The French Connection
The Washington City Paper's guide to the 14th Annual Washington, D.C., International Film Festival
Cover Story
The Washington City Paper's guide to the 14th Annual Washington, D.C., International Film Festival
What with Pierre, Marie, Pierette, Madeleine, Didier, Juliette, Aurelie, Jeannette...zut!...this year's Filmfest DC is the French film festival that refuses to call itself a French film festival. Filmfest directors Tony Gittens and Shirin Ghareeb are spinning the 2000 event as a spotlight on British and Turkish films (a plug-in to the Corcoran Museum of Art's "Treasures From the Topkapi" exhibit), but they present seven entries by Brits and exactly three features by Turks. Look more closely and you'll find 13 films made partly or entirely in France.
Unfurl the tricolor and crank up the Marseillaise? Easy does it. Godard and Bresson have no counterparts in Pascal Bonitzer (Rien sur Robert) and Marion Vernoux (Rien a Faire); come to think of it, you might want to cop a clue and avoid anything with "rien" in the title. Which is perhaps why the organizers wouldn't label this a French film festival: The French films don't add up to much. On the other hand, of the more than 70 films you can check out between now and the festival's April 16 closing night--35 of which were previewed by Washington City Paper film critics Arion Berger, Mark Jenkins, and Joel E. Siegel--you should probably focus on several that bear the French touch but are from countries such as Lebanon (Civilisees), Egypt (The Closed Doors), and Turkey (Harem Suare).... Continued
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