Euzhan Palcy receives honorary Oscar

Earlier this year, Martinican director Euzhan Palcy was awarded an honorary Oscar for her entire corpus at the 13th edition of the Governors Awards on Saturday, November 19, 2022, in Los Angeles, California. Évelyne Chaville reports for Kariculture.net.

It was American actress and producer Viola Davis (the first black woman to receive an Oscar in 2017) who gave her the much-coveted statuette. [. . .] For this “great emotional moment”, the 64-year-old director gave a vibrant speech in English: “I hate my accent when I speak English”, she said, asking guests to support her with applause.

Euzhan Palcy first quoted the African proverb: “If you want to go fast, go alone, if you want to go far, go together.”

“No one reaches this stage (referring to where she was that Saturday night) alone. I would not be here without the wisdom and love of all those who joined me in my journey”, said the director, certainly thinking about how far she has come since her first TV film entitled “La Messagère” when she was only 17 years old and her first film “Rue Cases-Nègres” in 1983…

Then, she thanked, among others, her grandmother Camille, her father Léon, her mother Mireille, her mentors Aimé Césaire, François Truffaut as well as Robert Redford who, in 1985, opened the doors of the Sundance (American independent film festival) writing workshops to her where she could write her film “A Dry White Season”.

Euzhan Palcy did not forget to warmly thank all the spectators from all over the world because, according to her, it is thanks to them that her films became today “classics”. She also thanked the Almighty God.

To those who asked why she has not offered any films to the public in recent years, Euzhan Palcy replied: “If I did not make films for a few years, it is because I decided to keep silent, I kept silent because I was exhausted, I was so tired of being told that I was a pioneer (…) Black is not bankable, female is not bankable, Black and female are not bankable. Come on, guys, look at my sister Viola standing by me!”, she declared. American actress is currently starring in “The Woman King”, a film about the female warriors responsible for protecting the Kingdom of Dahomey (now Benin) in the 19th century…

Martinican director continued her plea for diversity in cinema: (…) Black is bankable, female is bankable, Black and female are bankable”, with as a witness the famous African American actor Chadwick Boseman of “Black Panther” (a film that has earned $1.3 billion), who died in 2020 at the age of 43. Euzhan Palcy underlined her desire to unite the world through her art: “My camera, my miraculous weapon. With my camera, I don’t film, I heal (…) My stories are not black, my stories are not white, my stories are universal, they are colourful”. [. . .]

For full article, visit https://www.kariculture.net/en/euzhan-palcy-received-an-honorary-oscar-at-the-13th-edition-of-the-governors-awards/

Meryl “Wollan”

J’adore sa voix ! Ici Meryil chante en créole martiniquais, mais « Wollan » en créole jamaïquain (patois) veut dire « Hold on » : attendre / patienter. La vidéo nous donne la transcription en français.

[The song centers on this idea: “Don’t tell me to hold on (to wait); Don’t make me waste my time!”]

[Intro]
Atann, atann, atann
Mwen ja paré baw, pa di mwen atann
Atann atann
Pa fè mwen pèd tan mwen si sa mô
Sa mô, sa mô

Mwen ja paré baw, pa di mwen atann
Atann, tann

[Couplet 1]
Sa sé real life, pani cinéma
Sa fè an moman mwen sizé là
Long time mwen ja wèw mais mwen pa ka di ayen
Ayen, ayen
Ou kay pété bal avan
Baby baby, sa ki fèt fèt
Lè sé la fêt, fidji mwen ka pèd tèt
Mwen pa kouyon mwen baw numéro a
Pwèmyé whatsapp, a pa té mwen
Mové tan’w la, mwen pa ka brinin an patat’
Mais o swè fodré nou wayne pon di track
Mwen ké kitéw vini
Lè ou cho, palé ba mwen
“Lovinjitis” pou nou pé aliyé
Mwen sav mwen pa tou sèl, mwen ké fè yo pé-é
Sa yo fèw avan mwen sa pawticuliyé
Sé dwèt pou sa ou pôkô sav sa ou lé

[Refrain]
Baby mwen cho, wollan, no pa di mwen wollan
Mwen ja paré baw pa di mwen wollan
Baby mwen cho, wollan, no pa di mwen wollan
É si ou paré an nou ba mwen an lè
Baby wollan no fo pa di mwen wollan

[Couplet 2]
As a real grown woman an péké pétayé
Mwen ja wè kè ou ka prilé, an ka gadéw en zyéw
Braw alantou mwen, an ka senti’m médayé
Ou poko konèt mwen mé sav yo pa té paré
Sinkè d’maten pa kouté lèspwiw, ba mwen lanmen
Lè lapôt’ finmin, pa ka ni “non mais non mais”
Soutou pa kouté moun lè yo ka nommen nom mwen
Enfin vwala, lè ou cho an nou ba mwen an lhè

[Refrain] Baby mwen cho, wollan, no pa di mwen wollan
Mwen ja paré baw pa di mwen wollan
Baby mwen cho, wollan, no pa di mwen wollan
Et si ou paré an nou ba mwen an lè
Baby wollan no, fo pa di mwen wollan
Baby wollan no, fo pa di mwen wollan
Baby wollan no, fo pa di mwen wollan
Baby wollan no, fo pa di mwen wollan

[Couplet 3]
Mé di mwen sa ou pè
Oubliyé lézèks
Mwen sav kè sa té red
Mwen pé ké fèw lapenn
Baby baby, sa ki fèt fèt
Lè sé la fêt, fidji mwen ka pèd tèt
Mwen pa kouyon, mwen baw numéro a
Pwèmyé whatsapp, a pa té mwen

[Refrain] …

Meryl – « La Brume » ft. Le Motif

Voici les paroles de « La Brume » de la rappeuse martiniquaise Meryl avec Le Motif (producteur, chanteur et auteur belge). 

« La Brume »

Mélancolie sur la plume, dans vos vies je m’installe
Dans ma chambre c’est la brume, ils me disent instable
Mais je me sens mieux ici que sur un piédestal
On n’aime pas pour de vrai quand on aime sur Insta’
Oh eh oh, dans tout ça, j’m’oublie
J’en perds les mots, c’est qu’tout est fini
Alors j’appelle mon alter ego, il ne reste que lui
Tu comprendras mieux sur les réseaux pourquoi je souris

Dehors soleil rayonne
Mais dans ma tête, c’est la brume
Pourquoi en faire des dunes ?
Une vie, on en a qu’une
Dehors soleil rayonne
Mais dans ma tête, c’est la brume
Pourquoi en faire des dunes ?
Une vie, on en a qu’une

Je laisse couler l’encre sur un p’tit mouchoir
Fredonne la peine des hommes sur l’instrumentale
J’crois qu’j’viens d’la faire sourire, emoji victoire
Elle m’donne un océan d’amour, je n’suis qu’un nénuphar
J’écoute du Cabrel, j’écoute du Niska
Un bonheur à l’infini, j’en veux deux, trois, quatre
Des rêves grands comme le monde mais l’monde est si étroit
Si je lui pardonne, est-c’que l’chagrin s’efface ?

Dehors soleil rayonne
Mais dans ma tête, c’est la brume
Pourquoi en faire des dunes ?
Une vie, on en a qu’une
Dehors soleil rayonne
Mais dans ma tête, c’est la brume
Pourquoi en faire des dunes ?
Une vie, on en a qu’une

Oh eh oh, dans tout ça, j’m’oublie
J’en perds les mots, c’est qu’tout est fini
Alors j’appelle mon alter ego, il ne reste que lui
Tu comprendras mieux sur les réseaux pourquoi je souris

Oh eh oh, dans tout ça, j’m’oublie
J’en perds les mots, c’est qu’tout est fini
Alors j’appelle mon alter ego, il ne reste que lui
Tu comprendras mieux sur les réseaux pourquoi je souris

Dehors soleil rayonne
Mais dans ma tête, c’est la brume
Pourquoi en faire des dunes ?
Une vie, on en a qu’une
Dehors soleil rayonne
Mais dans ma tête, c’est la brume
Pourquoi en faire des dunes

?
Une vie, on en a qu’une

“Dégaine” Aya Nakamura (feat. Damso)

Paroles:

Ti-di-di-di-di, eh
Ti-di-di-di-di, eh
Ti-di-di-di-di, eh

J’ai vu comment tu m’as regardée
Mon charme a fait son effet (son effet)
On verra, verra qui fera le premier pas
En tout cas, ce s’ra pas moi (moi, moi)
On m’a dit t’es dangereux mais t’es mignon, ah (ah)
Lui, c’est trop ma came, oh non
Il va m’ramener des problèmes, je sais (je sais)
Moi, j’aime bien, tu connais, quand c’est pimenté

Taille mannequin, mannequin, sans forcer (sans forcer)
T’as kiffé la dégaine, kiffé la dégaine (oh oui)
Mannequin, mannequin, sans forcer (sans forcer)
Té-ma la dégaine, té-ma la dégaine
Et si ça brille, j’peux pas t’expliquer (eh-eh-eh)
Té-ma la dégaine (té-ma la dégaine), té-ma la dégaine (té-ma la dégaine)
Mannequin, mannequin sans forcer

T’as kiffé la dégaine (oui), té-ma la dégaine

J’déclare une flamme qui effrayera les pompiers (pompiers)
J’ai cœur de pirate, toujours sur le chantier (chantier)
Tu sais, la moula, j’en connais les dangers
Ton mec rêve de faire le milli’, moi, ça fait des années qu’j’l’ai fait (eh)
Allô? J’ai pris ton numéro chez la cousine des Diallo (oh-oh)
Elle m’a dit qu’t’as un djo mais qu’tu préfères les salauds
T’aimeras me détester (oh-oh), j’te ferai du sale, j’vais pas te respecter (han)
Slalom entre tes hanches, j’suis en charisme (té-ma la dégaine, té-ma la dégaine)
Machin dans le machin, plein de salive (té-ma la dégaine)
On va se sextaper, oh…

Euzhan Palcy parmis « 100 Femmes de Culture »

La cinéaste martiniquaise Euzhan Palcy, a reçu le prix des “100 femmes de culture” 2022. La 4e édition de cette cérémonie s’est déroulée au Palais de Tokyo à Paris, lundi 17 octobre dernier. Guy Etienne (1ereFranceTVinfo) écrit :

Le jury de la 4e édition de “100 femmes de culture” a récompensé, la réalisatrice martiniquaise Euzhan Palcy. La cérémonie a eu lieu lundi 17 octobre 2022 au Palais de Tokyo, à Paris, en présence de 250 personnalités, dont la ministre de la culture Rima Abdul-Malak

L’association éponyme à l’origine de cette manifestation de prestige “défend par ses actions, les valeurs de parité, d’égalité, de diversité et d’inclusivité” depuis sa création, en février 2019.

“Un réseau actif croissant”

L’association organise une fois par an une conférence et un prix qui mettent en avant 100 Femmes de Culture (dirigeantes, artistes, entrepreneuses) composant ainsi un réseau actif croisant de 300 et bientôt 400 personnalités représentant tous les métiers et secteurs des industries culturelles et créatives. [. . .]

Un parcours souvent récompensé

Euzhan Palcy a été la première femme réalisatrice et la première artiste noire à recevoir un César, en 1984, pour son premier film, “Rue Cases-Nègres”. Ce long métrage compte près de 20 prix à son actif.

Puis en 1989, la cinéaste signait aux États-Unis, “Une saison blanche et sèche”. Ce nouveau film consacré à l’Apartheid, produit par une major hollywoodienne et auquel a participé l’acteur Marlon Brando, a été nommé aux Oscars en 1990.

Nouvelles distinctions

Le 13 juin 2022, Euzhan Palcy a reçu la médaille d’honneur de la SACD (Société des Auteurs et Compositeurs Dramatiques), pour “saluer le talent et l’ensemble de l’œuvre de l’autrice”.  

Le 19 novembre prochain, c’est un Oscar d’honneur qui sera décerné à la martiniquaise, à Hollywood, aux USA.

À lire : https://la1ere.francetvinfo.fr/martinique/euzhan-palcy-distinguee-parmi-les-100-femmes-de-culture-pour-l-annee-2022-1332884.html

[Photo par François Vila : 17 octobre 2022, Palais de Tokyo. 100 Femmes de Culture 2022. Habillée par Emanuel Ungaro.]

Screening and Q&A—”Jean-Jacques Dessalines: The Man Who Defeated Napoléon Bonaparte”

A warm welcome and congratulations to my new colleagues Magda Desgranges and Shanaaz Mohammed for organizing a film screening of the documentary film Jean-Jacques Dessalines: The Man Who Defeated Napoléon Bonaparte, which recently won the award for Best Documentary by the 2022 Haiti International Film Festival. The screening will be followed by a and Q&A session with director Arnold Antonin. This event takes place on Tuesday, October 11, at 5:00pm (EST) at Lowell Thomas 019, Marist College, Poughkeepsie, New York.

Arnold Antonin is a Haitian filmmaker who has directed films on Haitian art, culture, and history. He is known at home and abroad for his social, political, and cultural commentary. In 2002, he received the Djibril Diop Mambety Award at the International Film Festival in Cannes. He is also the recipient of the Paul Robeson Best Film Award in 2007, 2009, and 2011. In 2021, he was recognized as the “Father of Haitian Cinema” for his commitment to uplifting the Haitian Diaspora through cinema. 

His film, Jean-Jacques Dessalines: The Man Who Defeated Napoléon Bonaparte (94-minutes long) is the first feature-length Haitian film about the Haitian Revolution and the War of Independence—and the very first documentary anywhere in the world on Jean-Jacques Dessalines. Dessalines is Haiti’s main founder who was assassinated two years after the proclamation of independence. Today he is both a mythical and an unknown figure. With analyses by Pierre Buteau, Jean Casimir, Michèle Pierre-Louis, Jean Alix René, Bayyinah Bello, Vertus Saint-Louis, Jhon Picard Byron, Lesly Péan, and Daniel Elie, among others, this film reintroduces Dessalines in all his complexity and opens a debate on Haitian crises and colonial heritage. 

For more information on the film, see https://arnold-antonin-films.myshopify.com/collections/documentaries/products/jean-jacques-dessalines-the-man-who-defeated-napoleon-bonaparte

Jean-Luc Godard, Daring Director Who Shaped the French New Wave, Dies at 91

Dave Kehr and Jonathan Kandell write about the trajectory of on Jean-Luc Godard, who died today, for The New York Times: “The Franco-Swiss filmmaker and provocateur radically rethought motion pictures and left a lasting influence on the medium.”

Jean-Luc Godard, the daringly innovative director and provocateur whose unconventional camera work, disjointed narrative style and penchant for radical politics changed the course of filmmaking in the 1960s, leaving a lasting influence on it, died on Tuesday at his home in Rolle, Switzerland. He was 91.

His longtime legal adviser, Patrick Jeanneret, said Mr. Godard died by assisted suicide, having suffered from “multiple disabling pathologies.

“He could not live like you and me, so he decided with a great lucidity, as he had all his life, to say, ‘Now, it’s enough,’” Mr. Jeanneret said in a phone interview. Mr. Godard wanted to die with dignity, Mr. Jeanneret said, and “that was exactly what he did.”

A master of epigrams as well as of movies, Mr. Godard once observed, “A film consists of a beginning, a middle and an end, though not necessarily in that order.”

In practice he seldom scrambled the timeline of his films, preferring instead to leap forward through his narratives by means like the elliptical “jump cut,” which he did much to make into a widely accepted tool. But he never tired of taking apart established forms and reassembling them in ways that were invariably fresh, frequently witty, sometimes abstruse but consistently stimulating.

As a young critic in the 1950s, Mr. Godard was one of several iconoclastic writers who helped turn a new publication called Cahiers du Cinéma into a critical force that swept away the old guard of the European art cinema and replaced it with new heroes largely drawn from the ranks of the American commercial cinema — directors like Alfred Hitchcock and Howard Hawks.

When his first feature-length film as a director, “Breathless” (“À Bout de Souffle”), was released in 1960, Mr. Godard joined several of his Cahiers colleagues in a movement that the French press soon labeled la Nouvelle Vague — the New Wave.

For Mr. Godard, as well as for New Wave friends and associates like François TruffautClaude ChabrolJacques Rivette and Eric Rohmer, the “tradition of quality” represented by the established French cinema was an aesthetic dead end. To them it was strangled by literary influences and empty displays of craftsmanship that had to be vanquished to make room for a new cinema, one that sprang from the personality and predilections of the director.

Although “Breathless” was not the first New Wave film (both Mr. Chabrol’s 1958 “Beau Serge” and Mr. Truffaut’s 1959 “400 Blows” preceded it), it became representative of the movement. Mr. Godard unapologetically juxtaposed plot devices and characters inherited from genre films and emotional material dredged up, in almost diarylike form, from the filmmaker’s personal life.

The film tells the story of a small-time Parisian crook (Jean-Paul Belmondo) as he commits muggings to collect enough money to run off to Rome with an American student (Jean Seberg), who seems indifferent to his romancing despite being pregnant by him.

“Breathless” is an artistic hybrid that seemed to capture the discontinuities and conflicts of modern life, half in the artificial public world created by the media and half in the deepest recesses of consciousness. In Mr. Godard’s later, more radical phase, he came to suggest that there was no real distinction between the two realms.

“After ‘Breathless,’ anything artistic appeared possible in the cinema,” the critic Richard Brody wrote in “Everything Is Cinema: The Working Life of Jean-Luc Godard.” “The film moved at the speed of the mind and seemed, unlike anything that preceded it, a live recording of one person thinking in real time.

“It was also a great success, a watershed phenomenon. More than any other event of its times, ‘Breathless’ inspired other directors to make films in a new way and sparked young people’s desire to make films. It instantly launched cinema as the primary art form of a new generation.” [. . .]

[1) Jean-Luc Godard in 1964. “I have always confused cinema with life,” he said. “To me life is just part of films.” Credit: Sam Falk. 2) Jean-Paul Belmondo and Jean Seberg on the set of “Breathless” in 1959. The movie came to represent the French New Wave. Credit: Raymond Cauchetier.]

For full article, see https://www.nytimes.com/2022/09/13/movies/jean-luc-godard-dead.html

Erin Eldridge ’21 receives TAPIF Award

Nos félicitations les plus chaleureuses ! Warmest congratulations! Erin Eldridge ’21 is the recipient of a TAPIF award—the Teaching Assistant Program in France, sponsored by the Cultural Services department of the French Embassy in the United States. She will be teaching in Besançon, France. Erin graduated with a double major in French and Political Science, and a minor in Latin American & Caribbean Studies. We are very proud of her.

The Teaching Assistant Program in France offers you the opportunity to work in France for 7 months, teaching English to French students of all ages. Each year, over 1,500 American citizens and permanent residents teach in public schools across all regions of metropolitan France and in the overseas departments of France such as French Guiana, Guadeloupe, Martinique and Réunion. The American cohort is part of the larger Assistants de langue en France program, which recruits approximately 4,500 young educators from 60 countries to teach 15 languages annually in France. The Assistants de langue en France program is managed by France Éducation International.

See more at https://frenchhighereducation.org/teaching-assistant-program