, whom she met at La F\u00e9mis and who will become director of photography for all her films. About thirty films will follow, including six \u00a0documentaries and no fewer than 17 feature films, such as\u00a0<i>N\u00e9nette et Boni<\/i>\u00a0for which she is awarded the Golden Lion at the Venice Film Festival in 1996 and the emblematic\u00a0<i>Beau Travail<\/i>, also presented at the Venice Film Festival in 1999, as well as the striking\u00a0<i>Trouble Every Day<\/i>\u00a0with B\u00e9atrice Dalle and Vincent Gallo, screened in 2001 at Cannes Film Festival. Her last work,\u00a0<i>High Life<\/i>, as controversial as it was critically acclaimed, started its festival career in San Sebastian, Toronto and New York (2018), starring Robert Pattinson and Juliette Binoche \u2013 who had already performed in several earlier films of Denis.<\/p>\n<p>Beyond the documentaries that she has directed, Claire Denis, in her fictional or even her science-fiction works, maintains in a personal and delicate manner, a recurring relationship to \u201cthe real\u201d. By allowing the necessary space to account for the voids and the hollows, in order to render what the acting or the staging are unable to express in the tempo of the editing, or in the exploration of bodies and desire, her fiction swells with the substance of reality. Using a tangible fact as a starting point: a news item, a personal experience, the body of an actor\u2014 in this case, by appropriating the image of the latter also outside the films \u2013 Claire Denis weaves cinematographic objects that are both modern and adventurous, joyously hesitating between formal austerity and euphoric sensuality.<\/p>\n<p><!-- \/wp:paragraph --><\/p>\n\t\t<\/div>\n\t\t\t\t<div \n\t\t\t class=\"tab-pane pt-3 fade \" \n\t\t\t id=\"tab_id38-2\" \n\t\t\t role=\"tabpanel\" \n\t\t\t aria-labelledby=\"tab_id38-2-tab\">\n\t\t\t\t<ul>\n<li>High Life, 2018<\/li>\n<li>Un beau soleil int\u00e9rieur, 2017<\/li>\n<li>Le Camp de Breidjing, 2015<\/li>\n<li>Contact, 2014<\/li>\n<li>Voil\u00e0 l\u2019encha\u00eenement, 2014<\/li>\n<li>Les Salauds, 2013<\/li>\n<li>Venezia 70: Future Reloaded, 2013<\/li>\n<li>Aller au diable, 2011<\/li>\n<li>White Material, 2010<\/li>\n<li>35 rhums, 2008<\/li>\n<li>Vers Mathilde, 2005<\/li>\n<li>L\u2019Intrus, 2004<\/li>\n<li>Vendredi soir, 2002<\/li>\n<li>Vers Nancy (Segment du film Ten Minutes Older: The Cello), 2002<\/li>\n<li>Trouble Every Day, 2001<\/li>\n<li>Beau travail, 1999<\/li>\n<li>N\u00e9nette et Boni, 1996<\/li>\n<li>Nice, very Nice (Segment du film A propos de Nice, la suite), 1994<\/li>\n<li>J\u2019ai pas sommeil, 1994<\/li>\n<li>U.S. Go Home (Collection : Tous les gar\u00e7ons et les filles de leur \u00e2ge), 1994<\/li>\n<li>La Robe \u00e0 cerceau (\u00e9pisode de la s\u00e9rie Monologues), 1993<\/li>\n<li>Keep It for Yourself (Segment du film Figaro Story), 1991<\/li>\n<li>Pour Ushari Ahmed Mahmoud, Soudan (Segment de la s\u00e9rie Contre l\u2019Oubli), 1991<\/li>\n<li>Jacques Rivette, le veilleur. 1re partie : le jour (Collection : Cin\u00e9aste de notre temps), 1990<\/li>\n<li>Jacques Rivette, le veilleur. 2e partie : la nuit (Collection : Cin\u00e9aste de notre temps), 1990<\/li>\n<li>S\u2019en fout la mort, 1990<\/li>\n<li>Man No Run, 1989<\/li>\n<li>Chocolat, 1988<\/li>\n<li>Le 15 Mai, 1969<\/li>\n<\/ul>\n\t\t<\/div>\n\t\t\t<\/div>\n\t<\/div>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-programme-of-the-retrospective\">&nbsp;Programme of the retrospective<\/h2>\n\n\n<\/div>\n<\/div>\n<div class=\"row mt-3 px-1 justify-content-center\">\n  <\/div>\n<div class=\"row mt-4\">\n<div class=\"col-12 col-sm-10 col-md-9 col-lg-7 col-xl-6 mx-auto\">\n","protected":false},"excerpt":{"rendered":"<p>A tribute to one of the most iconic contemporary filmmakers Visions du R\u00e9el pays tribute to Claire De\u00adnis, a significant,<\/p>\n","protected":false},"featured_media":9220,"menu_order":0,"template":"","meta":{"_acf_changed":false},"class_list":["post-9839","invite-dhonneur","type-invite-dhonneur","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/2026.visionsdureel.ch\/en\/wp-json\/wp\/v2\/invite-dhonneur\/9839","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/2026.visionsdureel.ch\/en\/wp-json\/wp\/v2\/invite-dhonneur"}],"about":[{"href":"https:\/\/2026.visionsdureel.ch\/en\/wp-json\/wp\/v2\/types\/invite-dhonneur"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/2026.visionsdureel.ch\/en\/wp-json\/wp\/v2\/media\/9220"}],"wp:attachment":[{"href":"https:\/\/2026.visionsdureel.ch\/en\/wp-json\/wp\/v2\/media?parent=9839"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}