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"I BELIEVE AND HOPE THAT THE LURE OF CAPITALISM IS SINKING" - WORLD NEWS
San Francisco Luxury News
http://sfluxe.com/2012/04/11/i-believe-and-hope-that-the-lure-of-capitalism-is-sinking-world-news/
April 11 2012
The last film (Marseille, 1953), The Snows Kilimanjaro, has nothing
to do with the novel by Ernest Hemingway, but with sleep truncated
labor militancy in the cesspool of the systemic crisis we are facing
and centrifuging the old concept of class struggle . A film that
approaches the everyday, to the lives of ordinary people. Guédiguian,
whose work usually covers the territory of the social and political
criticism, is inspired by the poem by Victor Hugo pauvres Les gens
to dissect the terrible contradictions of the present, where the old
poor are rich compared with the new poor.
Question
. The philosopher Sidi M. Barkat said, "The class struggle has moved
within each worker." I think the film illustrates this perfectly.
Response. Yes, the class struggle through the village itself, each
worker because capital has created the illusion that everyone was a
little capitalist, that all were bourgeois, an illusion that could be
internalized through small concrete things like the small shareholders,
access to property ... That was the focus of the speech by Nicolas
Sarkozy five years ago when he won the elections: French build a
house, in which individual success is always possible and in which
we are all bourgeois. This is what finds the pair of main characters
in my film when they wonder what those young people who think about
what we were when we become? And they answer, that we are bourgeois,
we seem about bourgeoisie. Yet this couple has very little, has had
two important things: a dream and work. Today, the new generation
does not have a job or a dream.
P. What is it?
R. I think, I hope that the lure of capitalism is sinking and I
think there is a new generation, those 20 years, no longer believe
in the individual success, the need to do great masters of commerce
or political science, which makes the whole world as if there were
only rich and high tables, banks and big multinationals.
P. But the rich are getting richer and occupy almost all the power. In
France, for example, Sarkozy could win again.
R. No, I do not. At least that is what I want. And to advance, it is
sometimes necessary to take the wishes as reality. If Hollande passed
to the second round and Mélenchon up to 20% ...
P. would be the revolution.
R. Yes, the revolution. This is my wish. I worked a lot with Jean-Luc
Mélenchon, we know from the European constitutional referendum of
2005, when he distanced himself from the official to vote socialist.
This idea of ??this film comes from that time. Wrote an article in
Le Monde on the working class not calling for the referendum. But he
would not use this term and found the title of the poem by Victor Hugo
pauvres Les gens, and so I called my article. I almost cried when I
reread it and I said I had to do a film about the love story of two
characters who have the same idea of ??the world, poor people today.
P. What about your next project?
R. I'll make a film about the Armenian genocide. It's an incredible
story. An epilogue would, at present, and a prologue in 1920, and
the action will run in the 1980â~@²s, when young people of the third
generation of the diaspora took up arms. In those years there were
over 150 attacks Armenian underground organizations. The film will be
held in Paris, Marseille and Beirut and Yerevan. But probably starting
in Berlin in 1921, when Soghomon Tehlirian, a young Armenian, shot
himself to Talaat Pasha, former Minister of Interior and one of those
responsible for genocide, after being sentenced to death in Turkey,
took refuge in Germany.
P. The French film is the last great European film industry. Why?
R. Why is beautifully preserved, because they have to produce
television movies, because there is a tax on every movie that is
passed in France, including the American cinema, which reverses in
French cinema. There is a national consensus on the film, a sacred
union, both right and left, they agree on the cultural exception.
San Francisco Luxury News
http://sfluxe.com/2012/04/11/i-believe-and-hope-that-the-lure-of-capitalism-is-sinking-world-news/
April 11 2012
The last film (Marseille, 1953), The Snows Kilimanjaro, has nothing
to do with the novel by Ernest Hemingway, but with sleep truncated
labor militancy in the cesspool of the systemic crisis we are facing
and centrifuging the old concept of class struggle . A film that
approaches the everyday, to the lives of ordinary people. Guédiguian,
whose work usually covers the territory of the social and political
criticism, is inspired by the poem by Victor Hugo pauvres Les gens
to dissect the terrible contradictions of the present, where the old
poor are rich compared with the new poor.
Question
. The philosopher Sidi M. Barkat said, "The class struggle has moved
within each worker." I think the film illustrates this perfectly.
Response. Yes, the class struggle through the village itself, each
worker because capital has created the illusion that everyone was a
little capitalist, that all were bourgeois, an illusion that could be
internalized through small concrete things like the small shareholders,
access to property ... That was the focus of the speech by Nicolas
Sarkozy five years ago when he won the elections: French build a
house, in which individual success is always possible and in which
we are all bourgeois. This is what finds the pair of main characters
in my film when they wonder what those young people who think about
what we were when we become? And they answer, that we are bourgeois,
we seem about bourgeoisie. Yet this couple has very little, has had
two important things: a dream and work. Today, the new generation
does not have a job or a dream.
P. What is it?
R. I think, I hope that the lure of capitalism is sinking and I
think there is a new generation, those 20 years, no longer believe
in the individual success, the need to do great masters of commerce
or political science, which makes the whole world as if there were
only rich and high tables, banks and big multinationals.
P. But the rich are getting richer and occupy almost all the power. In
France, for example, Sarkozy could win again.
R. No, I do not. At least that is what I want. And to advance, it is
sometimes necessary to take the wishes as reality. If Hollande passed
to the second round and Mélenchon up to 20% ...
P. would be the revolution.
R. Yes, the revolution. This is my wish. I worked a lot with Jean-Luc
Mélenchon, we know from the European constitutional referendum of
2005, when he distanced himself from the official to vote socialist.
This idea of ??this film comes from that time. Wrote an article in
Le Monde on the working class not calling for the referendum. But he
would not use this term and found the title of the poem by Victor Hugo
pauvres Les gens, and so I called my article. I almost cried when I
reread it and I said I had to do a film about the love story of two
characters who have the same idea of ??the world, poor people today.
P. What about your next project?
R. I'll make a film about the Armenian genocide. It's an incredible
story. An epilogue would, at present, and a prologue in 1920, and
the action will run in the 1980â~@²s, when young people of the third
generation of the diaspora took up arms. In those years there were
over 150 attacks Armenian underground organizations. The film will be
held in Paris, Marseille and Beirut and Yerevan. But probably starting
in Berlin in 1921, when Soghomon Tehlirian, a young Armenian, shot
himself to Talaat Pasha, former Minister of Interior and one of those
responsible for genocide, after being sentenced to death in Turkey,
took refuge in Germany.
P. The French film is the last great European film industry. Why?
R. Why is beautifully preserved, because they have to produce
television movies, because there is a tax on every movie that is
passed in France, including the American cinema, which reverses in
French cinema. There is a national consensus on the film, a sacred
union, both right and left, they agree on the cultural exception.