FIFO invites Cabourg.

On Saturday evening at the Concorde, in the scope of the Festival, with great pleasure FIFO presented the two films awarded at the Cabourg Romantic Film Festival, ‘Air Doll’ by Hirokazu Kore-Eda winner of the Feature Film Grand Prix, and ‘On ne mourra pas’ by Amal Kateb , Short Film Grand Prix winner in 2010. A way for FIFO to return the invitation which had been extended to them during the previous Cabourg Festival, as for the first time, a ‘Window on the Pacific’ was opened, with the projection of two films ‘There Once was an Island’ by Briar March , FIFO 2010 Grand Prix and ‘Terre Natale, retour à Rurutu’ by Jean-Michel Corillon, Public Prize. Also a way to form closer links with this festival ‘friend’ since Suzel Pietri, who directs the Cabourg Festival, is FIFO and Polynesia’s loyal friend. When she came in 2010, she wanted to open this special section of Oceania documentary, therefore offering more visibility to our ‘invisible continent’, a term dear to Wallès Kotra the Chairman of AFIFO. As he highlighted prior to the screening, with FIFO, Cabourg opened out to Oceania documentaries, with Cabourg, FIFO is open to a little more fiction…

It was an honour and a true opportunity for FIFO to be invited to Cabourg, which is one of the fiction festivals most appreciated by cinema enthusiasts and professionals. The big names in French cinema are present there, and that therefore allowed FIFO to enhance its visibility beyond Oceania.  Guillaume Laurant, the scriptwriter of ‘Amélie,’ represented the Cabourg Festival during the screening. He made the link between Cabourg and FIFO, with a vision full of romanticism… and humanism.

After ‘Window on the Pacific’ that opened in Cabourg in 2010, it is FIFO’s turn to open its arms to romanticism. How were the award-winning documentaries at FIFO received during the Cabourg Festival?

A very warm welcome, the public was really very interested by these two films. ‘There Once was an Island’ was also shown to school pupils, and Wallès Kotra intervened during this screening to explain the film and Oceania’s challenges. Without a doubt one of the festival highlights.

Is it a ‘window’ which will be repeated?

We don’t know yet, but we hope so. It is an opportunity both for FIFO, but also for Cabourg which is a romantic festival, but also a festival with a humanist view.

The programming of Oceania documentaries in the heart of a romantic fiction festival is not then totally anachronistic?

To be romantic, is to be passionate. Passion is a strong sentiment, but it is also a utopia, and in part, a humanist utopia. Humanism  is sharing. Opening this ‘window on the Pacific’ is partly to have a romantic vision of humanism. It is to turn towards others and their differences. This evening romanticism invites itself to the Pacific Documentary Festival and its humanism.

The short Algerian film which will be screened this evening is in this vein. It is a violent vision of romanticism, but violence is also part of life and its passions. Whether at the exit of a screening of a film at the Cabourg Festival or at the exit of a FIFO documentary, the objective remains the same: that the spectator does not emerge exactly as he went in.

‘In everyone there is an absence that only the other can fill’ recalls one of the Japanese film characters which was screened on Saturday evening, evoking with poetry the necessary curiosity of ‘the other’. The tone has been set. Humanism will therefore be the basis of the exchanges that FIFO will share with the Cabourg Film Festival: a good omen to start this really very promising 8th edition of FIFO.