34e Festival International de Films de Femmes (review)

partner to complete activities and record audio for their instructor’s review. As students interact with material ranging from classroom vocabulary or numbers to Francophone professional athletes or “une alimentation équilibrée,” this textbook provides students who have diverse interests with ample opportunities to connect with each other and the Francophone world. The artistic illustrations, dynamic film, and opportunities for pronunciation practice and authentic communication combine into a thoughtful, well-conceived resource for language learners and educators alike, particularly in the university beginning-French classroom. University of Nebraska, Lincoln Sarah Faltin Osborn Film edited by Michèle Bissière 34e Festival International de Films de Femmes, Créteil, 30 mars–8 avril 2012. . The September 2012 issue of Les Cahiers du Cinéma includes a subtitle, “Où sont les femmes?” For thirty-four years now, the Festival International de Films de Femmes has been answering that question, although it would have benefited from more French-speaking films in 2012. FIFF retains its pedagogical orientation, pairing with local schools; the students can attend master classes given by filmmakers, afternoon film viewings with filmmakers and actors present, as well as create daily videos and newsletters . The online newsletter, le petit journal, was particularly well written and astute this year. The two master classes stood out this year. Marie Mandy discussed her work and her early problems, uncovering the mystery of why she started out in fiction, but has abandoned it altogether for documentaries; hers are always strong and on target. Her earlier film, Filmer le désir, remains a classic for exploring women’s desire as expressed by women filmmakers. She discussed her latest film, Mes deux seins, journal d’une guérison, shown this year in the section “Au cœur de l’Europe,” saying that she felt she had to make it, especially since “On ne peut pas séparer le fait d’être femme et d’être cinéaste.” Her intention was to follow the development of her illness, not “her” personal story alone, thus reminding us of declarations by others such as Agnès Varda and Claire Denis, who proclaim it necessary to include details of one’s own life in order to be an “honest” artist. Mandy further advised aspiring filmmakers to be mindful of including as many women as men in the crews and added that she would like to teach a class on the history of film, covering only films by women. She proclaims that the project would be interesting, if only from the point of view of the narrative , and pinpoints that women’s films often sport a circular narrative, moving away from the stalwart chronological story line. In Mes deux seins, however, Mandy did choose a chronological narrative, starting from the first diagnosis to the final “healing.” Instead of editing for seamless transitions between scenes and an objective, removed stance, she chose stories told to the camera, in the form of questions and interviews with other patients, finding that the final product evinces an “incredible intimacy” that could not have been achieved otherwise. Mandy’s current projects explore Web documentaries, because they not only Reviews 1245 allow for quicker distribution, but encourage fresher creativity as well. To her, a Web documentary can reach a greater audience, can avoid beginnings and ends altogether, and can conclude with a final result of arborisation, of branching-out in diverse directions. Hence, the Internet becomes an asset to creation rather than the feared plague, since the medium lends itself to non-linear, circular narration and is thus particularly well-adapted to feminine modes of expression. The other master class in 2012 was with Claire Simon, the head of the directing department at FEMIS. A well-known and respected filmmaker herself, Simon explained that the direction department is perhaps the most difficult one to lead, largely because it is the area most students want to pursue. Her pedagogical philosophy is hands-on and direct support; in order to support her methodology, she organizes workshops throughout the year where she invites filmmakers to interact with students, both in discussion groups and in technical workshops, aiding the students through various stages of their projects. Simon herself began in documentaries and...