16th edition

16th edition

DU 02 AU 10 DÉCEMBRE 2016

In the space of a month, Marrakech will have been the symbol of the convergence of ideas, of the will and desire to make our world a better one. We cannot gather here for the 16th edition of the Marrakech International Film Festival without mentioning and saluting the holding of the COP22 conference on climate change in this magnificent Ochre City. The intentions are there to support and promote a vision of the world in which responsibilities are shared, in which origins and differences are set aside to give way to a common wish to contribute to a better future. That is the spirit of the Marrakech International Film Festival.

As our honored guest, Russian cinema will guide us through a rich civilization. Masterclasses will be given by some great masters who have left their stamp and continue to do so on the history of filmmaking. The eclecticism of the Jury under the presidency of the great cineaste Béla Tarr is the reflection of the official selection in which borders do not exist. All this combines to strengthen my firm belief: Cinema is in the service of humanity, as a vector to bring us together and help us discover others.

I hope that you all spend a festival packed with emotion and wonderful moments, to once again celebrate peace and the hope of a world full of promise for generations to come.





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The 2016 Jury


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For its 16th edition, the Marrakech International Film Festival is delighted to pay tribute to Russian cinema, one of Europe’s richest and most prolific film industries. The Marrakech International Film Festival has always strived to put the spotlight on different territories’ film output, and in previous years has honored the United Kingdom, Japan, Scandinavia, and last year, Canada. This year, the honor falls to Russia, whose cinema – whether pre-Revolutionary, Soviet-era, or post-Perestroika – has been a pivotal force in world cinema since its very beginning. Over the past quarter-century, Russian cinema has not enjoyed quite the same notoriety and popularity that it knew before, but has nonetheless produced some great works, and new filmmakers have emerged as the successors to the creators of the classics. Major festivals are always on the look­out for those who will pick up the baton of the directors to whom Marrakech will pay tribute.

From Sergei Eisenstein and his Battleship Potemkin to Leviathan by Andrey Zvyagintsev, the festival will take in 90 years of filmmaking covering a wide range of genres: the historical epic (Ivan the Terrible by Sergei Eisenstein, Andrei Rublev by Andrei Tarkovsky, Siberiade by Andrei Konchalovsky, Russian Ark by Alexander Sokurov), war and its consequences (The Cranes Are Flying by Mikhail Kalatozov, The Forty-First by Grigory Chukhray, Brother by Aleksey Balabanov, Prisoner of the Mountains by Sergey Bodrov), comedies (La Voie radieuse by Grigori Aleksandrov, Hipsters by Valery Todorovsky), social problems (I Am Twenty by Marlen Khutsiev, Little Vera by Vasili Pichul, Freeze, Die, Come to Life by Vitali Kanevsky, Taxi Blues by Pavel Lounguine, The Fool by Yuri Bykov), inner doubt (The Theme by Gleb Ponfilov, The Sacrifice by Andrei Tarkovsky), and, of course, love (About Love by Anna Melikian).

The Marrakech Festival has twice awarded its Grand Prix to Russian films: Wild Field by Mikheil Kalatozishvili in 2008, and Corrections Class by Ivan Tverdovsky in 2014. The festival has also paid tribute to Andrei Konchalovsky, welcomed Pavel Lounguine on its jury, and frequently included Russian works in the event’s various selections. So it is only natural that a tribute be paid to Russian cinema as a whole: 30 films, accompanied by a delegation of 30 guests, including directors, actors, cinematographers, screenwriters, and producers, led by the director and President of Mosfilm, Russia’s largest movie studio, Karen Shakhnazarov.



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