Le Projecteur du Kulturhuef à vendre:

Prix : 3000.00 €

Description : Projecteur 35mm, mod. Strong, super Highlight II, année ’00, lumière 1600W, avec dérouleur, 3.000.-

LUXEMBOURG – Le Service national de la jeunesse (SNJ) aide les jeunes tels que la bande de Richtung 22 à monter leurs projets.

Si le film «Ons Educatioun – de sëchere Wee», réalisé par les jeunes de la compagnie indépendante Richtung 22, fait un carton en ce moment sur les écrans luxembourgeois, c’est aussi grâce à la manne européenne délivrée par le SNJ pour leur projet.

«Au départ, nous cherchions le moyen de monter notre propre troupe de théâtre», explique Lars Schmitz, 23 ans. Les jeunes ont alors répondu à un appel à projets du SNJ pour faire financer une pièce de théâtre et un film.«Nous avons dû prouver que nos projets présentaient un intérêt pour la jeunesse européenne, puis établir un budget prévisionnel. Et une fois les projets lancés, rendre des rapports réguliers au SNJ». Aujourd’hui, Richtung 22 a encore des pièces en vue.

Le SNJ, pour sa part, lance, en ce moment, son appel à projets pour le programme communautaire «Jeunesse en action». Celui-ci s’adresse aux jeunes eux-mêmes mais aussi aux organisations de jeunesse.

Séverine Goffin

Plus d’infos au 24786477 et sur www.snj.lu/europe.

The Media Programme’s training and development programme EAVE (European Audiovisual Entrepreneurs) has appointed Jani Thiltges as their new Head of Studies in replacement of Alan Fountain, who has been leading EAVE s pedagogical development since 2000 and now becomes EAVE s President from January 1, 2012.

Since 1986, Jani is co-founder, partner and CEO of Samsa Film in Luxembourg. He is also partner of ARTEMIS PRODUCTIONS (Belgium) and FADO FILMES (Portugal). In 2003, he founded LIAISON CINEMATOGRAPHIQUE, based in Paris, in association with ARTEMIS PRODUCTIONS (Belgium) and ENTRE CHIEN ET LOUP (Belgium). At SAMSA FILM, in association with his partner and producer Claude WARINGO, they succeeded in building the company s strong reputation and capacity in producing commercial arthouse films. So far, Jani has produced and co-produced more than 50 feature films. Jani THILTGES is also a member of the European Film Academy and President of EAVE.  In 2004, he is decorated by the Luxembourg Grand-Duke for his activities in the cinematographic field. In 2009, he was awarded the prestigious Prix Eurimages.

Jani Thiltges said: EAVE has become under Alan Fountain s reign, a unique and remarkable training programme for producers. It has been a tremendous honour and pleasure to work with him over the last 10 years, and I would like to express in the name of the whole pedagogical team our warmest thank you to a real gentleman! We will all miss you!!!

EAVE CEO Kristina Trapp praised the work of Alan Fountain and said: It s been a privilege for me to work closely with Alan for the past decade and I am delighted that EAVE is currently in a very strong position. With Jani, we have made a high-profile appointment which is excellent news for EAVE and I look forward to continuing to work together with Jani on further enhancing EAVE s role in strengthening European independent production.

EAVE is a professional training, project development and networking organisation for audiovisual producers. Working with a worldwide network of partners we are involved in programmes for producers in Europe, Russia, Latin America, the Arab world, Asia and Africa.

EAVE s flagship programme, the European Producers Workshop focuses on producer training for some 50 participants each year. The 2012 training programme will take a start in Luxembourg (March 12-19) with workshop 1 gathering 55 producers from 29 countries. Workshop 2 will take place in Opatija, Croatia (June 13-20) and the final workshop will be held in Amsterdam, The Netherlands in November 2012 (TBC).

Premiere von “Ons Educatioun – De sëchere Wee” der Studentengruppe Richtung22 am 27ten Dezember. Um 16:00, 17:30, 19:00 und um 20:30 im Ciné Sura in Echternach.

Filmtitel: Ons Educatioun – De sëchere Wee. – Produktion / Schauspieler: Kollektiv Richtung22 – Land: LU 2011 – Dauer: ca. 55 min – Sprache: Luxemburgisch

- Synopsis:
Erzählt wird Charels Geschichte, der glücklicherweise nicht mit den Portugiesen im Technique schaufeln und kehren muss, sondern Teil der Elite im Classique ist, und dort lernt, auf dem “sicheren Weg” zu bleiben. Zusammen mit seinen Lehrern bekämpft er die Reformvorschläge des Todes.

Begleiten wir seine Leidensgeschichte vom Kindergarten bis hin zu seiner Diplomverleihung. Am Ende stellen wir fest, dass es Wichtigeres im Leben gibt als Mathe, Deutsch und Geschichte… Zeugnisse mit guten Noten, zum Beispiel!

- Kontext:
Der Anfang April 2011 geschriebene und im Juli gedreht Film könnte gar nicht aktueller sein: ein junger, satirischer Beitrag zur hitzigen Debatte um die Schulreform.

“Ons Educatioun – De sëchere Wee” bietet einen Blick auf den Schulalltag, der die grundsätzliche Frage aufkommen lässt: Zu welchem Verhalten werden Kinder erzogen, welche Menschen macht die Schule aus ihnen. Bei diesem Rundumschlag bekommen alle ihr Fett weg: tobsüchtige Lehrer, konservatives Direktorium der Schulen, eine Ministerin mit mangelnder Überzeugungskraft, verzweifelte Eltern, Goethe, und auch unsere dummen Schüler, die uns immer wieder vor den Skandinavieren blamieren.

- Infos zur Gruppe:
Das Film- und Theaterkollektiv „Richtung22“ besteht aus Schülern ab 18, Studenten und Studentinnen unterschiedlichster Fächer, sowie jungen Berufstätigen. Sie alle verbindet nicht nur die Leidenschaft Filme und Theaterstücke zu schreiben, zu inszenieren und zu spielen sondern auch der Wille dabei neue Wege zu gehen und sich in den gesellschaftlichen Diskurs einzumischen.

Depuis ce début d’automne, Samsa Film a entrepris le tournage de trois films simultanément.  Il s’agit de :

“Ne m’oublie pas” de Jérôme Cornuau
Tournage du 12 septembre au 5 novembre (Luxembourg, Belgique et Ecosse)
Avec Michaël Youn, Fanny Valette, Emilie Dequenne, Pauline Haugness
Plus d’information sur le film ici 

“Silent City” de Anna Threes
Tournage du 26 septembre à fin octobre (Luxembourg, Japon)
Avec Laurence Hoothoofdt
Plus d’information sur le film ici

“Emilie” de Olivier Pesch
voir la page Facebook ici

The Lap of Luxembourgery

So what if it has the world’s highest per capita GDP? A visit to the debt-ridden capital of European complacency. BY ERIC PAPE | SEPT/OCT 2011

In the dark heart of Europe lies a nation rotten to the core. Renowned as a secret banking haven where North Korean leader Kim Jong Il allegedly squirreled away billions of dollars, its economy is tied to the whims of capricious global money markets. The country’s per capita external debt is 84 times that of the debt-ridden United States (some $3.76 million for each man, woman, and child). Democracy is a joke, undermined by a hereditary and unelected head of state who not only can dissolve parliament, but appoints some of its members in the first place. Beleaguered citizens worry about just how sustainable their ever-more-fragile country is, which is no surprise given that foreigners make up 44 percent of the population and the equivalent of another 25 percent invade the country daily just to do its work.

So where is this armpit of the European Union, this cancer of the continent? Greece? The Balkans? Not exactly. Behold the Grand Duchy of Luxembourg, population 503,000, a tiny freckle on the map between Belgium, France, and Germany.

Sure, cyclists and hikers might see this bucolic country as a verdant paradise, with its rolling green hills and lush pastures. And bankers may marvel at its spectacular wealth: Luxembourg boasts the world’s highest per capita GDP, $108,832 in 2010. But something must be wrong. The miserable Luxembourgers — who rate lower than all but one other European country on the Happy Planet Index (they’re tied with war-torn Sudan!) — buy more cigarettes and alcohol and have a higher per capita carbon footprint than any other country. And yet their national motto is “We want to remain what we are.”

I had to know: Could this hard-partying little duchy hold the secret to the dark forces now tearing apart Europe?

On the cloudless summer day when I arrived, the quiet, well-kept streets of Luxembourg’s capital, creatively named Luxembourg City, seemed idyllic enough. The only time I sensed any sort of abyss was when I looked down from the elegant stone Pont Adolphe into the lush, precipitous gorge that cuts through town. An 18-piece military brass band was playing “Come Fly With Me” in the city center as well-dressed white people filtered in and out of luxury chain stores on the edge of the charming old town. In the distance, a row of investment banks glistened in the sun, identically armored with reflective, modern exteriors.

I wandered into a stylish bistro that leaked pulsing rhythms onto the Rue de la Boucherie, the trendiest street in the center of the old town — the kind of place, the waiter told me, where bankers gather to knock back copious amounts of booze on weekends. A bottle of whiskey in Luxembourg, explained Panagiotis Meidanis, an 18-year-old server with a truncated pompadour, sells for half the price that it does in his native Greece, where people earn a fraction of the local income, especially now. “When we close on weekend nights, they always want more,” said Meidanis of his customers. “But for some reason they never get into fights here.”

But what did he know? I needed to find a real Luxembourger. Across from the 19th-century Gare de Luxembourg with its art nouveau flourishes, I met with Georges Hausemer, who has published one of the remarkably few novels in the native Lëtzebuergesch language. Hausemer’s 1998 novel, Iwwer Waasser (Above Water), is a tale of a broken marriage set in the world of banking that the author describes as a “portrait in miniature” of Luxembourgian society.

But when I asked him whether his personal $3.76 million share of the external debt keeps him up at night, he said: “Is that true? No one is talking about this here.” He sipped a Schweppes, sans alcohol, and then admitted soberly: “We are a bit lost.” He spoke of the encroachments of “foreign” languages — French is officially used, while German and English are more common in business circles — and distant cultures. The end result, he says, is a country of commerce and banking that is “losing everything else.” Even Hausemer, it turned out, is barely keeping the faith: He wrote his other novels in German.

To better understand modern Luxembourg’s raison d’être, I tracked down Igor, a nattily attired 30-something banker who agreed to speak with me on the condition that I wouldn’t mention his last name or the firm that employs him. He also insisted that we speak while he marched, in his designer shoes, from a business lunch to his car.

Igor told me of the sturm und drang that the 2008 financial crisis brought upon his poor country. “For clients, it was beyond stressful. They could lose their fortunes. They didn’t know if the banks were going to go under. They were guaranteed €100,000 by the state, but above that, nothing.”

He lamented that the local real estate market remains below its peak levels and, worse, that the government introduced an income-tax hike to respond to the financial crisis. “How much was the tax increase?” I asked in horror. “Oh, only a small percentage,” he said. (For upper-income earners, the tax rate rose 1 percent.)

Why put up with such hardships? “The quality of life here,” said Igor, sliding into his sleek silver sports sedan. “It must be the best that you can have — especially with all of the help from the state.”

But maybe I was talking to the wrong sort of people. I needed to find the country’s disaffected youth, its future shock troops for change. Before arriving in the duchy, I had contacted one of its best-known contemporary artists, the successful young filmmaker Max Jacoby. But he turned out to be living in London. Over email he told me that he can no longer imagine living in Luxembourg because it makes him “get itchy and want to leave” after a short time. “Aha!” I thought. “Here’s a young revolutionary in the making, forced into exile for his creative vision!”

Jacoby told of the soporific comforts of his homeland. He described a place where seasoned schoolteachers can earn up to $100,000 annually. “Why work as a starving artist,” he wrote, “when you can earn a fine living teaching the alphabet?” I pushed him on the source of his frustration: “You don’t find any authentic Chinese restaurants,” he complained, and “not a single Korean restaurant.”

Finally, I went directly to the belly of the beast. Lucien Thiel, the former head of the Association des Banques et Banquiers and an active member of parliament, was waiting for me in an antechamber of the Chambre des Députés, the impeccably maintained neo-Renaissance parliament building. The 68-year-old Thiel had agreed to meet me between votes. To my surprise, he looked less like a high-powered banker than a kindly Santa Claus.

How, I wanted to know, did it come to this? Could this madness go on indefinitely? He sat me down and told me of the roots of Luxembourg’s economic success: It began with steel mining and evolved into niche banking. Today, he told me, Luxembourg is second only to the United States in investment funds.

But what of the crippling debt? No threat whatsoever for Luxembourg, Thiel insisted, given that it doesn’t really produce much of economic significance anymore. I scratched my head. “It isn’t that we are so productive, but we have this huge amount of money that we administer, and there is a windfall for us,” Thiel said with a wink.

But surely, I pressed him, he must be worried about something. His smile dimmed a bit.

“I am concerned that we have such a good quality of life that we could come to see it as a gift from God and get too comfortable.”

“Ask people what they want to remain now,” said Thiel, “and they will respond: as rich as we are.”

What is UNICA ?
Purpose
To promote video- and filmmaking as a means of international communication.
To support international cultural cooperation.
To represent its member federations at UNESCO.
To achieve recognition of the independence and freedom of expression for member federations.
Organization
To achieve recognition of the independence and freedom of expression for member federations.
Film Library
UNICA’s Film Library, established in 1938, currently has over 1000 works in the form of film and video. The oldest item dates from 1935. The film and video copies in the library have been donated by their makers and the corresponding federations. Member federations have access to a catalogue with detailed information on the titles of the films in the library.
Patronage
When requested, UNICA supports international film festivals which commit themselves to the regulations of UNICA. For these events a special UNICA medal is offered to be awarded by the organizers.
Information
National federations are kept up-to-date on the latest developments in the field through “UNICA News”, a newsletter published three to four times a year in several languages. Other publications are also issued on special occasions. UNICA is present on Internet: http://www.unica-web.com.
The General Assembly
The General Assembly is an annual forum where member federations meet to discuss and decide on issues of importance to the future development of UNICA.
The World Championship
This is the highlight of UNICA’s annual meeting when each federation presents a selection of films produced during the past year. Prizes are awarded by an international jury which also includes professional filmmakers: the most interesting productions are awarded gold, silver or bronze medals. The “UNICA-Jeunesse” competition is intended for young filmmakers up to the age of 25. It is included in the competition of the national programmes.
World Minute Movie Cup
The “World Minute Movie Cup” competition is also open to non-members. It is a competition for films with a maximum duration of 1 minute.
Discussions and Forums
Audiences have the opportunity to meet the filmmakers and discuss the films presented at the annual film festival. The discussions are usually held with the aid of simultaneous interpreting. There are also forums on various subjects of interest to participants and UNICA members, who meet here to exchange ideas and experiences. The jury’s final discussion in which it decides on each year’s award-winning films, is public. The UNICA Committee and the Congress organizers seek to promote contacts between filmmakers, the audience and non-members.
Cultural Programme
The Congress programme also includes various recreational activities and other social events.