International Competition Award: FUCK THE POLIS by Rita Azevedo Gomes

Georges de Beauregard International Award: FRÍO METAL by Clemente Castor

Special mention of the International Competition Jury: COBRE by Nicolás Pereda

French Competition Award: BONNE JOURNÉE by Pauline Bastard

Georges de Beauregard National Award: HORS-CHAMP, LES OMBRES by Anna Dubosc, Gustavo de Mattos Jahn

Cnap (National Centre for Visual Arts) Award: DES MILLÉNAIRES D’ABSENCE by Philippe Rouy

Special mention of the Cnap (National Centre for Visual Arts) Jury: L’AMOUR SUR LE CHEMIN DES RONCETTES by Sophie Roger

First Film Award: FANTAISIE by Isabel Pagliai

Special mention of the First Film Competition Jury: LOS CRUCES by Julián Galay

Special mention of the First Film Competition Jury: SI NOUS HABITONS UN ÉCLAIR by Louise Chevillotte

Claudia Cardinale Foundation Award: FERNLICHT by Johanna Schorn Kalinsky

Cine+ Distribution support Award in partnership with GNCR: MORTE E VIDA MADALENA by Guto Parente

Flash Competition Award: گل‌های شب ِدریا by Maryam Tafakory

Special mention of the Flash Competition Jury: A PRELUDE by Wendelien van Oldenborgh

Special mention of the Flash Competition Jury: CONTROL ANATOMY by Mahmoud Alhaj

Special mention of the Flash Competition Jury: LENGUA MUERTA by José Jiménez

Alice Guy Award: ABORTION PARTY by Julia Mellen

Renaud Victor Award: BULAKNA by Leonor Noivo

Special mention of the Renaud Victor Jury: SI NOUS HABITONS UN ÉCLAIR by Louise Chevillotte

High School Award: NEXT LIFE by Tenzin Phuntsog

Special mention of the High School Jury: MIRACULOUS ACCIDENT by Assaf Gruber

The Second Chance School Award: NEXT LIFE by Tenzin Phuntsog

Special mention of the Second Chance School Jury: JACOB’S HOUSE by Lucas Kane

Audience Award: LA JUVENTUD ES UNA ISLA by Louise Ernandez

International Competition Award: FUCK THE POLIS by Rita Azevedo Gomes

Georges de Beauregard International Award: FRÍO METAL by Clemente Castor

Special mention of the International Competition Jury: COBRE by Nicolás Pereda

French Competition Award: BONNE JOURNÉE by Pauline Bastard

Georges de Beauregard National Award: HORS-CHAMP, LES OMBRES by Anna Dubosc, Gustavo de Mattos Jahn

Cnap (National Centre for Visual Arts) Award: DES MILLÉNAIRES D’ABSENCE by Philippe Rouy

Special mention of the Cnap (National Centre for Visual Arts) Jury: L’AMOUR SUR LE CHEMIN DES RONCETTES by Sophie Roger

First Film Award: FANTAISIE by Isabel Pagliai

Special mention of the First Film Competition Jury: LOS CRUCES by Julián Galay

Special mention of the First Film Competition Jury: SI NOUS HABITONS UN ÉCLAIR by Louise Chevillotte

Claudia Cardinale Foundation Award: FERNLICHT by Johanna Schorn Kalinsky

Cine+ Distribution support Award in partnership with GNCR: MORTE E VIDA MADALENA by Guto Parente

Flash Competition Award: گل‌های شب ِدریا by Maryam Tafakory

Special mention of the Flash Competition Jury: A PRELUDE by Wendelien van Oldenborgh

Special mention of the Flash Competition Jury: CONTROL ANATOMY by Mahmoud Alhaj

Special mention of the Flash Competition Jury: LENGUA MUERTA by José Jiménez

Alice Guy Award: ABORTION PARTY by Julia Mellen

Renaud Victor Award: BULAKNA by Leonor Noivo

Special mention of the Renaud Victor Jury: SI NOUS HABITONS UN ÉCLAIR by Louise Chevillotte

High School Award: NEXT LIFE by Tenzin Phuntsog

Special mention of the High School Jury: MIRACULOUS ACCIDENT by Assaf Gruber

The Second Chance School Award: NEXT LIFE by Tenzin Phuntsog

Special mention of the Second Chance School Jury: JACOB’S HOUSE by Lucas Kane

Audience Award: LA JUVENTUD ES UNA ISLA by Louise Ernandez

Ours, Ours

César Vayssié

France, 2025, Color, 36’

World Premiere

Tickets

In French cinematic language, an “ours” is a rough cut of a film. César Vayssié’s film explores a world of possibilities at the crossroads of dance and cinema, where the two languages rub up against one other and the creation processes breathe, and are open to the unexpected and to desires. The filmmaker’s approach deeply resonates with that of choreographer Olivia Grandville and the dancers of the National Choreographic Centre of La Rochelle—they are students, and so by definition, still “in the making”. Dance and cinema dialogue in an essayistic register which subtly plays with the absurd, while conjuring a constellation of quotes, memories, futures, and fantasies.

Margot Mecca

Interview

César Vayssié

The film is part of your trajectory of research and creation surrounding dance and image in movement, developed throughout the years, and it is in and of itself a space for contamination of these two languages. Could you tell us about how this project was born and how it dialogues with your path?

The film was born from a dialogue with choreographer Olivia Grandville. A choreographer and a filmmaker sharing their own artistic questions about the other’s practice. A two-way observation considering cinema as influence (extension) of the choreographic gesture and dance an a vessel (actor) of filmic writing. Making this film alongside young choreographic artists in training gave me the chance to purse metaphysical questions at work in previous movies.

The title alludes to a living cinematographic form, in process, still looking for its form, like the dancers who are also still in training, in a still uncompleted state, and thanks to this, still open to the unexpected and to surprises. I would like to know how you conceived a such a particular tension, characterizing the dialogue between these two languages.

I am always searching for a space of ambiguity with film-devices (UFE, NE TRAVAILLE PAS, RICORDA TI…) modifying the relation to artistic obivouses. In a way Olivia Grandville too with her choreographic creations. There is always, in our sight, the hope to reach virgin and primitive sensations, that we cannot put away in a box or even name. A permanent reconstruction of habits and customs, while we list some sort of official catalog of cinematic writing. The gestures of the students in a search for themselves perfectly match this random and paradoxical logic of research, and the film is also an invitation to a gesture of experience, sending speeches full of principle packing, in a world where everything is ordered, commercialized, definite. In definite, there is finite.

The movements of the dance we see on screen resonate in the movements of the camera and the editing cuts. I would like to know how you worked on composing the film between these different gestures, an approach in which the playful and ironic dimension is also present.

I filmed the moving bodies a lot, through a very intimate relationship with the performers. The idea was to unite these sensitive gestures of the camera with dancing—a pseudo theory of filmic writing—and the anxiety towards the future, combined with the luminous energy of young performers in movement. It is not really irony: Olivia and I work with the absurd and even stupidity as a political vessel of a serious artistic approach, where cinema allows an almost total form, adopting a large spectrum of contradictory feelings in a single artistic object.

Interview by Margot Mecca

Practical informations

Session scheduled at the L’Alcazar Library: free whithout ticket
Session scheduled at Les Variétés Cinema: admission by ticket

Technical sheet

  • Subtitles:
    English
  • Conception:
    César Vayssié, Olivia Grandville
  • Photography:
    César Vayssié
  • Editing:
    César Vayssié
  • Music:
    GROUPE DE ROCK
  • Sound:
    César Vayssié
  • Production:
    Caroline Redy (A_FE), MILLE PLATEAUX CCN DE LA ROCHELLE
  • Contact:
    César Vayssié (A_FE), Caroline Redy (A_FE)