goodbye uncle tom ( italian : addio zio tom ) is a 1971 italian film directed by mondo film documentary directors gualtiero jacopetti and franco prosperi with music by riz ortolani .

the film is based on true events in which the filmmakers explore antebellum america , using period documents to examine in graphic detail the racist ideology and degrading conditions faced by africans under slavery .

because of the use of published documents and materials from the public record , the film labels itself a documentary , though all footage is re-staged using actors .

though the film is presented as a documentary , it is more of a historical drama or docudrama because of its fantasy framing device of the directors travelling back in time combined with the re-staging of historical events .

goodbye uncle tom

goodbye uncle tom <EOT> goodbye uncle tom ( addio zio tom / farewell uncle tom ) ( 1971 ) - soundtrack . net

a review of the controversial italian exploitation shockumentary . you can watch goodbye uncle tom here urltoken

from the 1971 film addio zio tom ( goodbye uncle tom ) by gualtiero jacopetti & franco prosperi . music by riz ortolani .

video classics australia trailer for the film " farewell uncle tom " ( 1971 ) aka " goodbye uncle tom " , " addio zio tom " ( original italian title ) , " addio onkel tom " .

furnas , j . c . goodbye to uncle tom . new york : sloane , 1956 , 435 p .

in our endless discussion about tarantino’s django unchained , a few commenters have mentioned the film goodbye uncle tom ( aka addio zio tom ) .

addio zio tom ( goodbye uncle tom ) is a controversial 1971 italian mondo exploitation film directed by gualtiero jacopetti and franco prosperi ( of mondo cane fame ) .

goodbye uncle tom dir . gualtiero jacopetti & franco prosperi , 1971 . usa . 135 min . director’s cut . in italian with english subtitles

so they made goodbye uncle tom — one of the most challenging , notorious , anti - american , and maligned films of all time .

hirsh , stephen a . " uncle tomitudes : the popular reaction to uncle tom ' s cabin . "

from the 1971 film addio zio tom ( goodbye uncle tom ) by gualtiero jacopetti & franco prosperi . music by riz ortolani . sung by katyna ranieri . music is owned by gdm italy .

curated for the genre - centric fantastic fest by drive director nicolas winding refn , the unveiling of farewell uncle tom ( also known as goodbye uncle tom ) proved why it remains one of the most divisive sleaze classics ever committed to celluloid .

anderson , beatrice a . " uncle tom : a hero at last . "

gardiner , jane . " the assault upon uncle tom : attempts of pro - slavery novelists to answer uncle tom ' s cabin , 1952 - 1860 . "

hill , herbert . " ' uncle tom ' an enduring american myth . "

prior , moody e . " mrs . stowe ' s uncle tom . "

decamerone nero ' s german dvd has a super - 8mm version of " goodbye uncle tom " , ( german audio only ) as a special feature on the disc .

fisch , audrey a . " ' exhibiting uncle tom in some shape of other ' : the commodification and reception of uncle tom ' s cabin in england . "

farewell uncle tom : vile , cruel , amazing | birth . movies . death .

banks , marva . " uncle tom ' s cabin and antebellum black response . "

decanio , stephen j . " uncle tom ' s cabin : a reappraisal . "

decamerone nero ' s german dvd has a super - 8mm version of " goodbye uncle tom " , ( german audio only ) as a special feature on the disc . see more »

lant , kathleen margaret . " the unsung hero of uncle tom ' s cabin . "

white , isabella . " the uses of death in uncle tom ' s cabin . "

the critical response to goodbye africa was rather unkind . the new york times review was particularly outraged :

duvall , severn . " uncle tom ' s cabin : the sinister side of patriarchy . "

uncle tom ' s cabin and mid - nineteenth - century united states ; pen and conscience .

riss , arthur . " racial essentialism and family values in uncle tom ' s cabin . "

askeland , lori . " remodeling the model home in uncle tom ' s cabin and beloved . "

brandstadter , evan . " uncle tom and archy moore : the antislavery nove as ideological symbol . "

cox , john f . " uncle tom ' s cabin : a pre - raphaeltie reaction . "

fisher , philip . " partings and ruins : radical sentimentality in uncle tom ' s cabin . "

harriet and the runaway book : the story of harriet beecher stowe and uncle tom ' s cabin .

_ _ _ _ _ . " simm ' s review of uncle tom ' s cabin . "

fiedler , leslie . " home as haven , home as hell : uncle tom ' s canon . "

jehlen , myra . " the family militant : domesticity versus slavery in uncle tom ' s cabin . "

levin , david . " american fiction as historical evidence : reflections on uncle tom ' s cabin . "

_ _ _ _ _ . " stowe ' s black sources in uncle tom ' s cabin . "

pickens , donald k . " uncle tom becomes nat turner : a commentary on two american heroes . "

romero , lora . " bio - political resistance in domestic ideology and uncle tom ' s cabin . "

ward , john william . " uncle tom ' s cabin , as a matter of historical fact . "

riggio , thomas p . " uncle tom reconstructed : a neglected chapter in the history of a book . "

warhol , robyn r . " poetics and persuasion : uncle tom ' s cabin as a realist novel . "

camfield , gregg . " the moral aesthetics of sentimentality : a missing key to uncle tom ' s cabin . "

_ _ _ _ _ . " modernization and the american fall into slavery in uncle tom ' s cabin . "

arner , robert d . " jeffersonian idealism and the southern frontier : a reading of uncle tom ' s cabin . "

cassara , ernest . " the rehabilitation of uncle tom : significant themes in mrs . stowe ' s antislavery novel . "

grinstein , alexander . " uncle tom ' s cabin and harriet beecher stowe : beating fantasies and thoughts of death . "

_ _ _ _ _ . " getting in the kitchen with dinah : domestic politics in uncle tom ' s cabin . "

cass , jeffrey . " harriet beecher stowe ' s acts of theological terror : conservatism in uncle tom ' s cabin . "

fluck , winfried . " the power and failure of representation in harriet beecher stowe ' s uncle tom ' s cabin . "

jenkins , jennifer l . " failed mothers and fallen house : the crisis of domesticity in uncle tom ' s cabin . "

_ _ _ _ _ . " uncle tom ' s cabin in frederick douglass ' paper : an analysis of reception . "

message , messenger , and response : puritan forms and cultural reformation in harriet beecher stowe ' s uncle tom ' s cabin .

duvall , john n . " authentic ghost stories : uncle tom ' s cabin , absalom , absalom ! , and beloved . "

miller , randall m . " mrs . stowe ' s negro : george harris ' negritude in uncle tom ' s cabin . "

watson , charles s . " simm ' s answer to uncle tom ' s cabin : criticism of the south in woodcraft . "

the following entry presents criticism of stowe ' s novel uncle tom ' s cabin ; or , life among the lowly ( 1852 ) .

joswick , thomas p . " ' the crown without conflict ' : religious vaules and moral reasoning in uncle tom ' s cabin . "

krog , carl e . " women , slaves , and family in uncle tom ' s cabin : symbolic battleground in antebellum america . "

being that the taboos depicted in it are usually the stuff of exploitation films , goodbye uncle tom is often accused of being categorically exploitative . this claim is not entirely without merit , but it represses the film’s more high - minded goals . all of the “mysteries of life” ( birth , death , sex – including homosexuality and pedophilia – and bodily functions ) are herein presented without inhibition , and these images assault the viewer . goodbye uncle tom strips away the expository narration of documentary cinema and the narrative justifications of scripted cinema , effectively leaving the viewer to comprehend these images without familiarly conventional means of detachment . it is a smoother variant of the disorienting “shock cut” from mondo cane ; rather than jumping from the innocuous to the disturbing , goodbye uncle tom strengthens these images by making them more “real” via the removal of the safeguards ( comic relief , brevity ) of their earlier works .

instead of retreating to safe ground , jacopetti and prosperi jumped into treacherous waters with 1971′s goodbye uncle tom ( addio zio tom ) . the film follows a 20th century italian film crew that travels back in time to visit a 19th century american slave plantation . the crew documents plantation life from the perspective of both the slaves and the slave owners . real events are depicted in naked bloody detail , including the middle passage by which slaves were transported from africa to the united states . most of goodbye uncle tom was filmed in haiti with the permission of dictator françois “papa doc” duvalier . dozens , if not hundreds , of haitians appeared as slaves in the film .

historical domain character : harriet beecher stowe , author of uncle tom ' s cabin , and samuel cartwright , the racist confederate physician , appear .

trailer : farewell uncle tom ( 1971 ) video classics australia trailer - youtube and to lend to the debate , here ' s a link to ebert ' s review , which offers some critical arguments about the actual production of the film . farewell uncle tom : : urltoken : : reviews

[ 21 ] a . h . weiler , “screen : farewell uncle tom , ” new york times , october 29 , 1972 , 69 .

source : " doing it herself : uncle tom ' s cabin and woman ' s role in the slavery crisis , " in new essays on " uncle tom ' s cabin , " edited by eric j . sundquist , cambridge university press , 1986 , pp . 85 - 105 .

foreman , p . gabrielle . " ' this promiscuous housekeeping ' : death , transgression , and homoeroticism in uncle tom ' s cabin . "

dorsey , peter a . " de - authorizing slavery : realism in stowe ' s uncle tom ' s cabin and brown ' s clotel . "

whitney , lisa . " in the shadow of uncle tom ' s cabin : stowe ' s vision of slavery from the great dismal swamp . "

[ in the excerpt that follows , cassara outlines the features that make tom a heroic figure , in contrast to those who view him as the obsequious character from which the pejorative term " uncle tom " has derived . ]

source : " mothers , husbands , and an uncle : stowe ' s uncle tom ' s cabin , " in authorship and audience : literary performance in the american renaissance , princeton university press , 1991 , pp . 74 - 89 .

farewell uncle tom is a 1971 italian faux - documentary that sought to capture the evils of american slavery , but was demonized for its brutality and exploitative nature .

[ 20 ] hank werba , “italo ‘uncle tom’ beats censor band but pic withdrawn for re - editing , ” variety , december 16 , 1971 , 8 .

as [ stowes ] title ought to suggest , [ uncle tom ' s cabin ] is largely the story of a community . according to stowe ' s 1878 essay " the story of uncle tom ' s cabin " the novel ' s animus was the fugitive slave law of 1850 , which required even . . .

goodman , charlotte . " from uncle tom ' s cabin to vyry ' s kitchen : the black female folk tradition in margaret walker ' s jubilee . "

by abandoning their mondo cycle , jacopetti and prosperi created one of cinema’s most challenging and complex works . it is one that has been largely ignored by film academics , usually only garnering a mention for what is seen as its “exploitive” content . this could possibly be due to the fact that , as with slavery itself , goodbye uncle tom is a difficult subject to discuss , as it examples worst aspects of human nature , and forces us face the discomforting contents head on . jacopetti and prosperi have been praised for their stylish and influential documentaries , but goodbye uncle tom is perhaps their greatest achievement—if nothing else , an incendiary cinematic experience that has yet to be equaled .

the historical document known as uncle tom ' s cabin illustrates a truth that has been known to american historians ever since washington irving published knickerbocker ' s . . .

[ in the following excerpt , ammons discusses various feminist themes in uncle tom ' s cabin , suggesting that stowe replaces masculine values with feminine and maternal ones . ]

zwarg , christina . " fathering and blackface in uncle tom ' s cabin . " novel : a forum on fiction ( spring 1989 ) : 274 - 87 .

uncle ( below ) boldly goes forward where zio hesitates at the brink of infanticide .

uncle sam ' s emancipation ; earthly care a heavenly discipline ; and other sketches .

you probably should not see addio zio tom ( or farewell uncle tom or goodbye uncle tom as it is often translated ) . it is a vile , cruel movie , a film that is exploitative in ways that will make even the most hardened connoisseur of envelope - obliterating cinema feel sick and violated . it is a film that feels like true evil , a film that makes the viewer complicit in its atrocities . it is also an extraordinarily well - made film , an almost virulently effective film and a movie that was made , the directors claim , to spread an anti - racist message .

the expression " uncle tom " in the context of today ' s racial tensions has come to stand for a servile , cringing , hypocritical negro who is willing to accommodate to the white power structure and to a less - than - equal place in american society . the melodramatic stage adaptation of uncle tom ' s cabin by . . .

[ in the following excerpt , fluck examines uncle tom ' s cabin in terms of various definitions of sentimentalism , discussing both its cultural importance and its aesthetic limitations . ]

a key to uncle tom ' s cabin ; presenting the original facts and documents upon which they story is founded together with corroborative statements verifying the truth of the work .

bellin , joshua d . " up to heaven ' s gate , down in earth ' s dust : the politics of judgment in uncle tom ' s cabin . "

_ _ _ _ _ . " ' if ever i get to where i can ' : the competing rhetorics of social reform in uncle tom ' s cabin . "

cannon butchered the film even further for its united states release in 1972 . their plan to ride the successful wave of american black exploitation films did not work . a . h . weiler called it a “voyeur’s view of , not a sad good - by to , some lurid aspects of american slavery . ” [ 21 ] pauline kael attacked goodbye uncle tom with rabid fury . in an article declaiming the state of black cinema in the 1970′s , she called farewell uncle tom “the most specific and rabid incitement to race war” of the time . [ 22 ] kael deduced that the film arose from the directors’ “porno fantasies . ” [ 23 ] american racist provocateur david duke held similar views about the film albeit for entirely different reasons . he claimed that goodbye uncle tom was part of a jewish plot—the owners of cannon were jewish—to incite black people to riot and kill whites . [ 24 ]

jacopetti’s influence was not limited to mockumentaries . arguably , the ascendancy of “reality television” can be traced back to mondo cane . modern genre films also owe him a great debt . cannibal holocaust , blair witch project and other numerous films that embrace the “found - footage” formula are direct descendents of mondo cane . astute filmgoers may have noticed that nicolas winding refn’s fabulous drive contains a reference to goodbye uncle tom . refn , who is an avowed student of genre films , uses riz ortolani’s song “my love” to score a pivotal scene in the film . the way in which refn matches the track to the scene’s emotional core is ingenious and reflects a keen understanding of the way the music was originally used in goodbye uncle tom .

this week in austin , a curious crowd got a rare look at cult classic farewell uncle tom ( addio zio tom ) , the controversial 1971 italian faux - documentary about the evils of american slavery known as one of the most confrontationally provocative movies of all time .

source : " heroines in uncle tom ' s cabin , " in american literature , vol . xlix , no . 2 , may , 1977 , pp . 161 - 79 .

michie , helena . " ' dying between two laws ' : girl heroines , their gods , and their fathers in uncle tom ' s cabin and the elsie dismore series . "

uncle sam ' s emancipation ; earthly care a heavenly discipline ; and other tales and sketches .

[ in the following excerpt from an essay originally published in 1983 , michaels examines the economic themes of uncle tom ' s cabin , focusing on the role of slavery in the marketplace . ]

. . . . the conjunction of death and secure property has its place in [ uncle tom ' s cabin , a text ] intended not as a romance but , in its author ' s words [ in a key to uncle tom ' s cabin , 1853 ] , as a " representation . . . of real incidents , of actions really performed , of . . .

[ in the following excerpt , gwin discusses the relationships between white and black female characters in uncle tom ' s cabin , emphasizing the strength of these bonds against the threat of slavery . ]

source : " uncle tom ' s cabin : a reappraisal , " in the centennial review , vol . xxxiv , no . 4 , fall , 1990 , pp . 587 - 93 .

[ in the following excerpt , jenkins examines race , sexuality , and motherhood in uncle tom ' s cabin , tracing what she contends is the collapse of stowe ' s domestic plot . ]

historians typically say that harriet beecher stowe’s novel uncle tom’s cabin had a tremendous impact on the north . abraham lincoln supposedly greeted her by saying , “so you ' re the little . . .

[ in the following excerpt , strout examines the nineteenth - century theological traditions that informed the writing of uncle tom ' s cabin , defending stowe against modernist critics who accuse her of racism . ]

uncle tom’s cabin was important because it helped to bring on the civil war . president lincoln is supposed to have said ( though this is probably apocryphal ) to harriet beecher stowe “so . . .

in the centre of the work is jones , gliding and kicking with the utmost precision , a one - man statement , brimming with health and vitality . with his silky intonation , he taunts the audience playfully : " hey everybody , let ' s have some fun . you only live once and when you ' re dead you ' re done . " only at the end does the mood change , with a valediction to those who didn ' t make it this far : " is this where we are now ? " he asks . " this is 2004 . this is a gesture that means every good idea i ' ve ever had and every bad idea . this is every drop of sweat ever shed on this stage . this is saying goodbye to arnie zane . this is saying goodbye to david , goodbye to gene , goodbye to hope . "

bender , eileen t . " repossessing uncle tom ' s cabin : toni morrison ' s beloved . sel . papers from the fourteenth annual florida state univ . conf . on lit . & film . "

and to lend to the debate , here ' s a link to ebert ' s review , which offers some critical arguments about the actual production of the film . farewell uncle tom : : urltoken : : reviews

source : " american fiction as historical evidence : reflections on uncle tom ' s cabin , " in forms of uncertainty : essays in historical criticism , university press of virginia , 1992 , pp . 249 - 59 .

president abraham lincoln , upon meeting the author of uncle tom’s cabin in 1862 , is alleged to have said to harriet beecher stowe , “so you ' re the little woman who wrote the book that started . . .

goodbye uncle tom did play briefly in some urban theaters in the early 70’s , but in a shortened version in the u . s . , for fear that black people would rise up , go bat - shit crazy and start riots . didn’t really help . black people still got very angry when they saw the film , and , not surprisingly , the film was quickly pulled from distribution . but it has gained a genuine cult following since then .

source : " uncle tom ' s cabin and the portent of millennium , " in the veracious imagination : essays on american history , literature , and biography , wesleyan university press , 1981 , pp . 59 - 69 .

[ in the excerpt that follows , herzog discusses the women and african - american characters in uncle tom ' s cabin , focusing on their role in the author ' s vision of a new religious and political order . ]

[ in the following excerpt , railton focuses on stowe ' s relationship to her audience , contending that uncle tom ' s cabin is both a radical novel of social protest and a conventional recording of genteel victorian preconceptions . ]

crozier , alice c . " uncle tom ' s cabin ; or , history in the making . " in her the novels of harriet beecher stowe , pp . 3 - 33 . new york : oxford , 1969 .

source : " the rehabilitation of uncle tom : significant themes in mrs . stowe ' s antislavery novel , " in cla journal , vol . xvii , no . 2 , december , 1973 , pp . 230 - 40 .

stomach - turning images flood the screen relentlessly throughout farewell uncle tom , as it revels in showcasing the dehumanizing horrors of slavery . its sympathies are clear , as just about every white character is depicted as a grotesque , abominable caricature .

[ in the following excerpt , tompkins defends the value of uncle tom ' s cabin as a work of sentimental fiction , discussing stowe ' s attention to nineteenth - century women ' s culture and her vision of social reform . ]

tom can be seen as christ - like in several ways . like christ , tom never takes the form of the world around him . his environment , especially under simon legree , is one of brutality and cruelty , . . .

in uncle tom ' s cabin , where slavery is linked to the male sphere , the bonds between white and black women not only provide succor but can generate enormous power against that sphere . the bonds between mrs . shelby . . .

source : " the power and failure of representation in harriet beecher stowe ' s uncle tom ' s cabin , " in new literary history , vol . 23 , no . 2 , spring , 1992 , pp . 319 - 38 .

winks , robin w . " the making of a fugitive slave narrative : josiah henson and uncle tom : a case study . " eds . charles t . davis and henry louis gates , jr . oxford : oxford up , 1985 .

[ in the following excerpt , decanio examines the philosophical questions underlying uncle tom ' s cabin , suggesting that stowe ' s treatment of religion and faith has as much relevance for a modern audience as her commentary on gender and ethnicity . . ]

uncle tom ' s story of his life : an autobiography of the rev . josiah henson , 1789 - 1876 ; with a preface by harriet beecher stowe and an introductory note by george sturge and s . morley ; edited by john lobb .

watch this movie if you can get through it . as bad as it is , this is about the truest vision through a ' white man ' s eyes ' i ' ve ever seen on slavery . this is what they thought about us , this is how they treated us , this is what was done to us . its not a laughing matter . i like django but i will always respect spike lee & he does have a point . movie : goodbye uncle tom ( 1971 ) - youtube

based on historical documents , farewell uncle tom re - enacts the horrors of slavery - era america in discomfiting accuracy from the moment it opens , hilariously enough , on a shot of the film crew’s helicopter gliding over bewildered and windblown slaves in a field .

determined to prove their racial liberalism , the filmmakers thought they had another great idea : as prosperi said , “why don’t we do mandingo as a documentary ? ” kyle onstott’s 1957 novel about sex , violence and slavery on an alabama plantation would become a hollywood movie in 1975 , but jacopetti and prosperi got there first and went further . addio zio tom , shown in a shortened american cut as goodbye uncle tom , borrowed the time - traveling doc style of the cbs show you are there , but in scope and ambition it was one of the boldest of all mockumentaries , and one of the earliest ( after woody allen’s take the money and run ) .

if you are up for the harrowing challenge of addio zio tom it plays at fantastic fest this sunday at 2 : 15pm .

source : " sentimental power : uncle tom ' s cabin and the politics of literary history , " in sensational designs : the cultural work of american fiction , 1790 - 1860 , oxford university press , inc . , 1985 , pp . 122 - 46 .

there are still two good reasons to read uncle tom ' s cabin : for its radicalism , and for its conventionality . as a novel of social protest , it generates so much passion within its own pages that , although the particular evil it . . .

source : " home as heaven , home as hell : uncle tom ' s canon , " in rewriting the dream : reflections on the changing american literary canon , edited by w . m . ; verhoeven , rodopi , 1992 , pp . 22 - 42 .

source : " failed mothers and fallen houses : the crisis of domesticity in uncle tom ' s cabin , " in esq : a journal of the american renaissance , vol . 38 , no . 2 , second quarter , 1992 , pp . 161 - 87 .

steele , thomas j . , s . j . " tom and eva : mrs . stowe ' s two dying christs . "

[ in the following essay , yellin discusses the influence of mid - nineteenth - century feminist thought on the writing of uncle tom ' s cabin , emphasizing the roles that angelina e . grimké and catharine beecher had on the creation of stowe ' s female characters . ]

goodbye uncle tom is one of the sickest films that can be seen . it ' s about the trade slavery in america and europe in the previous centuries . watching goodbye uncle tom , i viewed some of the nastiest and most unbelievable scenes that can be seen . seeing the white men abuses , rapes , humiliates and does everything that comes to his twisted mind was unbelievably shocking , however , the film was boring too and had some moments that made me feel like turning it off , but i didn ' t , i watched it all the way . the most shocking thing about this film was that all of this has actually happened ! it seemed even sicker than those holocaust stories and movies , in those holocaust stories and movies the jewish people were slaughtered , but they weren ' t treated like animals that are kept in cages just for profit like the black man were . this film actually shows how the white empires are disgustingly cruel and careless . i can only recommend it to people who like being shocked or like watching shocking historical facts that have happened in the " developing " countries by the " developed " countries . 5 / 10

[ in the excerpt that follows , originally from an essay published in 1971 , levin addresses stowe ' s treatment of various social issues in uncle tom ' s cabin from a historical perspective , concluding that stowe should be commended for her often - overlooked , complex intellectual statement . ]

reacting against a long history of neglect , current revisionist studies of american literature have drawn our attention to harriet beecher stowe ' s uncle tom ' s cabin as an especially rich and powerful example of sentimentality in the novel . such attempts to make sense of materials which critics drawing . . .

score to goodbye uncle tom “i didn’t tell anybody where the song ‘oh my love’ [ by riz ortolani ] came from until the final print because the great fun was that nobody knew the source material is probably the most offensive film ever made , ” explains refn of the graphic , 1971 faux - documentary depicting slavery and sexual violence . “i bought the soundtrack for a couple of hundred dollars on ebay last year . at one point , driver becomes both the antagonist and the protagonist in his own life . he’s psychotic , and i felt this song would be a good introduction to that part of him . ”

source : " harriet beecher stowe ' s uncle tom ' s cabin : women and blacks revolutionizing society , " in women , ethnics , and exotics : images of power in mid - nineteenth - century american fiction , the university of tennessee press , knoxville , 1983 , pp . 102 - 20 .

[ in the following excerpt , goodin discusses the characterization of tom and the ending of the novel in relation to themes of resistance and community . ]

source : " the virtuous victim : les misérables , billy budd , the power and the glory , uncle tom ' s cabin , " in the poetics of protest : literary form and political implication in the victim - of - society novel , southern illinois university press , 1985 , pp . 51 - 86 .

uncle tom ' s cabin , the main work for which harriet beecher stowe is now remembered , is enjoying a rebirth . with the received " canon " of american literature under attack as elitist , racist , and sexist , it is not surprising that an authentic anti - slavery novel , written by a . . .

for his next piece , last supper in uncle tom ' s cabin / the promised land ( 1990 ) , jones decided to make a conscious shift away from the multicultural partnership that had dominated his work for 17 years and explore his own , particular african - american heritage . at the heart of this exploration was the novel by harriet beecher stowe , often viewed as a constricting but potent cultural reference point . " i wanted to ask : was uncle tom a disgrace to his race ? was he a christ - like figure , a precursor of dr martin luther king ? is this high - minded propagandistic literary work of any relevance to us today ? " says jones .

anachronism stew : harriet beecher stowe and samuel cartwright both appear and discuss their most famous works— uncle tom ' s cabin ( 1852 ) and diseases and peculiarities of the negro race ( 1851 ) , respectively—and the setting seems to be the 1850s , but the international slave trade is prominently featured early in the film , despite having been banned in 1807 .

you probably shouldn’t see addio zio tom . but if you do , go in prepared to look straight into the abyss , right into the eyes of a grotesquerie just this side of a snuff film with a moral message . if the road to hell is paved with good intentions , every cinema in the underworld must be playing addio zio tom .

in 1964 , jacopetti and prosperi began work on goodbye africa ( africa addio ) . at the time , africa was transitioning from a colonial chess set into a continent of independent nations . as the colonialists exited the country , a massive struggle for political power and natural resources ensued . jacopetti travelled africa with a small a film crew in order to capture the events on cameras .

some of the most hotly contested debates in american literary history have surrounded stowe ' s monumental work . in the antebellum years , the controversy focused primarily on her antislavery arguments and her depiction of the south . the first american book to sell more than a million copies , uncle tom ' s cabin was well received in the north , despite the arguments of some abolitionists who felt she was too lenient ; however , southern reviewers accused her of slander , and dozens of " anti - tom " novels soon appeared . after the civil war , white critics in the north and south , for the most part , came to agree with stowe ' s position on slavery , but many took issue with her presentation of african - american characters , claiming that they were depicted in too positive a manner . in the post - world war ii years , however , the opposite view prevailed . reviewers such as african - american novelist james baldwin found in stowe ' s portrayal of tom a negative stereotype of servility and impotence . while " uncle tom " has remained a pejorative term , several scholars since the mid - 1980s have vigorously defended both the political message and the artistic merit of the novel . largely through the efforts of feminist and historically based critics who have focused on stowe ' s attention to the domestic culture of her nineteenth - century female audience , uncle tom ' s cabin has once again become the subject of serious academic study .

but edited back in for the fantastic fest audience , that last reel makes farewell uncle tom ’s confrontational intentions more pointed and clear . in the era of the black lives matter movement , archival footage of police forces brutalizing african americans intercut with scenes of civil war re - enactors jovially playing dress up feels not so much dated and incendiary , but provocatively current .

the original cut of goodbye uncle tom features a fifteen - minute introduction focusing on the american racial unrest of the late 60s and early 70s . this opening sequence reveals that part of the filmmaker’s intent was to show how far blacks had progressed—or regressed—since the days of slavery . unfortunately , most of the introduction was removed and the narration was also completely redone . the resulting film is incoherent and muddled when compared to the original version . the sarcastic narration and riz ortolani’s cheerful music give the film a semi - comedic tone is at odds with the horrors portrayed on screen . the spectacular finale , which is one of the best endings in cinematic history , also seems out of place . it only truly makes sense when considered together with the opening sequence .

instead , jacopetti and prosperi were met with accusations of gross racism themselves . with good reason : shot in haiti with the help and blessing of then - dictator papa doc duvalier , farewell uncle tom was an exploitation movie made possible by the shameless exploitation of hundreds of locals—a film about the systematic dehumanizing of a people that subjected its cast to the same shocking acts it condemned .

in 1973 , jerry gross’ company cinemation industries re - released the film in the states under the name africa : blood and guts . 40 minutes were shaved from the film , including all traces of political context . this tampering turned the goodbye africa into an incoherent barrage of mayhem and murder that does a major disservice to the original film . jacopetti called the english version “a betrayal . ” [ 17 ]

in 2015 addio zio tom resonates in unexpected ways . we ' re in the midst of a new civil rights struggle , as the black lives matter movement has shined a spotlight on the continuing systemic inequalities facing black americans , as well as highlighting the vicious violence visited upon black citizens by the police apparatus of the country . the howl of rage on which addio zio tom ends , the baby bashing extremity of it , echoes in modern ears with stinging clarity . the nerve at which addio zio tom tugs is still incredibly raw , 40 years after its release .

uncle tom ' s cabin , the book that abraham lincoln reportedly claimed started the civil war , was one of the most widely read and profoundly influential works of the nineteenth century . its anti - slavery message , in direct response to the fugitive slave act of 1850 , provoked unprecedented levels of critical disagreement throughout the north and south , serving as a catalyst for sectional conflict . following the war and the end of slavery , the novel—and its numerous stage adaptations—continued to serve as a focal point for discussions of race in america well into the twentieth century . while usually recognized for its historical contributions , uncle tom ' s cabin has also played an important role in shaping american literature and is noted for its influence on many prominent writers , ranging from sarah orne jewett to richard wright and ishmael reed .

late in me nineteenth century harriet beecher stowe announced mat god wrote uncle tom ' s cabin ( 1852 ) . the novel by then seemed too monumental even to its author to have been imagined by one woman . earlier in her life , in contrast , stowe had no doubt mat she wrote the subversive book or mat she was inspired to write it , despite marital and household irritations , . . .

banned or severely cut in several countries , goodbye uncle tom in all its excess provoked ebert to a level of disgust that made his africa addio review seem mixed . “the vile little crud - squad of jacopetti and prosperi” has produced a “vomit - bag of racism and perversion - mongering… the most disgusting , contemptuous insult to decency ever to masquerade as a documentary . ” he called the employment of haiti’s poor in the film “cruel exploitation . if it is tragic that the barbarism of slavery existed in this country , is it not also tragic — and enraging — that for a few dollars the producers of this film were able to reproduce and reenact that barbarism ? ” if the film is recalled fondly today , it is for ortolani’s rapturous score ; the movie’s theme song , “oh my love , ” appears on the soundtrack of the new ryan gosling film drive .

the movie gloats over scenes of human degradation . and this time there isn ' t even the excuse of documentary ; every scene in this movie was specifically staged . unfortunately , jacopetti and prosperi have been able to find people willing to undergo the humiliation inflicted on them in " farewell uncle tom " ; most of the blacks in the film are apparently africans forced by poverty and need to do these things for a few days ' pitiful wages .

a still from goodbye uncle tom adorns the front cover of mark goodall’s examination of mondo cinema sweet & savage . the scene in question shows three white men , rifles on their hips , posed for a photo next to a large pile of dead black men . the whites are slave hunters—the blacks , their quarry . the camera flashes . the “dead” slaves spring to life and run laughing into the surrounding brush , the trio of hunters following slowly behind , content that their charade will placate their benefactors . for the whites , truth has become malleable . they know that the visual image is more valuable than the lives of those in it ; shooting with the camera what they once would have shot with their guns . they have created an authentic scenario but one that is in reality mere smoke and mirrors , a new “truth” constructed out of clever fictions . nowhere else in the film are jacopetti and prosperi’s intentions more unmistakably or brilliantly communicated .

but farewell uncle tom also brilliantly juxtaposes images of unforgivable brutality with moments of beauty , making frequent use of a jarringly romantic theme by composer riz ortolani . ( refn later used the song , “oh my love , ” to underscore murder in his ryan gosling - starrer drive . ) the sympathetic camera occasionally meets eyes with unnamed slave characters and that track recurs to great emotional effect , wordlessly emphasizing the humanity beating inside the hearts and minds of the disenfranchised .

when the first installment of uncle tom ' s cabin appeared in the abolitionist magazine the national era in june 1851 , stowe had a modest reputation as a writer of didactic fiction , having published the mayflower , a collection of sentimental short stories and sketches . the daughter of a prominent presbyterian theologian , her income garnered from writing supplemented her preacher husband ' s paltry salary . stowe often claimed that the writing of her most famous work was aided by the hand of god , tracing its inspiration to a brunswick communion service in which she tried to imagine the death of a pious slave at the hands of a white master . following the tremendous success of the novel , stowe published a key to uncle tom ' s cabin ( 1853 ) , in which she defended the novel against southern critiques . although she continued to write prolifically for several more years , none of her later works achieved the success of her first novel .

bill t jones ranks among the world ' s most daring and controversial choreographers . his work has included some of the most challenging works in the modern repertoire , such as last supper at uncle tom ' s cabin in 1990 , which explored issues of race , religion and literary stereotyping , and the totemic still / here , which was famously branded " victim art " by the new yorker critic arlene croce , but is now widely accepted as one of the most powerful artistic comments on the aids crisis .

one of the true revelations of farewell uncle tom is the scope of its ambition . an early slice - of - life foray through a slave - trading post is staged with the vast grandeur of a grindhouse gone with the wind . hundreds of choreographed extras move through a slave auction where babies are sold by the pound , white nuns haggle over the price of a young boy , and nameless men and women are subjected to extreme degradation on the auction block—all while a jaunty period score plays in the background .

i saw goodbye uncle tom in a cinema in sydney in 1972 , and i would assess that if being released in 2011 , it would not get a film classification today and be shelved or banned . the entire purpose of this fake documentary about back slavery in the 19th century in america , is simply to show as much cruelty towards black men and women as possible . this is like xxx amistad or roots xxx but with extreme distressing gore and astonishing brutality . the two scenes that have stayed with me horribly for 40 years are of a baby being swung into a wall head first and its face smashed to bleeding pulp , and a row of black men having their front teeth knocked out with a chisel , one by one . these two scenes are two of many similar in a film that is a shopping list of cruel images thought up by the producers , not from any other source . so degrading and so bleak , this is a film that really ought to be destroyed . it serves no purpose other than depict bleeding crying distress meted out to young black people of varying ages .

uncle tom was a flop and an embarrassment , and the last of the jacopetti - prosperi collaborations . a feud between the two had simmered for years , but hit films and a shared view of the medium’s subversive possibilities kept them together . after they split , neither reached the heights of their early successes , and jacopetti returned to print journalism . but a movie career doesn’t need a happy or tragic ending to give it significance . once upon a time , jacopetti created a movie that altered , arguably liberated and certainly coarsened popular culture . he made the world mondo .

anyone thinking of checking this film out : be warned , words can not express what an awesomely brutal experience it is to sit through . i ' m a big fan of horror films , but nothing i ever saw came close to the feeling of revulsion this 30 plus year old film gave me . trust me , you will have to use the fast forward button on your remote control several times sitting through this one . a group of italian journalists goes back in time to america during the time of slavery and documents what they see . the viewer is spared no amount of detail as we are shown what it was like to travel aboard a slave ship , be sold in market as common livestock , be raped , tortured hunted and killed , and basically denied even the slightest bit of human empathy or compassion at every turn . while roots covered the same subject matter a whole lot better , it came nowhere near delivering the visceral reaction of this film . for that reason , i recommend people watch goodbye uncle tom . while by no means a great film , if society is truly never to forget the injustices and wrongs of the past , work like this is necessary viewing .

there are two things that make addio zio tom intriguing for the truly hardened viewer . for one , it is incredibly well - made . the movie puts you through the wringer , leaving you feeling dizzy and sick . many exploitation films presented horrors in a way that made them titillating or tantalizing , but addio zio tom truly repulses . sweaty and grungy and scorched by hate , the film feels so present and immediate that you want to reach through the screen to stop the torture . that alone makes it a work of cinema that matters , in its own strange way .

or as roger ebert wrote , “they have finally done it : made the most disgusting , contemptuous insult to decency ever to masquerade as a documentary . ” yet to be fair , one might point out that the “mockumentary” genre the film pioneers—watkins is the only filmmaker who comes to mind who previously described such a patently fabricated scenario , i . e . , one taking place before motion picture cameras were invented , as a “documentary”—was still an almost totally unfamiliar lexicon . ebert is arguably making a contemptuous insult to his readers’ intelligence by thinking anyone would take uncle tom’s claim to documentary at face value .

some of the footage in " africa addio " was apparently real , but not a lot of it . and the planned execution of a rebel in the congo was postponed for 24 hours so that jacopetti and prosperi could get there with their cameras and film the death . some money reportedly changed hands in that case . the film was racist and slanderous enough to provoke a public denunciation from arthur goldberg , then our un ambassador , but that did not prevent it from finding a booking here . and the whole distasteful history of these filmmakers was not enough to keep " farewell uncle tom " out of town .

works include : 1973 pas de deux for two ; ' 75 everybody works / all beasts count ; ' 78 baby doll ; ' 79 monkey run road ; ' 80 blauvelt mountain ; ' 80 valley cottage ; ' 83 intuitive momentum ; ' 83 naming things ; ' 84 freedom of information ; ' 89 forsythia ; ' 89 absence ; ' 90 last supper at uncle tom ' s cabin / the promised land ; ' 92 last night on earth ; ' 94 still / here ; ' 97 we set out early . . . visibility was poor ; ' 99 the breathing show ; 2003 reading , mercy and the artificial nigger .

with mondo movies everywhere , jacopetti and prosperi turned their attention to a new kind of mondo movie , a hybrid between documentary and fiction . the film was addio zio tom , an exploration of american slavery using actual historical records . the way they decided to make the film is almost hallucinatory in its strangeness : at the beginning of the movie a helicopter containing a time - traveling italian documentary crew lands on the front lawn of a plantation , looking to film the reality of slavery . that opening shot , scored to the gorgeous sounds of riz ortolani’s music , is absolutely beautiful and also horrifying in its wrong - heaedness . it is addio zio tom summed up .

addio zio tom was not a hit . roger ebert despised it , and pauline kael called it racist . but get this : so did david duke , who claimed the film was an incitement to get blacks to rise up against whites . somehow jacopetti and prosperi had managed to make a message movie that offended both progressives and racists . that alone is a certain kind of perverse accomplishment .

bloody and bruised by the farewell uncle tom experience , gualtiero jacopetti and franco prosperi took a different approach by creating a sprawling psychedelic version of voltaire’s candide . 1975′s mondo candido is a sprawling psychedelic version of an alejandro jodorowsky movie . cunégonde’s ravagement by dozens of armor - clad soldiers is visualized as a bawdy comedic skit . in a scene that predates mel brook’s history of the world part 2 , the inquisition is presented as a psychedelic busby berkeley dance routine . heretics dance their way into giant meat grinders while psychedelic rock music plays . despite the bizarre visual sense , the film is very faithful to the novel . the film stays surprisingly close to the original material . of course , scenes in which candide and his slave companion cacambo zip back - and - forth between modern day new york city , northern ireland , and israel are significant exceptions .

account of mrs . beecher stowe and her family , by an alabama man . - - uncle sam ' s emancipation . - - earthly care ; a heavenly discipline . - - a scholar ' s adventure in the county . - - children . - - the two bibles . - - letter from maine no . 1 . - - letter from maine no . 2 . - - christmas ; or , the good fairy .

but more than that it’s the profound cognitive dissonance at the heart of addio zio tom that makes it fascinating in the modern day . i truly believe that jacopetti and prosperi were , as they later claimed , making an anti - racism movie , much as they believed africa addio was a critique of colonialism . these guys truly thought they were making a profound statement . addio zio tom is a real world example of how the best intentions can go apocalyptically awry , especially when those best intentions come from a condescending , patriarchal perspective . for all of the suffering and abuse jacopetti and prosperi show us they somehow never thought to bring us the humanity of the sufferers . the result is evil on celluloid ; while jacopetti denied any role in the execution of the rebel in africa addio there’s no question of his involvement in the depravity here , visited upon barely paid poverty - stricken haitians . even though there’s a lot of movie magic on display there is a sense of despair and humiliation coming from these people that seems beyond acting .


150 milligrams ( french : la fille de brest lit . the girl of brest ) is a 2016 french drama film directed by emmanuelle bercot .

it was screened in the special presentations section at the 2016 toronto international film festival .

the film is based on the true story of french pulmonologist irène frachon , who became noted for her investigations of the serious side effects and deaths attributed to the diabetes drug mediator , produced by french manufacturer laboratoires servier .

150 milligrams

150 milligrams <EOT> looking for movie tickets ? enter your location to see which movie theaters are playing 150 milligrams near you .

she says she was informed by the company that the plant ' s power boiler had particulate emissions of 224 milligrams per reference cubic metre , while the permit for the equipment allows for only 150 milligrams .

150 milligrams je , dakle , jedan od onih poštenih i pristojnih filmova koji ne uvode ništa novo u žanr doku - drame . emmanuelle bercot se teško može nazvati autoricom sa zavidnim zanatskim znanjem i kreativnom energijom , ali ovde pokazuje sva svoja ograničenja . 150 milligrams je film bez ikakve natruhe stila i začina i kao takav zapravo podseća na produkcijski raskošniji i bolje odigran televizijski specijal .

medical thriller la fille de brest ( 150 milligrams ) , directed by france’s emmanuelle bercot , will open this year’s edition of the san sebastian film festival held next month in northern spain , organizers said wednesday .

fuzes , from yeast is a great anti - fungal agent . the sensitivity of fungi of the genus candida to the active enzyme fluconazole does focis effective means for the treatment of thrush . in vaginal candidiasis , the drug is administered in the form of tablets ( 150 milligrams ) once . in preventive measures it can also be used , using 1 once a month pill ( 150 mg ) .

iskreno , nisam bio lud ni za erin brokovich , tako da me njena tematske i stilska kopija ( to je možda prejaka reč , ali nemam bolju ) nije oborila s nogu . u svojoj vernosti izvornom materijalu i istinitim događajima , 150 milligrams je pomalo čak i drven film .

the festival is screening emmanuelle bercot’s most recent films , 150 milligrams and standing tall , inviting the audience to discover her multifaceted oeuvre . in both films , bercot deploys a nervy , quick - footed style to show how people navigate complex institutional frameworks , and hold on to their humanity , even under adverse conditions . a truly compelling film .

director emmanuelle bercot begins “150 milligrams” with a rare stab at lyricism in what is otherwise a bluntly literal , plain - as - day procedural drama . as the opening credits flash by , a woman swims determinedly in a choppy ocean , her head nearly enveloped by prussian blue waves ; her legs are shown dangling vulnerably below the surface , as ominous [ … ]

in 1964 , samborskaia reported on tests on pregnant guinea pigs given 50 to 500 milligrams of ascorbic acid each day ( about 12 to 120 grams per 70 kilograms of body weight ) , stating that there were increases in abortions , stillbirths , and births of nonviable young . in her 1966 paper , she reported the administration of 150 milligrams of ascorbic acid daily ( about 35 grams per 70 kilograms of body weight ) to 14 pregnant rats . three of these rats aborted on the thirteenth to fifteenth day of pregnancy . she also reports tests on women which translate as follows :

let us make a simple calculation , assuming that a lactating mother produces 500 to 1 , 000 milliliters of breast milk daily ( about a pint to a quart ) . this is the amount a normal infant should consume in the first three months of life according to ingalls ( 1 ) . the milk should contain more than 4 milligrams of ascorbic acid per 100 milliliters , according to snelling ( 1 ) . this adds up to an additional burden on the mother of 20 to 40 milligrams of ascorbic acid a day which is secreted for the nourishment of the baby . if the lactating mother is only getting a total of 60 milligrams of ascorbic acid a day , this extra load leaves her only 20 to 40 milligrams of ascorbic acid daily for her own hard - working physiology - - 15 to 35 milligrams a day less than is recommended for a nonlactating female . draw your own conclusions .

bercot , the actress - turned - helmer who opened last year’s cannes fest with the low - key social realism of “standing tall , ” seems somewhat torn between the thorough , academic methodology of docudrama and the romantic pull of a more character - driven underdog saga . notwithstanding a couple of misjudged forays into overt , song - scored cutesiness , “150 milligrams” actually fares better when it takes the more mainstream path , focusing on the fraught interpersonal relationships underpinning — and sometimes unpinning — frachon’s quest .

french multi hyphenate emmanuelle bercot explores further her interest in justice and how it is upheld – or betrayed – by bureaucracies in the enthralling medical drama 150 milligrams . as with her last directorial effort , the juvenile - courtroom - set standing tall , and the screenplay she co - wrote with maiwenn for cop - drama polisse , bercot deploys a nervy , quick - footed style to show how people navigate complex institutional frameworks , juggle their work - life balance and hold on to their humanity , even under adverse conditions .

lead by an outsize but empathic central performance from sidse babett knudsen ( borgen , the duke of burgundy ) as real - life whistleblower irene frachon ( think erin brockovich but with a medical degree ) this wordy but always watchable film examines the medical realm , from governing bodies’ meeting rooms to coroners’ labs where corpses are dissected , all with the same unblinking eyes . having played tiff and opened san sebastian , 150 milligrams is likely to be parceled out in further doses on the festival circuit before finding its footing theatrically .

pregnancy , parturition , and lactation are periods of intense biochemical stress for mammals . pregnant mammals , such as rats , which have the ability to produce their own ascorbic acid , significantly increase production of this metabolite to combat these stresses . the recommended daily dietary allowance of ascorbic acid for pregnant and lactating women as set forth by the food and nutrition board of the national academy of sciences , is 60 milligrams a day ( 1 ) . their corresponding recommendations for nonpregnant females , aged eighteen to over seventy - five , is 55 milligrams a day . this provides a meager 5 milligrams a day to maintain homeostasis under the biochemical stresses of a developing baby , the labor of childbirth , the production of milk , and the physiological recovery from the rigors of motherhood itself .

director emmanuelle bercot begins “ 150 milligrams ” with a rare stab at lyricism in what is otherwise a bluntly literal , plain - as - day procedural drama . as the opening credits flash by , a woman swims determinedly in a choppy ocean , her head nearly enveloped by prussian blue waves ; her legs are shown dangling vulnerably below the surface , as ominous synths swarm on the soundtrack . uninformed viewers could be forgiven for expecting yet another “jaws” knockoff , and that’s no accident : bercot’s rather unsubtle visual metaphor instead sets her protagonist up for one corporate shark attack after another in the hazardous waters of big pharma .

m . l . steel 99 ) , in 1968 , in a ph . d . thesis entitled " growth and reproduction of guinea pigs fed three levels of ascorbic acid , " used in her work 4 , 10 , and 100 milligrams per kilogram of body weight ( equivalent respectively to 280 milligrams , 700 milligrams , and 7 . 0 grams per 70 - kilogram adult body weight ) . she showed that animals on the lowest level of ascorbic acid intake had more difficulty in starting a pregnancy , the pregnancy was more likely to end unsuccessfully , the abortion rate was higher , and the death rate was higher . the highest level of ascorbic acid appeared to protect the parent animal from obvious malfunction of the reproductive faculty . however , the survival rate of the offspring was highest when the parent animal was fed the lowest level .

the following is a brief review of the contradictory data from tests on guinea pigs . in the 1962 publication of the national research council of the national academy of sciences , " nutrient requirements of laboratory animals , " two diets are given as satisfactory for raising guinea pigs , and hundreds of generations of guinea pigs have probably been raised using them one diet supplies 12 . 5 milligrams of ascorbic acid per day , while the other supplies 50 milligrams of ascorbic acid daily . assuming the guinea pig weighs about 300 grams , these amounts are equivalent to 2 . 9 grams and 11 . 7 grams of ascorbic acid respectively for a 70 - kilogram body weight ( 154 pounds ) .

hemorrhagic shock induced in guinea pigs by a standardized bleeding procedure was the subject of a 1946 paper by de pasqualini ( 4 ) . she found that if the guinea pigs were given 200 milligrams of ascorbic acid five minutes before the start of bleeding , it prevented shock and 94 percent of her eighteen test animals survived , while 90 percent of the seventeen animals not given ascorbic acid died .

another factor which has impeded the development of the wider usage of ascorbic acid in megascorbic prophylaxis and megascorbic therapy has been a lack of convenient dosage forms for these purposes . for oral administration , the largest easily available tablet contains only 500 milligrams and the largest chewable tablet has 250 milligrams of ascorbic acid . if one wants to consume 10 grams of ascorbic acid a day , it is necessary to swallow twenty large tablets or eat forty chewables . the less readably available powdered ascorbic acid or sodium ascorbate , when measured by the teaspoonful ( a level teaspoonful is about 3 grams ) and dissolved in water or fruit juice , is convenient and palatable when obtainable . this also avoids the possibility of discomfort when swallowing a series of large tablets . what is really needed for oral administration is a pleasantly flavored chewable wafer supplying 2 or 3 grams of ascorbic acid .

this latter result requires further investigation because it contradicts the results reported in 1967 by c . g . king ( 9 ) , who supplemented the diet of female guinea pigs each day with 1 . 5 , 3 , 6 , and 20 milligrams of ascorbic acid . growth rates were comparable in all groups , but the number of viable offspring increased with each increase in dosage . survival records were the lowest and stillbirths and resorptions were the highest for the group receiving the least ascorbic acid .

fuzes from yeast in gel form is simple and easy to use . it is used in the defeat of the mucous membranes of the external genitalia . gel 1 oz . contains 5 milligrams of the active substance fluconazole . to be effective , you must 1 time a day to lubricate the affected area with the gel . before use clean the skin . therapy gel depends on the stage and form of thrush . it lasts from 7 days to 7 weeks . the gel can be used during pregnancy , but only if the risk of the drug is lower than the probable risk for the child .

the most remarkable effects of the megascorbic dosages were the health and vigor of the babies . they were all robust and not one required resuscitative measures . all the babies from the series were so strong , good looking , vigorous , and trouble - free that the nurses in the hospital referred to them as the " vitamin c babies . " the fultz quadruplets were in this series and they are the only quadruplets that have survived in southeastern united states . the babies were given 50 milligrams of ascorbic acid on the first day and dose was gradually increased thereafter until they were taking 1 gram a day at one year of age . this recommended routine daily dose is increased 1 gram for each year until ten years and then 10 grams regularly thereafter . this megascorbic regimen in pregnancy and childbirth certainly deserves wider recognition and use .

in determining the anti - infectious protective dosage of vitamin c there is another factor which is not generally considered . when the vitamin is employed to neutralize toxins of endogenous or exogenous origin , the action is reciprocal in that the vitamin is also neutralized proportionally , leaving less available for physiological needs . to illustrate , the writer has determined by laboratory and clinical tests that the smoking of one cigarette neutralizes in the body approximately 25 milligrams of vitamin c , or the amount in one medium - sized orange . it will thus be seen how difficult it is to meet the bodily requirement of the pack - a - day smoker for even the protective level of vitamin c from dietary sources . it is thus obvious that the steady smoker , who is usually short on his dietary intake as well , requires a much heavier therapeutic dosage of this vitamin than the nonsmoker .

it stars danish actress sidse babett knudsen as a lung specialist on a crusade against a state - approved drug .

based on a true story , the film recounts the discovery by lung specialist dr . irene franchon of the fatal relationship between a state - approved drug and a string of suspicious deaths among patients under treatment at a brest hospital and her crusade to expose the truth .

it will be the european premiere of the fifth film helmed by bercot , who is also an actress and screenwriter . her film la tete haute ( standing tall ) opened last year’s cannes film festival , where she won the best actress award for her hole in mon roi ( my king ) .

stars danish actress sidse babett knudsen as the doctor . last year , she won france’s academie des arts et techniques du cinema’s cesar award for best supporting actress in l’hermine ( courted ) .

produced by haut et court , the film’s worldwide distribution is being handled by germany’s wild bunch ag .

the san sebastian film festival runs sept . 16 - sept . 24 in the basque seaside resort .

this site uses cookies . by using this site you are agreeing to our privacy and cookie policy .

nigerian metropolis lagos is the focus of the eighth city to city showcase at the toronto international film festival ( tiff ) as top brass anoint two international rising stars .

tiff’s latest line - up announcement also featured extra selections in galas and special presentations , among them walter hill’s ( re ) assignment , philippe falardeau’s the bleeder , david leveaux’ the exception ( pictured ) , ken loach’s palme d’or winner i , daniel blake and terry george’s drama the promise .

a vibrant crop of contemporary world cinema entries includes kleber mendonça filho’s aquarius , danis tanović’s death in sarajevo , marie noëlle’s marie curie , the courage of knowledge and akin omotoso’s vaya .

hirokazu kore - eda brings after the storm to the masters showcase , alongside marco bellocchio’s sweet dreams , pedro almodóvar’s julieta , cristian mungiu’s graduation , gianfranco rosi’s berlin golden bear winner fire at sea and adoor gopalakrishnan’s once again .

rounding out the programming is the wavelengths strand of film and video art curated to challenge popular notions and refresh the cinematic art .

wp = world premiere , ip = international premiere , nap = north american premiere , cp = canadian premiere , tp = toronto premiere .

“hundreds of films are made every year in lagos for a voracious audience around the world , ” said tiff artistic director cameron bailey . “our city to city spotlight brings some of nollywood’s most popular filmmakers together with new voices who are introducing an alternative , indie spirit to nigerian cinema . ”

“over the past six years the rising stars talent accelerator has blossomed , and it’s timely for us to shine an even wider spotlight on acting talent by embracing international actors , ” said director of industry kathleen drumm . “the nigerian actors are a welcome addition and a natural evolution of what the programme aims to achieve . ”

oc ukeje the lagos - born actor , singer and performer won the 2006 amstel malta box office reality tv show for actors an went on to train at the new york film academy . credits include half of a yellow sun , two brides and a baby , black november and tv series gidi up .

actor , model and fashion executive based in lagos . a graduate of mcmaster university in hamilton , ontario , she made her onscreen debut in the tv series the island . credits include 93 days , the arbitration and the wedding party and tv series gidi up .

in conversation with… genevieve nnaji and kunle afolayan the session will explore the careers of nollywood leading lady genevieve nnaji and director kunle afolayan .

‘contemporary world cinema is the global heart of the festival , ” said bailey . “we’re thrilled to be launching a lineup that includes the premieres of new films from turkey’s yeşim ustaoğlu , romania’s adrian sitaru , south africa’s akin omotoso , and germany’s marie noëlle . ”

zoology ( zoologiya ) ( russia - france - germany ) ivan i . tverdovsky nap .

yourself and yours ( dangsinjasingwa dangsinui geot ) ( south korea ) hong sang - soo wp .

previously announced canadian titles in the masters programme include deepa mehta’s anatomy of violence and alanis obomsawin’s we can’t make the same mistake twice .

burning mountains that spew flame ( spain ) helena girón and samuel m . delgado

general report ii . the new abduction of europe ( informe general ii . el nuevo rapto de europa ) ( spain ) pere portabella nap

the woman who left ( ang babaeng humayo ) ( philippines ) lav diaz nap .

the event confirmed on twitter that it will take place from tuesday 14 to saturday 25 may 2019 .

from the birth of a nation to twc , screen reveals the key talking points .

screen international is the essential resource for the international film industry . subscribe now for monthly editions , awards season weeklies , access to the screen international archive and supplements including stars of tomorrow and world of locations .

sidse babett knudsen stars as a doctor battling against big pharma in director emmanuelle bercot ' s latest story of social justice , which played at tiff and san sebastian this year .

starting as it means to go on , the opening scene shows doctors performing open - heart surgery , complete with bone saws and rib cages being winched open , in the university hospital in brest , northern france . dr . irene frachon ( knudsen ) , a specialist in pulmonology , observes that the valves in the heart of a middle - aged woman , corinne zacharria ( isabelle de hertogh ) appear severely damaged . it emerges that the valve condition has been found in several other patients who all took mediator , a drug produced by french pharmaceutical company servier , which was designed to treat diabetes and help patients lose weight .

irene is convinced that mediator is to blame for the pathology , but in order to prove that she needs evidence from a properly conducted epidemiological study . several colleagues collaborate on gathering the evidence , but the contribution of research scientist dr . antoine le bihan ( benoit magimel ) is crucial not only in terms of securing funding but in enhancing the scientific legitimacy of the study . they work long and hard on the study , but results seem to prove irene # ' s hypothesis conclusively .

even so , regardless of her character’s origins , knudsen makes irene into a force of nature , an excitable , sometimes goofy and sometimes infuriating creature who just won’t give up , and whose capacity for empathy with the victims drives her on . she’s a sturdy anchor for the film , in much the same way catherine deneuve was in standing tall , but this is nevertheless very much an ensemble piece where every character , no matter how fleetingly met , gets a few brush strokes to distinguish them from the pack . bercot and her regular dop guillaume schiffman ( the artist ) rack in on small , telling gestures , the expressions on people’s face when they’re at their least self - conscious , for example while listening to an argument in a crowded meeting room , or getting their papers in order . utterly absorbing all the way through , this showcase for bercot’s skill with large casts and intellectually rigorous storytelling may be her best yet .

a headline - making french pharmaceutical battle is given sincere but stolid treatment in emmanuelle bercot ' s latest directorial outing .

bercot’s thespian instincts serve her well in identifying and encouraging such subtle chemistries among her players ; incidental domestic scenes between frachon and her alternately proud and befuddled husband ( patrick ligardes ) and children are likewise played with utmost care and conviction . the filmmaking around these delicate human dynamics can seem indifferently utilitarian by comparison : guillaume schiffman’s gray - toned lensing takes scant advantage of the widescreen format , while julien leloup’s editing assigns the same observational rhythm to rather too many conversational scenes . “patience isn’t my forte , ” our heroine blusters at one point ; one occasionally wishes this no - nonsense but paradoxically undisciplined film would take after her a little more .

reviewed online , london , sept . 15 , 2016 . ( in san sebastian film festival — opener ; toronto film festival — special presentations . ) running time : 127 min . ( original title : " la fille de brest " )

production : ( france ) a haut et court production in co - production with france 2 cinema in association with cofinova 12 , soficinema 12 , sofitvcine 3 , palatine etoile 13 , cinemage 10 . ( international sales : wild bunch , paris . ) produced by caroline benjo , carole scotta , barbara letellier , simon arnal .

crew : directed by emmanuelle bercot . screenplay , bercot , séverine bosschem , based on the book " mediator 150mg " by irène frachon . camera ( color , widescreen ) , guillaume schiffman ; editor , julien leloup .

with : sidse babett knudsen , benoît magimel , charlotte laemmel , isabelle de hertogh , lara neumann , philippe uchan , patrick ligardes , olivier pasquier , gustave kervern , pablo pauly , myriam azencot , eddie chignara , raphael ferret , christophe meynet , gilles treton , garance mazureck .

© copyright 2018 variety media , llc , a subsidiary of penske business media , llc . variety and the flying v logos are trademarks of variety media , llc . powered by urltoken vip

some parts of this page won ' t work property . please reload or try later .

irène frachon , a doctor who lives in the breton town of brest , dares to stand up to the french health and pharmaceutical industry , helping to uncover the media scandal surrounding the . . . see full summary »

check out highlights from some of the best recent trailers including mandy , the predator , zoe , and the king of thieves .

want to share imdb ' s rating on your own site ? use the html below .

michel racine is a feared president of assize court , as strict with himself as with others . everything changes when he meets again ditte when she ' s selected as a juror in a criminal trial over which he presides .

a single devastating event intertwines inextricably the lives of an unfortunate teenager , a weary woman with a critical degenerative heart condition and a team of compassionate doctors ; all perfect strangers , perfectly interconnected .

an engaged but apolitical nurse gets involved in a far - right political party . based on numerous recent events in france , it becomes about how front national operates and how it is perceived by the french .

at 17 , sonia almost left her family to go jihad . she was convinced that this was the only way for her and her family to go to heaven . she finally came back to reason . unlike mélanie , 16 . . . see full summary »

hot on the heels of its recent january release in france , this is a vivacious and emotionally gripping story of a teacher caught between passion for her students and love for her child . . . . see full summary »

thirteen - year - old girl starts playing in a band while arguing with parents .

two years have passed . after missing their separation , the leroy seem perfectly successful in their divorce . but the entrance of two new lovers in the life of vincent and florence will set . . . see full summary »

the story of django reinhardt , famous guitarist and composer , and his flight from german - occupied paris in 1943 .

irène frachon , a doctor who lives in the breton town of brest , dares to stand up to the french health and pharmaceutical industry , helping to uncover the media scandal surrounding the commercialization of a controversial medicine whose side effects have caused the death of hundreds of people .

a " keep calm and carry on " variation on the famous meme is seen in the figaro newsroom in 2010 ; it ' s a bit early for french journalists to pick up on that meme , which peaked in 2012 - 2013 .

2 of 3 people found this review helpful . was this review helpful to you ? yes no | report this

enjoy a night in with these popular movies available to stream now with prime video .

this page has been removed or does not exist . please navigate using the top menu .

in the brest hospital where she works , a lung specialist discovers a direct link between some patients’ suspicious deaths and mediator , a medicine that has been prescribed for 30 years . determined to bring the truth to light , she challenges the power of the medical court and pharmaceutical companies . from the isolation at the beginning of her discovery to the explosion of media coverage of the scandal , this true story , inspired by the real life of irène frachon is a david and goliath battle to see truth triumph at last .

sidse babett knudsen ( courted – festival 2016 ) plays a strong woman with a dry sense of humour winning over her adversaries and the audience alike . benoît magimel ( also in standing tall ) gives a nuanced performance as the hospital’s head of research who is taken in by irène’s charming perseverance .

ticket links will be added as they become available note that in arrowtown tickets are only available from the cinema .

wellington thurs 2 mar 1 : 50 pm d mon 6 mar 8 : 40 pm e sun 12 mar 8 : 25 pm d thurs 16 mar 4 : 00 pm d encore session : sun 2 apr 6 . 00 pm d

long synopsis : in the hospital where she works in brest , france , a lung specialist discovers a direct link between suspicious deaths and state - approved medicine . she fights single - handedly for the truth to come out . the story of irène frachon , who broke the mediator scandal , erin brockovich , french style . based on the book by irène frachon " mediator 150mg "

director , screenwriter and actor emmanuelle bercot ( mon roi ) adapts irène frachon’s bestselling memoir for this story of a dedicated doctor whose investigation into recent patient deaths leads to a crusade against a powerful drug company .

acclaimed director , screenwriter , and actor emmanuelle bercot has emerged over the past decade as one of europe ' s foremost triple talents : her feature directorial debut , backstage , screened at tiff in 2005 , and her film standing tall opened last year ' s cannes festival , where she also won the best actress prize for her role in mon roi . with her latest film , the charged social drama la fille de brest , she is poised to broaden her audience in north america . an angry piece of filmmaking designed to draw attention to a serious issue and shake up a complacent system , it tells the true story of a woman ' s long fight to be taken seriously as she confronts the pharmaceutical industry .

based on irène frachon ' s bestselling memoir médiator 150mg , la fille de brest is set in brittany — a key element of the film as there is a constant tension between paris and the provinces — and revolves around irène ( sidse babett knudsen ) , a hospital lung specialist who begins to suspect a connection between recent patient deaths and medications being prescribed . after she turns to the hospital ' s head of research , antoine ( benoît magimel ) , for help , irène ' s investigation leads her to a powerful drug company . of course , that ' s when things start to get ugly . antoine ' s research unit is suddenly threatened with funding cuts , and irène ' s colleagues begin to view her derisively as a meddlesome crusader .

frachon ' s story calls to mind that of another hard - charging activist : erin brockovich . but bercot ' s distinct personality as a director ensures that this is new cinematic territory . in knudsen , who appears in almost every scene in the film , she finds an actor fully up for the role of the steely heroine , and magimel offers able support . as this eye - opening and inspiring work illustrates , frachon simply never gave up , until — well , see the film to find out what happened !

emmanuelle bercot ' s powerful social - justice drama is a french erin brockovich story about dr . irene frachon ( sidse babett knudsen ) , who discovers that a state - approved medication has caused suspicious deaths , leading her on a one - woman crusade to reveal the truth .

" utterly absorbing all the way through , this showcase for bercot ' s skill with large casts and intellectually rigorous storytelling may be her best yet . " — leslie felperin , the hollywood reporter

french filmmaker emmanuelle bercot started as an actress in the 1991 film , ragazzi , eventually leading her to roles in films such as polisse ( 2011 ) and my king ( 2015 ) . she started directing in 1997 with the short film les vacanes , and has become well - known for her films o n my way ( 2013 ) and standing tall ( 2015 ) .

siff ' s mission is to create experiences that bring people together to discover extraordinary films from around the world . it is through the art of cinema that we foster a community that is more informed , aware , and alive .

for more information : info @ urltoken | © copyright 2017 siff . all rights reserved . | privacy policy | designed by zango creative

siff is a 501 ( c ) ( 3 ) nonprofit arts organization . tax id 91 - 1489660 .

this very watchable take on what was a high profile case in france will benefit domestically from the familiarity with the story , and the fact that frachon’s memoir , médiator 150mg , la fille de brest , was a bestseller . other territories could connect with the newsworthy topicality of the subject matter and the magnetic presence of borgen star knudsen in the crucial central role . further festival berths seem likely : following its world premiere in toronto , the film opens the san sebastian film festival .

bercot cites steven soderbergh’s erin brockovich as a key influence on the film , and there are clear parallels , not least in the focus on a tirelessly principled and feisty female protagonist . irène is an immensely enjoyable character with whom to spend several hours . she is impassioned to the point of recklessness and given to puncturing the egos of the male establishment figures around her . she disarms a highly charged meeting with antoine le bihan ( benoît magimel ) , the man who will lead the research to back up her theory , by pointing out that his flies are undone ; she chucks around insults like ‘limp dick’ ; she launches into torrents of abusive invective which trail behind her , a slipstream of extravagantly creative swearing , as she stomps around the hospital .

bercot tests the mettle of the audience with a graphic sequence of open heart surgery at the film’s opening . this , and a grisly autopsy later on , is intentionally tough viewing which delivers an adrenalin boost to power the audience through some of the slower scenes which follow . in fairness , however , even the expository sequences which explain frachon’s suspicions about the drug mediator , and the process by which she must make them known , are attacked by bercot with real gusto . not all of her directing decisions work – the bizarre use of bagpipes on the score at one climactic moment is one which misfires – but all of them are interesting .

most impressive are the sequences which , handled differently , could have had the potential to drain the life from the film . a hearing , held in a grey box of a room , turns into an exercise in nerve - shredding tension , as the camera darts tensely between fidgeting experts , slamming doors and scraping seats . antoine loses his cool . skin the colour of congealed porridge , he dashes from the room . the suits from the drug company smirk triumphantly .

the film is not without problems – even with the level of energy that knudsen brings to the film , the running time feels a little overstretched . and the music choices are frequently jarring – apart from the aforementioned bagpipes , there is a strident electro - rock track that sounds as though it was lifted from a 1980s cop movie . still , the anger and outrage that powers the film is bracingly authentic .

the three - day weekend gross ( excluding previews ) of july 6 - 8 was £6 . 2m

efa , the rotterdam film festival and french srf directors guild step up campaign .

tribute win an apple 9 . 7 32gb ipad contest ends : wed , sep 5 , 2018

a pneumonologist working in a hospital in france notices a link between suspicious deaths and a state - approved medication used to treat diabetes . fighting on her own against the system , franchon manages to break the scandal and reveal the truth .

more tickets = more points = more movies on us ! rack up vip + points for every ticket you buy to score streaming movies and discounts on tickets and movie gear .

get your swag on with discounted movies to stream at home , exclusive movie gear , access to advanced screenings and discounts galore .

collect bonus rewards from our many partners , including amc , stubs , cinemark connections , regal crown club when you link accounts .

we know life happens , so if something comes up , you can return or exchange your tickets up until the posted showtime .

sign up for a fanalert and be the first to know when tickets and other exclusives are available in your area .

also sign me up for fanmail to get updates on all things movies : tickets , special offers , screenings + more .

own all of the previous ' mission : impossible ' movies to watch at home for just $ 3 . 99 each with ticket purchase . buy tickets

receive a free * exclusive ' jurassic world : fallen kingdom ' poster with ticket purchase ( * shipping & handling not included ) . buy tickets

choose 1 of 2 free * posters with ticket purchase ( * shipping & handling not included ) . buy tickets

receive a free * exclusive ' ant - man and the wasp ' poster with ticket purchase ( * shipping & handling not included ) . buy tickets

guarantee the perfect movie night with tickets from fandango . find theater showtimes , watch trailers , read reviews and buy movie tickets in advance .

in the hospital where she works in brest , france , a lung specialist discovers a direct link between suspicious deaths and state - approved medicine . she fights single - handedly for the truth to come out .

there ' s something incredible about this story of a doctor from a small french city who takes on big pharma . sidse babett knudsen as irène frachon is a force of nature , not letting numerous setbacks break her resolve to bring the scandalous true story to life . the opening scene has her swimming in a large ocean , against large waves , but it ' s not an overused metaphor .

while the story may be big , it ' s grounded in real life , and it avoids cliché - frachon works closely with benoît magimel ' s research head but she also has a happy home life and a supportive husband . one can see the influence of director bercot in not sensationalising a sensational story .

el zinemaldia 2016 se inauguró con esta comprometida película que representa la lucha que emprendió la neumóloga francesa , irene frachon , contra la todopoderosa industria farmacéutica , por cuya fuerza y tesón , logró el objetivo que perseguía . está basada en un caso real y la crítica no le fue nada favorable , no es mi opinión , el dinamismo en la interpretación de la protagonista , ya le hace merecedora de una buena puntuación , a ella , sidse babett , y a la directora , emmanuelle brecot . ambas , nos transmiten la profesionalidad que motivó a la valiente neumóloga y su único compromiso " los pacientes " .

" i never wanted to be a whistleblower . i just wanted to care . "

“this is a little cracker , perfectly paced with lots of little details of family and working life that – it seems to me – could only have come from a female director . emmanuelle bercot has two films in the festival and i’ll be queuing to watch the other one , standing tall from 2015 , if it’s half as good as this . ” rnz widescreen

hits somewhere between the compelling nature of spotlight and the verve of the big short , though it never completely absorbs either . the narrative is dense , picking you up from one tense situation only to drop you right into the next . i don ' t think i ' ve seen a pharmaceutical thriller this quickly paced .

" inconveniência é ter feito de frachon uma dinamarquesa , nacionalidade de sidse babett knudsen , a atriz que encarna a personagem , para poder justificar seu sotaque . nos momentos de tensão extrema ela solta imprecações em dinamarquês , para a estupefação geral . no meio de tanto artificialismo , knudesen - que é uma atriz com recursos - acaba se perdendo e muitas vezes carrega nas tintas . a mesma falta de matizes aparece na estrutura do drama , organizado a partir da oposição esquemática entre a médica e seus aliados - os bons , ponderados e justos - e os representantes do laboratório e das autoridades de saúde - os maus , presunçosos e mentirosos . finalmente , os doentes , aqueles pelos quais a heroína se joga de cabeça nessa guerra , e seus dramas pessoais , aparecem muito pouco , quase não têm voz . "

tiene ese estilo francés de películas que poco a poco van calando , con buenas interpretaciones y una sobria dirección que hacen que un tema tan árido como este de las farmacéuticas sea muy interesante . fantástica sidse babett knudsen es un papel muy goloso pero que lleva todo el peso del film . muy bien .

well , you ' d be hard to find a movie that so accurately reflects the realities of fighting the good fight from within academia ( from grant applications and clashing egos right down to a tense beat the clock countdown that culminates in . . . someone saying " plos one has agreed to publish our study " ) while still making a good go of being a thriller .

" de humor is hopeloos , de lichte toon vloekt met het zware onderwerp en het privéleven van de merkwaardige frachon is allesbehalve interessant . zodat de film vooral leunt op het ( waargebeurde ) verhaal , en dan is een farmaceutisch drama van meer dan twee uur echt te lang . het verloop is veel te traag , terwijl we in ons achterhoofd allang weten hoe dit gaat eindigen . een saaie kijkervaring dus , waar alleen de slijter een goed medicijn tegen heeft . met flinke bijwerkingen , dat wel . "

script lost me on its way , and i was a bit annoyed by the main actress ' performance .

hiff2017 14 / 18 true story with intrigue , a passionate will to do the right thing and evil conspiring big pharma executives and experts . the speed kept increasing until the end . i did not understand the 20 - somethings complaining the film got dull after 20 minutes ! by far the most engaging performance by sidse babette knudsen and all that in french of all languages !

up to date as of july 7th , 2018 ( give or take a film or three ) .

html public " - / / w3c / / dtd html 4 . 0 transitional / / en "

click on the title or photo of the films to get access to synopsis , trailer and reviews .

7 : 30pm the royal exchange ( doors open at 6 : 30pm ) allow 20 minutes for opening speeches . followed by q & a with william breazeale , curator at the crocker art museum , and le professeur kevin elstob .

1 : 25pm don ' t give up the ghost followed by q & a with director jean - louis milesi and his sons .

11 : 15pm the night eats the world followed by coffee & pastries provided by coffee works .

10 : 45am petit déjeuner ( coffee & pastries ) - lobby of the crest theatre . free with admission to kiss me !

11 : 15am kiss me ! followed by q & a with director & star océan .

6 : 10pm gaspard at the wedding u . s . premiere followed by q & a with director antony cordier .

11 : 05pm double lover ollowed by q & a with sionann o’neill , official english - language translator of françois ozon & coffee & pastries provided by coffee works .

7 : 15pm custody followed by q & a with guillaume caramelle , director of one night .

the royal exchange ( l ' echange des princesses , 100 min ) 2017 - marc dugain friday , june 15 - 7 : 30pm - one screening only ! screening followed by q & a with william breazeale , curator at the crocker art museum & le professeur kevin elstob .

champagne & dessert opening night party immediately after the screening in the lobby of the crest theatre . bubbly by barefoot wine & bubbly , dessert by melting pot , café by coffee works .

pink champagne & dessert closing night party immediately after the screening in the lobby of the crest theatre . pink bubbly by barefoot wine & bubbly , café by coffee works .

don ' t give up the ghost ( 87 min ) 2016 - jean - louis milesi saturday , june 16 - 1 : 25pm - one screening only ! screening followed by q & a with director jean - louis milesi and his sons .

number one ( numéro une , 110 min ) 2017 - tonie marshall saturday , june 16 - 6 : 15pm - one screening only ! rendez - vous with le professeur kevin elstob after the screening .

the workshop ( l ' atelier , 113 min ) 2017 - laurent cantet saturday , june 16 - 8 : 45pm & sunday , june 17 - 4 : 40pm rendez - vous with le professeur kevin elstob after the sunday screening .

the guardians ( les gardiennes , 138 min ) 2017 - xavier beauvois sunday , june 17 - 1 : 45pm - one screening only ! rendez - vous with mona siegel , professor of history , sacramento state university & le professeur kevin elstob after the screening .

bloody milk ( petit paysan , 90 min ) 2017 - hubert charuel sunday , june 17 - 9 : 10pm & friday , june 22 - 6 : 15pm rendez - vous with le professeur kevin elstob after the friday screening .

bpm ( 120 battemements par minute , 143 min ) 2017 - robin campillo friday , june 22 - 8 : 20pm - one screening only ! screening followed by q & a with chris narloch , film critic at outword , and le professeur kevin elstob .

godard mon amour ( le redoutable , 107 min ) 2017 - michel hazanavicius saturday , june 23 - 1 : 20pm - one screening only ! rendez - vous with film historian j . greenberg after the screening .

the house by the sea ( la villa , 107 min ) 2017 - robert guédiguian saturday , june 23 - 3 : 45pm & sunday , june 24 - 4 : 45pm rendez - vous with le professeur kevin elstob after the saturday screening .

gaspard at the wedding ( gaspard va au mariage , 105 min ) 2018 - antony cordier saturday , june 23 - 6 : 10pm - one screening only ! u . s . premiere followed by q & a with director antony cordier .

luna ( 93 min ) 2018 - elsa diringer sunday , june 24 - 2 : 05pm - one screening only ! screening followed by q & a with sionann o’neill .

contempt ( le mépris , 103 min ) 1963 - jean - luc godard saturday , june 23 - 11 : 00am - one screening only ! rendez - vous with film historian j . greenberg after the screening .

zombies and evil twins are on the menu of our 2018 late night screenings . after the films , discussions around comforting café and pastries provided by coffee works will help you ease back into your regular life .

the night eats the world ( la nuit a dévoré le monde , 94 min ) 2018 - dominique rocher saturday , june 16 - 11 : 15pm - one screening only ! coffee and pastries ( provided by coffee works ) will be served after the screening .

double lover ( l ' amant double , 107 min ) 2017 - françois ozon saturday , june 23 - 11 : 05pm - one screening only ! screening followed by q & a with sionann o’neill , official english - language translator of françois ozon . coffee and pastries ( provided by coffee works ) will be served after the screening .

the sacramento french film festival is proud to present a selection of shorts from france , in collaboration with unifrance .

antony cordier was born in tours in a working - class family to whom he dedicated his first feature film , the documentary beau comme un camion ( as beautiful as a truck ) . he studied cinema at la fémis , in the editing department . his first feature fiction film , douches froides ( cold showers ) , premiered at the cannes directors fortnight in 2005 , and won the louis delluc prize for best first film and major awards at verona and taiwan film festivals . his second feature film , happy few ( four lovers ) , starring marina foïs , roschdy zem , elodie bouchez and nicolas duvauchelle , was selected in competition at the venice international film festival in 2010 . gaspard at the wedding , presented this year at the sfff in its u . s . premiere , is his third feature film .

sionann o’neill was born in the bay area and grew up in quincy , a small town in the sierra nevada mountains northeast of sacramento . after graduating from the evergreen state college in olympia , washington , she worked for three years to save money , then left for europe in 1988 . she settled in france and began studying cinema at the sorbonne , where she formulated a desire to do subtitles . a stroke of good fortune led her to meet then - fledgling filmmaker françois ozon , who needed someone to subtitle his shorts . she has gone on to translate all of mr . ozon’s films , and has been working for agnès varda and a host of emerging young directors in france . for several years , she supervised the french subtitling team for the daily show with jon stewart . she also works as an interpreter for actors and directors at the cannes film festival . she currently lives in normandy . sionann will be providing her insights in q & as following the screenings of double lover and luna .

guillaume caramelle is a young director ( short films and advertisements ) and screenwriter who scrutinizes society to translate it into images . his films tell his story , but more generally that of a dissolute youth in search of identity . caramelle ' s goal is not only to observe , but to probe the woes of our society and explore its limits in a decidedly modern tone that alternates between sarcasm and solemnity . at 25 , he directed his first short film , au souvenir d ' une lune , which follows a young graduate anxious about his future . his second film , nikki marianne , a humorous teenage short , was selected in many festivals in europe and the united states and bought by ocs and short tv . in his third and latest short film , one night , presented this year at the sfff , he tackles in less than four minutes the themes of disability and prostitution .