Inside Cinema explores cinema from the perspectives of multiple materials and documents with which a film is imagined, searched, "painted", organized and composed: from the initial ideas and notes to the post-production, including the writings, the documentation, the locations, the visual references, the work with the actors, the shooting organization, the sound composition…
We present materials from films of very diverse periods, origins and authors: films that connect with many generations of filmmakers and spectators, and also contemporary films, some of them still "in progress".
There are as many ways of conceiving films and revealing the cinematic creation as there are ways of dreaming, thinking and working in cinema. That is why the documents allow us to get to know the films intimately; they allow us to follow the creative process of the filmmakers; the searches of shots and sequences, faces and voices, colors, lights, spaces; the dialogues between the different professionals involved…
The experience can be both vertiginous and fascinating. Let's put ourselves in the heart of the creative moment. In the last lines of the first treatment of "The 400 Blows" (entitled "Antoine's fugue"), we can read, typed and with erasures after the comma: "Antoine court encore,----- plus vite qu'il n'a jamais couru” [Antoine runs still, faster than he has ever run]. In the second version of this treatment, with handwritten annotations, François Truffaut adds at the end: "plus vite qu'il n'a jamais couru en direction de la mer" [towards the sea]. For us, it's impossible to imagine the film without that end, and with the documents, we discovered how the sea came during the writing process: we can see it appear. We thus witness the fixing of an idea, to the making of the film itself.
Ultimately, the documents recount the hidden stories of cinema: the stories of creation. They can open new perspectives and accompany those who wish to know more about the films they love, those who ask themselves about the process of cinematic creation and those who wish to learn how to make cinema.
This is Inside Cinema’s purpose: to share the dream, the adventure, the quest that is making a film. To be able to know the films and how cinema is made. To celebrate the work. To love it.
A Bao A Qu / CInema en curs conceives and designs Inside Cinema in association with Meno Avilys and Os filhos de Lumière,. Afterwards, La Cinémathèque française, British Film Institute. Kijufi and Kino Otok. join the project
Inside Cinema is developed within the framework of Moving Cinema, a European program on Cinema pedagogy, cofinanced by Creative Europe MEDIA – Audience Development.
It is also made possible due to the participation of film archives and the mutual understanding and collaboration of filmmakers, producers and professionals involved in the creation processes. The detailed list can be consulted in credits