UR professor and French Film Festival director

VCU professor and French Film Festival director

French director and Director of Photography, President of the CST (Commission Supérieure Technique de l’Image et du Son), Professor of Cinematography at La FEMIS-Paris

Pierre-William Glenn, after receiving several degrees in mathematics, embarked on a career in the film industry that has proven to be key and essential to the quality and advances in filmmaking in France and abroad. In 1968, he became chief camera operator on Peter Goldman’s film Wheels of Ashes. In the years 1974-1975, he made a feature-length documentary dedicated to his passion for motorcycles: Le cheval de fer (The Iron Horse). As a cinematographer, he has worked on more than 70 films since 1979. As a director and director of photography, he has worked with many different directors such as François Truffaut, Maurice Pialat, Claude Lelouch, Yves Boisset and Bertrand Tavernier. Pierre-William Glenn is a founding member and served from 1997 to 2000 as president of the AFC (French Association of Directors of Photography). Since 2002, he has been the President of the CST (Commission supérieure et technique de l’image et du son) and co-director of the Image Department at La FEMIS since 2005. In 2003, he fought for the creation of jury to present an award for Best Artist-Technician at the Festival de Cannes; an idea that saw the light of day with the Vulcain Prize.

French Director

With degrees from both the Université de Paris IX and La FEMIS, Krawczyk signed in 1986 the contract for his first feature Je hais les acteurs, for which he received a César nomination and also the Michel Audriard award.  He then immediately followed up with L’été en pente douce.  In 1997 after making numerous films for the advertising world, Krawczyk returned to features with Heroïnes, a musical film illustrating the making of pop-stars well before Star Academy.  During this same time, Krawczyk also began his nine years of collaboration with Luc Besson, who produced Krawczyk’s Taxi 2, Wasabi, Taxi 3, and Fanfan la tulipe (which opened the 56^th Cannes Film Festival).  In 2005, he co-produced and directed La Vie est à nous! where he returned to the personal style of his earlier films.  His tenth film, L’Auberge rouge, takes the viewer where a universe of visuals and sound is paired with a well-known, more-than-disturbing serial-crime story, a rare feat in comedy. From 2000 to 2010, Gérard Krawczyk is recognized as the most successful director at the French box-office, just behind Peter Jackson (Lord of the Rings, King Kong…) with more than 25 million entries.

Director at the Cinémathèque française for Cinema Cultural Heritage and the Conservatory of Cinematographic Techniques & Equipment

Laurent Mannoni is the Scientific Director of Cultural Heritage and the Conservatory of Cinematographic Techniques at La Cinémathèque française. He is the author and has co-authored numerous scholarly publications on early cinema : The Great Art of Light and Shadow : Archaeology of the Cinema ;  L’oeuvre de Georges Méliès ; Georges Demeny : pionnier du cinema ; Lanterne magique et film peint; Les premières années de la Société  Gaumont ; Lettres d’Etienne-Jules Marey à Georges Demenÿ; The Art of Illusion; Antoine cineaste. In 2006, he published Histoire de la Cinémathèque française, which was awarded best book on cinema in 2006 by the French Union of Film Critics.  In addition his duties as Department Director of the Cinémathèque française, Mannoni is an active member and researcher of  the Association française de recherche sur l’histoire du cinéma and has organized for the Cinémathèque française and other museums numerous exhibitions on early cinema and its inventions and equipment.

French director and Director of Photography, President of the CST (Commission Supérieure Technique de l’Image et du Son), Professor of Cinematography at La FEMIS-Paris

Pierre-William Glenn, after receiving several degrees in mathematics, embarked on a career in the film industry that has proven to be key and essential to the quality and advances in filmmaking in France and abroad. In 1968, he became chief camera operator on Peter Goldman’s film Wheels of Ashes. In the years 1974-1975, he made a feature-length documentary dedicated to his passion for motorcycles: Le cheval de fer (The Iron Horse). As a cinematographer, he has worked on more than 70 films since 1979. As a director and director of photography, he has worked with many different directors such as François Truffaut, Maurice Pialat, Claude Lelouch, Yves Boisset and Bertrand Tavernier. Pierre-William Glenn is a founding member and served from 1997 to 2000 as president of the AFC (French Association of Directors of Photography). Since 2002, he has been the President of the CST (Commission supérieure et technique de l’image et du son) and co-director of the Image Department at La FEMIS since 2005. In 2003, he fought for the creation of jury to present an award for Best Artist-Technician at the Festival de Cannes; an idea that saw the light of day with the Vulcain Prize.

Director and Director of Photography

After graduating from ESN Louis Lumière, Gilles Porte became assistant cameraman in 1989, working on film productions with directors such as Jacques Audiard, Marcel Carné, Raoul Ruiz, Maroun Bagdadi, Patrice Cherreau, Costa Gavras, and Xavier Durringer. He became a director of photography in 1998 for directors such as John Lvoff, Christian Philibert, Olivier Jahan and Xavier Durringer (La Conquête). When the Sea Rises (2004) was his first feature film, which he co-directed with the French actress Yolande Moreau.  Dessine-toi is his latest film and he continues adding to the amazing project Portraits, Autoportraits during his travels for cinema throughout the world.

American director and Director of Photography

Director and Professor of VCUarts Cinema

Rob Tregenza has written, directed and photographed three award-winning independent feature films, films that have been screened at the Cannes Film Festival in the “Certain Regard” category and the Berlin Film Festival in the Panorama section. Over the years, his films have also appeared at the festivals of Toronto, Sundance, Rotterdam and Edinburgh.

His work has been positively reviewed in The New York Times, The Chicago Tribune and The Los Angeles Times and by such prominent critics as Vincent Canby, Dave Kehr, Jonathan Rosenbaum and Roger Ebert. A retrospective of his feature films was shown at the National Gallery of Art in Washington D.C. in 1999. But perhaps the highest recognition has been the attentions of one of the most important European Directors of the 20th Century, Jean-Luc Godard, who hand-selected Tregenza’s Talking to Strangers to screen again at the 1996 Toronto International Film Festival. Godard describes passages in Tregenza’s films as, “remarkable and at times astonishing, that is, softly imbued with the marvelous.” He further explains that in Tregenza’s cinematic world, “reality walks hand in hand with fiction”.

The essay, “Cinq Lettres a et et sur Rob Tregenza” (Five Letters to and about Rob Tregenza) appears in the book Jean-Luc Godard: Documents, published in 2006 by the modern and contemporary art institution of Paris, Le Centre Pompidou. Tregenza has also had an award-winning career as a television commercial director and cameraman for clients like IBM, DuPont, CSX, Blue Cross Blue Shield and numerous non-profits and has worked as a Director of Photography for other independent filmmakers such as Bela Tarr and Alex Cox.

Rob has shot extensively in Africa, South America, Asia, Eastern Europe, Spain and the United Kingdom. He received his PhD from UCLA and is Founder and Director of the Tampa International Film Festival. With his wife JK Eareckson, Tregenza distributes independent and foreign films in the United States through their company Cinema Parallel.

President and Professor of Louis Lumière – National Film School

Francine Lévy, president of ENS Louis Lumière, is an architect and professor.  Her research investigates images in relation to time, photography, cinema, animation, comics, architecture, perspective, light, framing, and the human body. She teaches special effects and digital imaging and contributes her expertise in these areas to the French film industry.  Her publications also focus on the relationships between painting/cinema and time.

French director and Director of Photography, President of the CST (Commission Supérieure Technique de l’Image et du Son), Professor of Cinematography at La FEMIS-Paris

Pierre-William Glenn, after receiving several degrees in mathematics, embarked on a career in the film industry that has proven to be key and essential to the quality and advances in filmmaking in France and abroad. In 1968, he became chief camera operator on Peter Goldman’s film Wheels of Ashes. In the years 1974-1975, he made a feature-length documentary dedicated to his passion for motorcycles: Le cheval de fer (The Iron Horse). As a cinematographer, he has worked on more than 70 films since 1979. As a director and director of photography, he has worked with many different directors such as François Truffaut, Maurice Pialat, Claude Lelouch, Yves Boisset and Bertrand Tavernier. Pierre-William Glenn is a founding member and served from 1997 to 2000 as president of the AFC (French Association of Directors of Photography). Since 2002, he has been the President of the CST (Commission supérieure et technique de l’image et du son) and co-director of the Image Department at La FEMIS since 2005. In 2003, he fought for the creation of jury to present an award for Best Artist-Technician at the Festival de Cannes; an idea that saw the light of day with the Vulcain Prize.

American director and Director of Photography, Director and Professor  of VCUarts Cinema

Rob Tregenza is an American director and cinematographer. He has directed a number of independent films such as Talking to Strangers (1987), The Arc (1991) and Inside/Out (1997), shown at international film festivals. Jean-Luc Godard, one of the most important French directors of the twentieth century, has praised Tregenza’s films and personally chose to showcase Talking to Strangers at the 1996 Toronto Film Festival. With his wife JK
Eareckson, Tregenza distributes independent and foreign films in the United States through their company Cinema Parallel. Tregenza is the founder and director of the cinema production program, VCUarts Cinema at Virginia Commonwealth Unviersity.

Director of U of R Film Production

David Burkman received his M.F.A. in Film Production at The University of Southern California. His award winning short film, Breaking Up With Maggie Moore aired on the Independent Film Channel (IFC) to critical acclaim. He is currently in postproduction on his first full-length feature film, Haze.

Producer, director and screenwriter.  Programmer and Director of “Cinéma de Cinéastes” in Paris

Michel Ferry began his career in 1982 as a prop intern on the Joseph Losey film La Truite (The Trout). After several years of assistantship (working with Patrice Leconte, Louis Malle, etc.), he directed his first feature film in 1996 entitled Hantises. He shot in New York his second feature film Aller simple pour Manhattan (Petty Crimes) in 2002. While continuing to work as a director and a producer on other film projects, he continues to write and direct his own films. Michel Ferry also programs and directs the operations of the independent cinema house in Paris “Cinéma de Cinéastes”, the showcase of L’ARP (Authors, Directors and Producers Guild).

French Director

With degrees from both the Université de Paris IX and La FEMIS, Krawczyk signed in 1986 the contract for his first feature Je hais les acteurs, for which he received a César nomination and also the Michel Audriard award.  He then immediately followed up with L’été en pente douce.  In 1997 after making numerous films for the advertising world, Krawczyk returned to features with Heroïnes, a musical film illustrating the making of pop-stars well before Star Academy.  During this same time, Krawczyk also began his nine years of collaboration with Luc Besson, who produced Krawczyk’s Taxi 2, Wasabi, Taxi 3, and Fanfan la tulipe (which opened the 56^th Cannes Film Festival).  In 2005, he co-produced and directed La Vie est à nous! where he returned to the personal style of his earlier films.  His tenth film, L’Auberge rouge, takes the viewer where a universe of visuals and sound is paired with a well-known, more-than-disturbing serial-crime story, a rare feat in comedy. From 2000 to 2010, Gérard Krawczyk is recognized as the most successful director at the French box-office, just behind Peter Jackson (Lord of the Rings, King Kong…) with more than 25 million entries.

Film Critic

Jean-Jacques Bernard graduated from Sciences Po Paris in 1974. He began his career as a journalist for French television station Antenne 2 in 1978 and for Première magazine from 1979 to 2001. A radio commentator on France Inter for over 22 years, Bernard’s career includes also being editor-in-chief of the program Boulevard du classique on the television channel Ciné Cinéma Classic. He served as president of the French Union of Film Critics and has not only conducted many interviews with filmmakers for the French channel Canal+ but has also written and directed documentaries, such as Lubitsch, le patron and Hitchcock et la Nouvelle Vague. He recently published the book Petit éloge du cinéma.

Film critic

Jonathan Rosenbaum is one of the best known and respected film critics in the United States. He was the leading film critic at the Chicago Reader and has also written articles for film journals and magazines such as Cahier du cinéma, Trafic and Film Comment. He has published a multitude of books on cinema as well as essays on specific movies, such as Dead Man. Rosenbaum has also launched a website where he archives all of his journalistic work.

Film Critic

Jean-Jacques Bernard graduated from Sciences Po Paris in 1974. He began his career as a journalist for French television station Antenne 2 in 1978 and for Première magazine from 1979 to 2001. A radio commentator on France Inter for over 22 years, Bernard’s career includes also being editor-in-chief of the program Boulevard du classique on the television channel Ciné Cinéma Classic. He served as president of the French Union of Film Critics and has not only conducted many interviews with filmmakers for the French channel Canal+ but has also written and directed documentaries, such as Lubitsch, le patron and Hitchcock et la Nouvelle Vague. He recently published the book Petit éloge du cinéma.

French author, translator and literary editor

Novelist, screenwriter and literary collection editor, Patrick Raynal is curious about life and has a vowed passion for roman noir, thrillers. A huge fan of Raymond Chandler thrillers, he became a literary critic — specializing in detective novels — for Le Monde des livres. He published his first novel, Un Tueur dans les arbres, in 1982. Several novels later, he was awarded the Prix Mystère de la Critique for his book Fenêtres sur femmes in 1989.  Patrick was offered the editor position Gallimard for its famous collection Série Noire (created by Marcel Duhamel) and the collection Fayard Noir. From 1992 to 2005, he and his wife Arlette Lauterbach, have been responsible for discovering, translating into French, and promoting many American authors (Sam Millar, Tom Epperson, James Sallis, Scott Phillips, Donald Ray Pollack). For La Branche editions, Raynal is directing the project Vendredi 13 which pulls together the talents of thirteen different writers (Pierre Bordage, Michel Quint, Jean-Bernard Pouy, Patrick Chamoiseau, Jean-Marie Laclavetine, Pierre Pelot and others).  The thirteen novels from the project will be then adapted for television and/or cinema by Raynal for Agora Films. Patrick is also known for his contributions to comic strips and in addition to his collaboration with Jean-Bernard Pouy in writing Guillaume Nicloux’s film Le Poulpe in 1998.

President, Les Indépendants du Premier Siècle

Marc Sandberg is president of the association Les Indépendants du Premier Siècle. A specialist of early silent film and music, Marc Sandberg curated and organized for the Musée d’Orsay from 1995 to 1996 the exhibition “Musique et cinéma muet”. In 2004, he wrote the screenplay for the four-part Ciné Cinéma Classic television docu-series Premiers regards, which recounts the story of cinema from its birth through the 40s. In the spring of 2007, he curated the exhibitions Éclair 1907-2007 and Crime on Screen.  Sandberg is the owner and rights-holder to many rare Éclair silent films.

President, Les Indépendants du Premier Siècle

Marc Sandberg is president of the association Les Indépendants du Premier Siècle. A specialist of early silent film and music, Marc Sandberg curated and organized for the Musée d’Orsay from 1995 to 1996 the exhibition “Musique et cinéma muet”. In 2004, he wrote the screenplay for the four-part Ciné Cinéma Classic television docu-series Premiers regards, which recounts the story of cinema from its birth through the 40s. In the spring of 2007, he curated the exhibitions Éclair 1907-2007 and Crime on Screen.  Sandberg is the owner and rights-holder to many rare Éclair silent films.

French director and Director of Photography, President of the CST (Commission Supérieure Technique de l’Image et du Son), Professor of Cinematography at La FEMIS-Paris

Pierre-William Glenn, after receiving several degrees in mathematics, embarked on a career in the film industry that has proven to be key and essential to the quality and advances in filmmaking in France and abroad. In 1968, he became chief camera operator on Peter Goldman’s film Wheels of Ashes. In the years 1974-1975, he made a feature-length documentary dedicated to his passion for motorcycles: Le cheval de fer (The Iron Horse). As a cinematographer, he has worked on more than 70 films since 1979. As a director and director of photography, he has worked with many different directors such as François Truffaut, Maurice Pialat, Claude Lelouch, Yves Boisset and Bertrand Tavernier. Pierre-William Glenn is a founding member and served from 1997 to 2000 as president of the AFC (French Association of Directors of Photography). Since 2002, he has been the President of the CST (Commission supérieure et technique de l’image et du son) and co-director of the Image Department at La FEMIS since 2005. In 2003, he fought for the creation of jury to present an award for Best Artist-Technician at the Festival de Cannes; an idea that saw the light of day with the Vulcain Prize.

Director at the Cinémathèque française for Cinema Cultural Heritage and the Conservatory of Cinematographic Techniques & Equipment

Laurent Mannoni is the Scientific Director of Cultural Heritage and the Conservatory of Cinematographic Techniques at La Cinémathèque française. He is the author and has co-authored numerous scholarly publications on early cinema : The Great Art of Light and Shadow : Archaeology of the Cinema ;  L’oeuvre de Georges Méliès ; Georges Demeny : pionnier du cinema ; Lanterne magique et film peint; Les premières années de la Société  Gaumont ; Lettres d’Etienne-Jules Marey à Georges Demenÿ; The Art of Illusion; Antoine cineaste. In 2006, he published Histoire de la Cinémathèque française, which was awarded best book on cinema in 2006 by the French Union of Film Critics.  In addition his duties as Department Director of the Cinémathèque française, Mannoni is an active member and researcher of  the Association française de recherche sur l’histoire du cinéma and has organized for the Cinémathèque française and other museums numerous exhibitions on early cinema and its inventions and equipment.

Director, Department for Cinema Projection Standards at the CST (Commission Supérieure Technique de l’Image et du Son

Alain Besse studied sound engineering at ENS Louis Lumière then joined the CST (Commission supérieure de l’image et du son) in 1979.  He is responsible for cinema projection design  and  the implementation of technical standards recommended by the CST, particularly in the field of digital cinema. He is also an expert advisor for the CNC (Centre national du cinema et de l’image animée) Technical Industries Commission. In 2007, he published Salles de projection, salles de cinéma : conception, réalisation, exploitation , the reference book on cinematographic techniques and equipment recommended for use in cinemas and projection booths. Each year, he is the technical manager for the screenings at the Cannes International Film Festival and for the Marché du Film at Cannes.

 Inventor and Camera  Designer. Founder and President of Aaton

Jean-Pierre Beauviala is an engineer, an architect, an electronics expert, and an inventor. He graduated in 1962 from the University of Grenoble, where he obtained his doctorate in electronics. First, he worked as a consultant for the camera manufacturer Éclair, where he created the quartz motor. Then in 1971, he founded in Grenoble the Aaton firm, a French manufacturer of cinematographic equipment.  He holds patents to numerous inventions for his company: camera time codes, the Cantar (digital sound recorder), 3-perf 35mm technology not to mention the conception of cameras for a cinema of proximity (la paluche and the caméra-brousse).  He has worked closely with Jean-Luc Godard, Jean Rouch, Raymond Depardon. With Godard, Beauviala wrote the book Genesis of a Camera.

French director and Director of Photography, President of the CST (Commission Supérieure Technique de l’Image et du Son), Professor of Cinematography at La FEMIS-Paris

Pierre-William Glenn, after receiving several degrees in mathematics, embarked on a career in the film industry that has proven to be key and essential to the quality and advances in filmmaking in France and abroad. In 1968, he became chief camera operator on Peter Goldman’s film Wheels of Ashes. In the years 1974-1975, he made a feature-length documentary dedicated to his passion for motorcycles: Le cheval de fer (The Iron Horse). As a cinematographer, he has worked on more than 70 films since 1979. As a director and director of photography, he has worked with many different directors such as François Truffaut, Maurice Pialat, Claude Lelouch, Yves Boisset and Bertrand Tavernier. Pierre-William Glenn is a founding member and served from 1997 to 2000 as president of the AFC (French Association of Directors of Photography). Since 2002, he has been the President of the CST (Commission supérieure et technique de l’image et du son) and co-director of the Image Department at La FEMIS since 2005. In 2003, he fought for the creation of jury to present an award for Best Artist-Technician at the Festival de Cannes; an idea that saw the light of day with the Vulcain Prize.

President of L’E.S.T (Special Effects & Technologies), President of ADN (Digital Double Agency), Vice President of the CST (Commission Supérieure Technique de l’Image et du Son) and President of the CNC Commission Grants to Cinema Technologies.

Graduate from the cinema school Louis Lumiere, Christian Guillon was director of photography before specializing in visual effects. As a special effects supervisor, he created his own company, L’E.S.T., which has worked on hundred of features films for French directors such as Jacques Perrin (Océans), Claude Nuridsany and Marie Pérennou (Genesis) or Mathieu Kassovitz (Crimson rivers). L’E.S.T. has served as visual effects producer on American films as well, such as Lord of War and Marie Antoinette (2005).

Director of Photography & Digital Imaging

Philippe Ros graduated from the ESN Louis Lumière in 1974. He spent 11 years working as a camera assistant for various directors, including Bernard Lutic, Gerry Fisher and Michaël Seresin. His first experience as a professional director of photography was in 1985 when working on an American production about the Tour de France. Philippe Ros specialized in shoulder-held camera work used to film live concerts, music documentaries, commercials, and corporate films. As a director of photography, he has worked on the lighting design of several TV movies and feature films. Early in his career, Philippe Ros became interested in digital cameras. He has become an expert in the field and has spoken at many international conferences and seminars. With his knowledge of digital cameras, Philippe Ros has also supervised the cinematography of feature films like Yann Arthus-Bertrand’s Home (2009) and Jacques Perrin’s Oceans (2010).

Director, Department for Cinema Projection Standards at the CST (Commission Supérieure Technique de l’Image et du Son)

Alain Besse studied sound engineering at ENS Louis Lumière then joined the CST (Commission supérieure de l’image et du son) in 1979.  He is responsible for cinema projection design  and  the implementation of technical standards recommended by the CST, particularly in the field of digital cinema. He is also an expert advisor for the CNC (Centre national du cinema et de l’image animée) Technical Industries Commission. In 2007, he published Salles de projection, salles de cinéma : conception, réalisation, exploitation , the reference book on cinematographic techniques and equipment recommended for use in cinemas and projection booths. Each year, he is the technical manager for the screenings at the Cannes International Film Festival and for the Marché du Film at Cannes.

President of Digimage, CMC (Cinéma Multimédia Communication), LVT (Laser Video Titles, and Def2Shoot

In 1979, Denis Auboyer had a mission: develop a laser subtitling technique that would replace the chemical process. After a long test period and the setting up of a video laboratory (CMC) in 1984, laser subtitling saw the light of day in 1988. LVT was launched. Clint Eastwood’s Bird inaugurated Auboyer’s innovative technique. It is the subtitling process adopted by all the major film production studios and laboratories in Europe and the United States and is used by the Cannes Film Festival. Today, Auboyer is the CEO of Digimage, a company that provides the necessary skills and resources in both the postproduction and the restoration of films.

General Director of Digimage

Angelo Cosimano is a specialist on the economic impact of technological advances in the audiovisual sector. He made very significant contributions to two revolutionary technologies. During the 1980s, he contributed significantly to camcorder and betacam formats. In the 1990s, while working for Télétola, Cosimano contributed to advances made on editing systems and implemented the first integrated post-production structure for digital image and sound applications. Since 2001, he has directed the post-production division at Digimage (specializing in high definition formats) and has directly contributed to the creation of Digimage Cinema. Angelo Cosimano sits on the Board of the CST as well as on the CNC Certification Commission. In 2011, he was appointed to the Commission for Grants to the Cinema Technologies in the region l’Ile de France.

President of L’E.S.T (Special Effects & Technologies), President of ADN (Digital Double Agency), Vice President of the CST (Commission Supérieure Technique de l’Image et du Son) and President of the CNC Commission Grants to Cinema Technologies.

Graduate from the cinema school Louis Lumiere, Christian Guillon was director of photography before specializing in visual effects. As a special effects supervisor, he created his own company, L’E.S.T., which has worked on hundred of features films for French directors such as Jacques Perrin (Océans), Claude Nuridsany and Marie Pérennou (Genesis) or Mathieu Kassovitz (Crimson rivers). L’E.S.T. has served as visual effects producer on American films as well, such as Lord of War and Marie Antoinette (2005).

Director of Photography & Digital Imaging

Philippe Ros graduated from the ESN Louis Lumière in 1974. He spent 11 years working as a camera assistant for various directors, including Bernard Lutic, Gerry Fisher and Michaël Seresin. His first experience as a professional director of photography was in 1985 when working on an American production about the Tour de France. Philippe Ros specialized in shoulder-held camera work used to film live concerts, music documentaries, commercials, and corporate films. As a director of photography, he has worked on the lighting design of several TV movies and feature films. Early in his career, Philippe Ros became interested in digital cameras. He has become an expert in the field and has spoken at many international conferences and seminars. With his knowledge of digital cameras, Philippe Ros has also supervised the cinematography of feature films like Yann Arthus-Bertrand’s Home (2009) and Jacques Perrin’s Oceans (2010).

French Directors

Marie Pérennou and Claude Nuridsany have been working together since 1969, after they both received a Master’s degree in Biology at Diderot University, Paris. They are co-directors, screenwriters, and directors of photography for their films like Microcosmos (1995), Genesis (2002), and The Field of Enchantment (2011). For their film Microcosmos, they received the Vulcain Prize at the Festival de Cannes in 1996, and the César award for Best Cinematography in 1997. They also have received the NIEPCE award for their photographic work, which has been presented at many exhibitions both in France and abroad. Marie Pérennou and Claude Nuridsany have also written several books, including Photographing Nature from Magnifying Glass to Microscope (1975), Seeing the Invisible (1978), La Plante des insectes (1983), Les Amphibiens (1984).

French Directors

Marie Pérennou and Claude Nuridsany have been working together since 1969, after they both received a Master’s degree in Biology at Diderot University, Paris. They are co-directors, screenwriters, and directors of photography for their films like Microcosmos (1995), Genesis (2002), and The Field of Enchantment (2011). For their film Microcosmos, they received the Vulcain Prize at the Festival de Cannes in 1996, and the César award for Best Cinematography in 1997. They also have received the NIEPCE award for their photographic work, which has been presented at many exhibitions both in France and abroad. Marie Pérennou and Claude Nuridsany have also written several books, including Photographing Nature from Magnifying Glass to Microscope (1975), Seeing the Invisible (1978), La Plante des insectes (1983), Les Amphibiens (1984).

French director and Director of Photography, President of the CST (Commission Supérieure Technique de l’Image et du Son), Professor of Cinematography at La FEMIS-Paris

Pierre-William Glenn, after receiving several degrees in mathematics, embarked on a career in the film industry that has proven to be key and essential to the quality and advances in filmmaking in France and abroad. In 1968, he became chief camera operator on Peter Goldman’s film Wheels of Ashes. In the years 1974-1975, he made a feature-length documentary dedicated to his passion for motorcycles: Le cheval de fer (The Iron Horse). As a cinematographer, he has worked on more than 70 films since 1979. As a director and director of photography, he has worked with many different directors such as François Truffaut, Maurice Pialat, Claude Lelouch, Yves Boisset and Bertrand Tavernier. Pierre-William Glenn is a founding member and served from 1997 to 2000 as president of the AFC (French Association of Directors of Photography). Since 2002, he has been the President of the CST (Commission supérieure et technique de l’image et du son) and co-director of the Image Department at La FEMIS since 2005. In 2003, he fought for the creation of jury to present an award for Best Artist-Technician at the Festival de Cannes; an idea that saw the light of day with the Vulcain Prize.

French director and screenwriter

René Vautier is a French filmmaker and screenwriter. He led his first militant activity during the Resistance in 1943 at the age of 15 and was awarded the French Croix de Guerre (military award) at the age of 16. He directed his first feature film in 1950, Afrique 50, which was censured and for which he was condemned before being internationally recognized. He then, in France, joined the National Liberation Front for the independence of Algeria. Director of the Algerian Audio-Visual Centre (1962-1965), he was also the secretary general of Cinémas Populaires. He pursued his anticolonial cinematographic activism particularly with the film To Be Twenty in the Aurès, one of the very few films devoted to the war in Algeria, which also faced censure before receiving the International Critics Award at the Cannes Film Festival in 1972. A rebellious and profound screenwriter, he would come to know, again and again, the wrath of censure. Imprisonments, hunger strikes, but also numerous prizes mark his career. In 1998, René Vautier published Caméra citoyenne, a book in which he recounts his life as a filmmaker and his fight against censorship in France.

No infos

Professor of Film Studies at the University of Paris

Graduate from L’Ecole Normale Supérieure, Brenez has published extensively her research on avant-garde cinema. In addition to her scholarly books like Abel Ferrara – Contemporary Film Directors, many important contributions to film studies by Brenez can be found in journals such as Trafic, Cinémathèque and Simulacres.  She is the editor of several collective books : Poétique de la couleur (1998), Jean-Luc Godard : Documents (2006). She notably carried out the publication of Une caméra à la place du cœur by Philippe Garrel and Thomas Lescure, and Un Chant d’amour de Jean Genet by Jane Giles. She has also designed and organized a large number of film events and film retrospectives, for example, Immarcescible cinéma with le Studio 24 (1989), L’inavouable. L’image selon Jean-Luc Godard with Extérieur Nuit (1991) and Jeune, dure et pure, une histoire du cinéma d’avant-garde en France (2000). Since 1996, she has been curating and organizing the series of avant-garde film screenings for the Cinémathèque française.

French Director

Vincent Glenn, after graduation from the ESN Louis Lumière in 1989, immediately began directing short films, most of which were broadcast on the French-German television channel Arte. In 1995 he started making documentaries, Les Enfants du raï. From the very start of his career, all of Glenn’s films strive to help us understand our world and to question practices which endanger humanity itself.  His films, like Davos, Porto Alegre et autres batailles (2003) and Pas assez de volume (2004), underline the importance film can have as a creative medium impacting mankind’s hope and progress toward an enlightened  future, a healthier world with social and economic justice for all. Vincent Glenn’s filmmaking engages us in that process that Bertrand Tavernier sums up in his expression “images/films are weapons of mass construction”. In 1968, Robert F. Kennedy, on the campus of the University of Kansas, stated the economic index Gross National Product, now GDP, “measures everything, in short, except that which makes life worthwhile.” Vincent Glenn’s latest film, Indices (2011) goes after these indicators skewing the true costs of economic globalization.

Director and Director of Photography

After graduating from ESN Louis Lumière, Gilles Porte became assistant cameraman in 1989, working on film productions with directors such as Jacques Audiard, Marcel Carné, Raoul Ruiz, Maroun Bagdadi, Patrice Cherreau, Costa Gavras, and Xavier Durringer. He became a director of photography in 1998 for directors such as John Lvoff, Christian Philibert, Olivier Jahan and Xavier Durringer (La Conquête). When the Sea Rises (2004) was his first feature film, which he co-directed with the French actress Yolande Moreau.  Dessine-toi is his latest film and he continues adding to the amazing project Portraits, Autoportraits during his travels for cinema throughout the world.

French director and screenwriter

René Vautier is a French filmmaker and screenwriter. He led his first militant activity during the Resistance in 1943 at the age of 15 and was awarded the French Croix de Guerre (military award) at the age of 16. He directed his first feature film in 1950, Afrique 50, which was censured and for which he was condemned before being internationally recognized. He then, in France, joined the National Liberation Front for the independence of Algeria. Director of the Algerian Audio-Visual Centre (1962-1965), he was also the secretary general of Cinémas Populaires. He pursued his anticolonial cinematographic activism particularly with the film To Be Twenty in the Aurès, one of the very few films devoted to the war in Algeria, which also faced censure before receiving the International Critics Award at the Cannes Film Festival in 1972. A rebellious and profound screenwriter, he would come to know, again and again, the wrath of censure. Imprisonments, hunger strikes, but also numerous prizes mark his career. In 1998, René Vautier published Caméra citoyenne, a book in which he recounts his life as a filmmaker and his fight against censorship in France.

Professor of Film Studies at the University of Paris

Graduate from L’Ecole Normale Supérieure, Brenez has published extensively her research on avant-garde cinema. In addition to her scholarly books like Abel Ferrara – Contemporary Film Directors, many important contributions to film studies by Brenez can be found in journals such as Trafic, Cinémathèque and Simulacres.  She is the editor of several collective books : Poétique de la couleur (1998), Jean-Luc Godard : Documents (2006). She notably carried out the publication of Une caméra à la place du cœur by Philippe Garrel and Thomas Lescure, and Un Chant d’amour de Jean Genet by Jane Giles. She has also designed and organized a large number of film events and film retrospectives, for example, Immarcescible cinéma with le Studio 24 (1989), L’inavouable. L’image selon Jean-Luc Godard with Extérieur Nuit (1991) and Jeune, dure et pure, une histoire du cinéma d’avant-garde en France (2000). Since 1996, she has been curating and organizing the series of avant-garde film screenings for the Cinémathèque française.

French director and screenwriter

René Vautier is a French filmmaker and screenwriter. He led his first militant activity during the Resistance in 1943 at the age of 15 and was awarded the French Croix de Guerre (military award) at the age of 16. He directed his first feature film in 1950, Afrique 50, which was censured and for which he was condemned before being internationally recognized. He then, in France, joined the National Liberation Front for the independence of Algeria. Director of the Algerian Audio-Visual Centre (1962-1965), he was also the secretary general of Cinémas Populaires. He pursued his anticolonial cinematographic activism particularly with the film To Be Twenty in the Aurès, one of the very few films devoted to the war in Algeria, which also faced censure before receiving the International Critics Award at the Cannes Film Festival in 1972. A rebellious and profound screenwriter, he would come to know, again and again, the wrath of censure. Imprisonments, hunger strikes, but also numerous prizes mark his career. In 1998, René Vautier published Caméra citoyenne, a book in which he recounts his life as a filmmaker and his fight against censorship in France.

No infos

French director and Director of Photography, President of the CST (Commission Supérieure Technique de l’Image et du Son), Professor of Cinematography at La FEMIS-Paris

Pierre-William Glenn, after receiving several degrees in mathematics, embarked on a career in the film industry that has proven to be key and essential to the quality and advances in filmmaking in France and abroad. In 1968, he became chief camera operator on Peter Goldman’s film Wheels of Ashes. In the years 1974-1975, he made a feature-length documentary dedicated to his passion for motorcycles: Le cheval de fer (The Iron Horse). As a cinematographer, he has worked on more than 70 films since 1979. As a director and director of photography, he has worked with many different directors such as François Truffaut, Maurice Pialat, Claude Lelouch, Yves Boisset and Bertrand Tavernier. Pierre-William Glenn is a founding member and served from 1997 to 2000 as president of the AFC (French Association of Directors of Photography). Since 2002, he has been the President of the CST (Commission supérieure et technique de l’image et du son) and co-director of the Image Department at La FEMIS since 2005. In 2003, he fought for the creation of jury to present an award for Best Artist-Technician at the Festival de Cannes; an idea that saw the light of day with the Vulcain Prize.

Professor and Film Historian

Director of the Bachelor Degree in Cinematography at the Lycée Carnot in Cannes, Gérard Camy is also a member of the French Union of Film Critics. He has written for many film journals and magazines, such as Télérama, Cinémaction and Jeune Cinéma. He is also the author of the first French book on Sam Peckinpah. His other books include Western que reste-t-il de nos amours; 50 Films qui ont fait scandale ; and Métiers du cinéma. Camy is the president of the Cannes Cinema Association which is responsible for all cinema-related activities for the city of Cannes, including those associated with the Festival de Cannes.  He is also the director of Rencontres Cinématographiques de Cannes.

French Director

Vincent Glenn, after graduation from the ESN Louis Lumière in 1989, immediately began directing short films, most of which were broadcast on the French-German television channel Arte. In 1995 he started making documentaries, Les Enfants du raï. From the very start of his career, all of Glenn’s films strive to help us understand our world and to question practices which endanger humanity itself.  His films, like Davos, Porto Alegre et autres batailles (2003) and Pas assez de volume (2004), underline the importance film can have as a creative medium impacting mankind’s hope and progress toward an enlightened  future, a healthier world with social and economic justice for all. Vincent Glenn’s filmmaking engages us in that process that Bertrand Tavernier sums up in his expression “images/films are weapons of mass construction”. In 1968, Robert F. Kennedy, on the campus of the University of Kansas, stated the economic index Gross National Product, now GDP, “measures everything, in short, except that which makes life worthwhile.” Vincent Glenn’s latest film, Indices (2011) goes after these indicators skewing the true costs of economic globalization.

French Director

Vincent Glenn, after graduation from the ESN Louis Lumière in 1989, immediately began directing short films, most of which were broadcast on the French-German television channel Arte. In 1995 he started making documentaries, Les Enfants du raï. From the very start of his career, all of Glenn’s films strive to help us understand our world and to question practices which endanger humanity itself.  His films, like Davos, Porto Alegre et autres batailles (2003) and Pas assez de volume (2004), underline the importance film can have as a creative medium impacting mankind’s hope and progress toward an enlightened  future, a healthier world with social and economic justice for all. Vincent Glenn’s filmmaking engages us in that process that Bertrand Tavernier sums up in his expression “images/films are weapons of mass construction”. In 1968, Robert F. Kennedy, on the campus of the University of Kansas, stated the economic index Gross National Product, now GDP, “measures everything, in short, except that which makes life worthwhile.” Vincent Glenn’s latest film, Indices (2011) goes after these indicators skewing the true costs of economic globalization.

Director and Director of Photography

After graduating from ESN Louis Lumière, Gilles Porte became assistant cameraman in 1989, working on film productions with directors such as Jacques Audiard, Marcel Carné, Raoul Ruiz, Maroun Bagdadi, Patrice Cherreau, Costa Gavras, and Xavier Durringer. He became a director of photography in 1998 for directors such as John Lvoff, Christian Philibert, Olivier Jahan and Xavier Durringer (La Conquête). When the Sea Rises (2004) was his first feature film, which he co-directed with the French actress Yolande Moreau.  Dessine-toi is his latest film and he continues adding to the amazing project Portraits, Autoportraits during his travels for cinema throughout the world.

French Actor, Stage Director, and Author

Philippe Torreton is both a stage and screen actors. In 1990, he entered the Comédie-Française as a pensionnaire and then as a sociétaire in 1994. In 1999, he left the Comédie-Française after having played prestigious roles including Scapin, Lorenzaccio, Hamlet, Henry V, and Tartuffe. On the screen, he won the César Award for Best Actor for his role in Bertrand Tavernier’s film Capitaine Conan and has held the main part in many Tavernier films like Ça commence aujourd’hui or L.627. Other films include Ulzhan; Jaurès, naissance d’un géant; L’Equipier; Monsieur N; L’Ordre et la morale and Présumé coupable. He pursues his theatrical career as well in directing and acting in Don Juan and just recently toured France with Hamlet. He has penned two books on acting Comme si c’était moi and Petit lexique amoureux du théâtre. He has also held a seat in the municipal council in Paris.

American and French Screen and Stage Actor

George Aguilar’s acting career spans both Hollywood and French cinema. US films include Bagdad Café, The Trial of Billy Jack, The Life and Times of Grizzly Adams, Ulzana’s Raid, Star Trek: The Next Generation and most recently Neverland. He has contributed his acting talent to both the screen and the stage in France with many films such as Cliente, Les Bronzés 3, La Vie est à nous, Orpailleur and has just finished touring France as a stage actor in Josiane Balasko’s play La Nuit sera chaude.

French director and Director of Photography, President of the CST (Commission Supérieure Technique de l’Image et du Son), Professor of Cinematography at La FEMIS-Paris

Pierre-William Glenn, after receiving several degrees in mathematics, embarked on a career in the film industry that has proven to be key and essential to the quality and advances in filmmaking in France and abroad. In 1968, he became chief camera operator on Peter Goldman’s film Wheels of Ashes. In the years 1974-1975, he made a feature-length documentary dedicated to his passion for motorcycles: Le cheval de fer (The Iron Horse). As a cinematographer, he has worked on more than 70 films since 1979. As a director and director of photography, he has worked with many different directors such as François Truffaut, Maurice Pialat, Claude Lelouch, Yves Boisset and Bertrand Tavernier. Pierre-William Glenn is a founding member and served from 1997 to 2000 as president of the AFC (French Association of Directors of Photography). Since 2002, he has been the President of the CST (Commission supérieure et technique de l’image et du son) and co-director of the Image Department at La FEMIS since 2005. In 2003, he fought for the creation of jury to present an award for Best Artist-Technician at the Festival de Cannes; an idea that saw the light of day with the Vulcain Prize.

French Director

With degrees from both the Université de Paris IX and La FEMIS, Krawczyk signed in 1986 the contract for his first feature Je hais les acteurs, for which he received a César nomination and also the Michel Audriard award.  He then immediately followed up with L’été en pente douce.  In 1997 after making numerous films for the advertising world, Krawczyk returned to features with Heroïnes, a musical film illustrating the making of pop-stars well before Star Academy.  During this same time, Krawczyk also began his nine years of collaboration with Luc Besson, who produced Krawczyk’s Taxi 2, Wasabi, Taxi 3, and Fanfan la tulipe (which opened the 56^th Cannes Film Festival).  In 2005, he co-produced and directed La Vie est à nous! where he returned to the personal style of his earlier films.  His tenth film, L’Auberge rouge, takes the viewer where a universe of visuals and sound is paired with a well-known, more-than-disturbing serial-crime story, a rare feat in comedy. From 2000 to 2010, Gérard Krawczyk is recognized as the most successful director at the French box-office, just behind Peter Jackson (Lord of the Rings, King Kong…) with more than 25 million entries.

French director and screenwriter

René Vautier is a French filmmaker and screenwriter. He led his first militant activity during the Resistance in 1943 at the age of 15 and was awarded the French Croix de Guerre (military award) at the age of 16. He directed his first feature film in 1950, Afrique 50, which was censured and for which he was condemned before being internationally recognized. He then, in France, joined the National Liberation Front for the independence of Algeria. Director of the Algerian Audio-Visual Centre (1962-1965), he was also the secretary general of Cinémas Populaires. He pursued his anticolonial cinematographic activism particularly with the film To Be Twenty in the Aurès, one of the very few films devoted to the war in Algeria, which also faced censure before receiving the International Critics Award at the Cannes Film Festival in 1972. A rebellious and profound screenwriter, he would come to know, again and again, the wrath of censure. Imprisonments, hunger strikes, but also numerous prizes mark his career. In 1998, René Vautier published Caméra citoyenne, a book in which he recounts his life as a filmmaker and his fight against censorship in France.

UR professor and French Film Festival director

VCU professor and French Film Festival director