This edition: September 2003 edition
Original tape date: September 1, 2003.
What could be possibly better for an artist than Paris? For many years of the 19th century it was Rome. In its current exclusive exhibit - French Artists in Rome: Ingres to Degas, 1803-1873 --The Dahesh Museum of Art in New York explores the influence of Rome - its art, culture, history, and landscape - on young French artists who studied at the French Academy's outpost in the Eternal City, the Villa Medicis. Curator Olivier Bonfait tells CANAPE about French art Italian style.
The capital of France? Paris, obviously. The capital of the French speaking world? Paris, obviously. Or is it that obvious these globalized days? In the new anthology La culture francaise vue d'ici et d'ailleurs / French Culture Seen from Here and There the question is posed to over a dozen French speaking thinkers. Editor of the volume Professor Thomas Spear talks to CANAPE about issues that never troubled the sleep of Moliere or Flaubert. Welcome to the 21st century, mes amis.
Jane Birkin is a good candidate for the most famous Englishwoman living in France. With her unmistakable accent, she is equally adept as an actress and a singer. The widow of legendary composer Serge Gainsbourg, she is dedicated to keeping his music alive. Most recently, Birkin has joined forces with Algerian violinist Djamel Benyelles to adapt Gainsbourg's French cabaret style to North African rhythms. She talks with CANAPE about this latest project Arabesque.
“Documentaries don't have to be didactic. They can have emotion and tell stories,” says French filmmaker Nicolas Philibert. His most recent film - Etre et Avoir / To Be and To Have - couldn't illustrate his point better. Set in a tiny rural mountain community, it follows the teacher in a one room school through four seasons with his students. Young lives unfold in ways that no briefer drama could capture. Philibert's patient camera finds human truth where others find little of interest. He talks with CANAPE about his vision of documentary.
French film director Olivier Assayas likes a challenge so much that he seems to take on a new genre with each project. His latest film Demonlover is a futuristic tale of industrial espionage. The product that everyone wants is an elite Japanese program of three dimensional pornography for the internet. There are big profits at stake in the competition. And there is much to be said by Assayas to CANAPE about what his film of tomorrow says about today. It's a profitable interview to watch.