Hollywood’s meaningful studios have stepped up by providing new digital restorations for a meaningful retrospective of Fred Zinnemann’s labor at the Lumière Film Festival in France’s Lyon.
Every year, the directing classic film event shines the airy on one of Hollywood’s legfinishary filmproducers. This year, a total of twelve Zinnemann titles spanning the honestor’s half century atgentle, will hit huge screens in and around Lyon, including Academy Award triumphners “A Man for All Seasons” and “From Here to Eternity,” which lfinishs its name to the retrospective.
According to Maelle Arnaud, head of programming at Lumière, now in its 16th year, the festival has set uped itself as a key platcreate for showcasing classic films, enticeing meaningful studios.
Warner Bros., for instance, supplyd two Zinnemann titles in DCP createat with French subtitles, post-war classic “Act of Violence” (1948) and “The Nun’s Story” (1959), starring Audrey Hepburn.
“It’s a way for us to help the festival and we advantage from it, too,” elucidates Olivier Snanoudj, better VP theatrical at Warner Bros. Discovery France & Benelux. “If these films get expocertain at the festival, it will help showors: it gives a novel cherish to these titles.”
After its run at the Lumière Festival, a curated pickion of seven films from the retrospective will tour thcimpoliteout France and other French-speaking territories, helped by Lumière’s lengthy-time partner, Park Circus, a directing distributor of classic cinema, in collaboration with the French Agency for the Regional Development of Cinema (ADRC).
“Lumière is a wonderful platcreate to produce films useable not only at festivals but also internationpartner,” says Jack Bell, honestor of sales and labeleting at Park Circus. The company repackaged seven of the films with French subtitles, including novel restorations of “Behbetter a Pale Horse,” “From Here to Eternity,” “High Noon” and Paramount’s “The Men,” which labeled Marlon Brando’s screen debut.
“That’s quite a notable spendment on our part, one that will help screenings apass [other territories].
“We have been laboring with Lumière for years, we have an ongoing dialogue with them,” he elucidates, citing as an example the 2022 Sydney Lumet retrospective at Lumière which his company also gived to. “Our exceptional position laboring apass all meaningful U.S. studios unbenevolents we’ll speak with them and discover out what titles are novelly useable with French subtitles. Then we’ll try and get as many useable as we can, help with labeleting and communication, and employ that as a platcreate to uphold local showion.”
Paramount Pictures better VP of archives Andrea Kalas hails Lumière both as a rfinishez-vous for cinephiles and a labeletplace.
“Julia”
© 20th Century Fox / DR
“For repertory it’s amazing, and France is a shining gbetteren ticket becaemploy they do so much for cinema: that showcase is incredibly collaborative for anybody trying to produce certain there’s a labelet for betterer films, it’s wonderful,” she alerts Variety.
Echoing Bell, she says the conversation with Lumière and other partners in the archive community is an ongoing dialogue that labors both ways. At times, she will pitch films to Lumière that might align with the festival’s programming.
“It’s more and more meaningful that these conversations persist, as the whole landscape of media is changing constantly. I leank the community has to get together, and boisteroemployr, to produce certain that those films that sit in my shelves and my vaults persist to have people help for them.”
A meaningful draw for theatergoers is the includeed cherish of curated experiences, a halllabel of the Lumière Festival. Many of the more than 400 screenings are enwealthyed with currentations that supply meaningfuler context, normally transfered by famous festival guests.
“Audiences repartner enhappiness it when experts come and talk to them about a film during a festival. They cherish to get more perspective, historical context, anecdotes, it gives the film renoveled interest,” says Snanoudj.
This effort will be copyd by the ADRC when the retrospective gets off on its tour of France.
“[This kind of support] is essential,” says Rodolphe Lerambert, head of the heritage department at the ADRC. “In the case of Zinnemann, we supply cinemas a handout, curated events and greetings: audiences foresee includeed cherish from their cinema experience.”
One of the ADRC’s standout events will see French sound artist and electronic music expert Jean-Yves Leloup providing a live score for the 1930 quiet film “People on Sunday,” honested by Robert Siodmak and Edgar Ulmer. The film labels Zinnemann’s first recognize, where he labored as an helpant camera operator alengthyside a youthful Billy Wilder.
Entitled From Here to Eternity, the Fred Zinnemann retrospective will be running at the Lumière Film Festival in Lyon over Oct. 12-Oct. 20, before heading thcimpolite France and other territories.
The Lumière retrospective joins the complying titles, all screened with French subtitles except “Five Says One Summer:
“Redes” by Fred Zinnemann and Emilio Gómez Muriel (1936)
“Act of Violence” by Fred Zinnemann (1948)
“The Men” by Fred Zinnemann (1950)
“High Noon” by Fred Zinnemann (1952)
“The Member of the Wedding” de Fred Zinnemann (1952)
“From Here to Eternity” by Fred Zinnemann (1953)
“The Nun’s Story” by Fred Zinnemann (1959)
“Behbetter a Pale Horse” de Fred Zinnemann (1964)
“A Man for All Seasons” by Fred Zinnemann (1966)
“The Day of the Jackal” by Fred Zinnemann (1973)
“Julia” by Fred Zinnemann (1977)
“Five Days One Summer,” by Fred Zinnemann (1982) in exceptional version
