Lorenzo Castore is a documentary photographer and filmmaker, born in Florence in 1973 and now living in Rome. His work is characterized by long-term projects focusing on personal experience, memory, and the relationship between individual stories, history, and the present. His work has been regularly exhibited at Photokina in Cologne, the Rencontres d'Arles, Galerie VU', and the Festival Images Vevey in Switzerland, among others.
π¬ ππ’π₯ππ‘ππ’ πππ¦π§π’π₯π π πͺ (2022)
A film by Lorenzo Castore | Italy | 20β | 2013
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Willy Ronis embraced with humanism the great social subjects of the 20th century. For this film, he joins in the game of self-portraiture. He looks back on his beginnings, the big issues that shaped his art and the battles he fought so that his photos do not serve as mere illustrations in the press. Browsing through his archives, he delves into the history of his iconic images and invites us to experience the few minutes that preceded them. He also tells us about the importance of baroque music and Flemish painting in his apprenticeship as a photographer, moulding over time a polyphonic art.
πͺππππ¬ π₯π’π‘ππ¦ π π¦ππππ£π’π₯π§π₯πππ§ π’π π π£ππ’π§π’ππ₯ππ£πππ₯ (2003)
π¬ Directed by Michel Toutain | France | 55'
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This documentary immortalises the meeting between two giants of their discipline. The first, British filmmaker Marc Karlin (1943-1999), remains largely unknown to this day. The second, American photographer Susan Meiselas (born 1948), is an icon of photojournalism and of the Magnum agency, of which she is president.
In the late 1970s, she travelled to Nicaragua to document the two uprisings that led to the fall of the dictator Anastasio Somoza's regime. Some of the photographs she produced there quickly became a symbol of the Sandinista revolution. In 1981, she brought them together in a book that is now considered to be a model of the photographic essay genre.
In this surprisingly film, the photographs from her publication are accompanied by a long letter written to the director, in which Susan Meiselas shares her thoughts on her relationship with this major historical event and on the ethics of photojournalism, as well as the role of the photographer, his contradictions and his responsibilities.οΏ½
π¬ π¦π¨π¦ππ‘ π πππ¦ππππ¦ π π©π’π¬ππππ¦ (1985)οΏ½Directed by Marc Karlin | United Kingdom | 42'
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The documentary Β« Voyages Β» immortalises the meeting between two giants of their discipline. The first, British filmmaker Marc Karlin (1943-1999), remains largely unknown to this day. The second, American photographer Susan Meiselas (born 1948), is an icon of photojournalism and of the Magnum agency, of which she is president.
In the late 1970s, she travelled to Nicaragua to document the two uprisings that led to the fall of the dictator Anastasio Somoza's regime. Some of the photographs she produced there quickly became a symbol of the Sandinista revolution. In 1981, she brought them together in a book that is now considered to be a model of the photographic essay genre.
In this surprisingly film, the photographs from her publication are accompanied by a long letter written to the director, in which Susan Meiselas shares her thoughts on her relationship with this major historical event and on the ethics of photojournalism, as well as the role of the photographer, his contradictions and his responsibilities.οΏ½
π¬ π¦π¨π¦ππ‘ π πππ¦ππππ¦ π π©π’π¬ππππ¦ (1985)οΏ½Directed by Marc Karlin | United Kingdom | 42'
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π¬ In the privacy of her apartment, we discover Romy AlizΓ©e, directing bodies (women, men & non binary) with unabashed sexuality, in search of intensity and beauty. Captured in flash, her photos affirm the power of a very personal sexual aesthetic, never devoid of humour. Between directing shoots and hanging her exhibition, the photographer unzips the heart of her work and unveils her new project: documenting sex workers far from the images they get stuck with.
π¬ π₯π’π π¬ ππππππ π π¦π‘ππ£π¦ππ’π§π¦ (2019)οΏ½Directed by Thomas Goupille | France | 42'
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π¨ Cibachrome is a colour printing process that has now virtually disappeared. In 2015, Roland Dufau opened the doors to his lab to us, then exclusively reserved for collection prints.
His machine, a rare jewel, is more than 30 years old and can no longer keep pace with large-scale exhibitions. In total darkness, where he sculpts the light, he guides us and reveals his know-how as he receives his last roll of Cibachrome paper.
π¬ π₯π’πππ‘π ππ¨πππ¨ π πππππππ₯π’π π π£π₯ππ‘π§ππ₯ (2015)
Directed by Thomas Goupille | France I 21β
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π An insight into the erotic world of FrΓ©dΓ©ric Fontenoy through a photo shoot. His research with his models, his large format photography, his 1930s aesthetic and his collaboration with master printer Diamantino Quintas.
In the tranquil setting of a Paris apartment, a time capsule straight out of the 1930s, three young models get ready. In the adjoining room, the photographer puts the finishing touches to a very elaborate mise en scene.
FrΓ©dΓ©ric Fontenoy is considered one of the masters of contemporary fetish photography. Working with a large format view camera and assisted by his printer, he creates singular images, spending hours perfecting every detail.
π¬ ππ₯πΜππΜπ₯ππ ππ’π‘π§ππ‘π’π¬ π ππ‘π¦πππ (2017)
Directed by Thomas Goupille | France | 25'
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In June 1949, Louis Aragon asks Willy Ronis to photograph the βcaravans of Peaceβ in Oradour. Two years after the start of the Cold War, peaceful mobilization is back on the agenda and the tragic village of Oradour-sur-Glane is chosen to symbolically host the first Peace Congress. Willy Ronis unveils his unpublished archives and immerses himself in the highlights of the event, the interventions of Louis Aragon, Elsa Triolet, Picasso... The testimonies of Pierre Daix, journalist, who covered the Congress, and Pascal Plas, historian, bring this forgotten period back to life.
π¬ πͺππππ¬ π₯π’π‘ππ¦ π π πππ¬ ππ‘ π’π₯πππ’π¨π₯ (2011)
Directed by Patrick SΓ©raudie | France | 23β
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ValΓ©rie Winckler has shared the life (and the pain) of the subjects of βPeinesβ. GΓ©rard, strength sapped by the anxiety of his prison cell, MichΓ¨le, alone and distraught with her children, and especially Benjamin, a βgood kidβ who comes in for all of life's hardships, between approved school, a father in prison, and thwarted childhood dreams. This film is a tour de force, yet it is with gentleness and respect that the photographer paints this picture of incredible humanity.
π¬ π©πππΜπ₯ππ πͺππ‘πππππ₯ π π£πππ‘ππ¦ (1991)
Directed by ValΓ©rie Winckler | France | 21'
πΆββοΈ It's a beautiful story: Lucien Clergue, lover of Arles, photography and light. We see him here simply talking about his life, happily photographing his city or his models (naked in the waves). This friend to Cocteau and Picasso was also the founder of the Rencontres dβArles, and left us in 2014. Here, we see him entering the AcadΓ©mie des Beaux-Arts, a consecration for both himself and photography, for which he was the first representative. This fine portrait brings this "immortal" back to life.
π¬ ππ¨ππππ‘ ππππ₯ππ¨π π π¨π‘π§π’ ππππ§π, π¨π‘π§π’ ππππ (2008)
Directed by Elisabeth Aubert Schlumberger I France I 53β
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π¬ Gilbert & George cultivate paradoxes. Set back from the upscale milieu of contemporary art that reveres them, this pair of loners advocates "art for all". Serial, obsessive, sensitive, cerebral, with a British elegance that borders on parody, their provocative commandeering of the codes compels reflection. The camera follows them in their home-studio, in their neighbourhood, giving free rein to the lucid, often crude words of these working-class gentlemen about themselves and about the changes in the world that feed their creative process.
ππππππ₯π§ & πππ’π₯ππ π π§ππ ππ¨π‘πππ ππ‘π§ππ (1997)
Directed by Gerald Fox | United Kingdom I 100'
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π¨ As colourful as its protagonist, this documentary, a blend of first-hand accounts and stage direction, paints an intimate portrait of Gabor Szilasi, a Hungarian-born photographer who will soon be a hundred years old.
Settled in Quebec since 1957, he has devoted his life to capturing everyday moments with an eye full of curiosity and humanity. Szilasi began his career in Hungary, where he documented the 1956 revolution before fleeing to Canada. A photographer with the Quebec Film Board, he moved away from artistic photography under the influence of Cartier-Bresson and Walker Evans to devote himself to social documentary. From the 1970s onwards, he explored rural Quebec and the cultural transformations of regions such as Charlevoix and Abitibi, while capturing the commercial façades and neon signs of Montreal.
His work, like his lively, resilient personality, celebrates people in all their forms. From his portraits of artists and friends to his photos of everyday life in Quebec, he continually works on the relationship between subject and lens. A dedicated teacher at Concordia University and the CΓ©gep du Vieux MontrΓ©al, he leaves behind a prolific body of work that bears witness to Quebec's social and urban evolution, always approached with humour and kindness.
π¬ ππππ’π₯ π¦πππππ¦π π ππππ’π₯ (2021)
Directed by Joannie LafreniΓ¨re I Canada I 101β
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