Attracting upwards of 185,000 festivalgoers over the course of nine days in over 6o venues (cinemas, meeting rooms and showrooms) who will be attending somewhere in the region of 425 screenings… Who would have thought, upon the creation of the Lumière Film Festival in 2009, that an event dedicated to heritage films would be met with such enthusiasm, attracting the most seasoned cinephiles as well as winning over a significant mainstream audience? The main ingredient for its resounding success is an incredibly astute crossover: the festival arranges for works from the past to be presented by artists from the present who use their notoriety to aid the transmission of film history. And when the conductor of such an operation goes by the name of Thierry Frémaux, the captain of the Institut Lumière and the Cannes Film Festival’s director general, the biggest names in the world of the 7th art are quick to accept the festival invitation and make their way to Lyon, also making the most of the occasion to unveil their latest films and deliver a few masterclasses along the way. In this respect, distinguished topliners of this 14th edition of the Lumière Film Festival (running 15 – 23 October) include American director Tim Burton (who’ll receive the 2022 Lumière Prize, awarded to a figure from film each year for his or her filmography, and who will see 17 of his films screened) and his compatriot James Gray, South Korea’s Lee Chang-dong, Mexico’s Guillermo del Toro and Alejandro González Iñárritu, Poland’s Jerzy Skolimowski, Denmark’s Nicolas Winding Refn, Chile’s Sebastián Lelio, France’s Nicole Garcia and Marlène Jobert, and Italy’s Monica Bellucci, without forgetting Louis Garrel who’s opening the event with The Innocent [+lee también:
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Stealing focus in the retrospective realm, we find the masters Sidney Lumet (15 films) and Louis Malle (17 films), André De Toth’s Hungarian Films, and Swedish director Mai Zetterling’s movies, screened within the context of the Permanent History of Women Filmmakers line-up. Two feminist icons will also be placed centre stage, namely Jeanne Moreau (for her work as a director) and cult Japanese actress Meiko Kaji (Female Prisoner #701: Scorpion and Lady Snowblood). Amongst a myriad of other sections, there’s also the world premiere of the restored copy of Warren Betty’s Reds, a film-concert of Dans la nuit by Charles Vanel, the Classic Lumière section (22 films by directors ranging from Grémillon to Chabrol, by way of Eustache, Dreyer, Fleischer, Visconti, Coppola, Forman, Carax, etc.),  the 12 little-known movies gracing the Treasures and Curiosities line-up, Great Classics in Black and White (Kurosawa, Wilder, Hitchcock, de Sica, Curtiz, Becker, García-Berlanga), Sublimes Moments in Silent Film (including a newly restored Buster Keaton film), documentaries about film, a festival for children, and premieres including that of Forever Young [+lee también:
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entrevista: Valeria Bruni Tedeschi
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entrevista: Marie Perennès y Simon Dep…
ficha de la película] (while the festival’s partner cinemas are scheduled to screen the latest films by Lukas Dhont, Jean-Paul Salomé, Roschdy Zem and Rachid Bouchareb, to name a few). This XXL agenda is further fortified by a new section named Cult Flicks! (featuring seven films by Nolan, Fincher, Tarantino, Craven, Joel Coen, Lynch and Kassovitz), and a focus on ecological issues by way of Cyril Dion’s presentation of his company Newtopia, which focuses on productions depicting a sustainable world (linking to a special screening of Richard Fleischer’s Soylend Green). Last but not least, music lovers are set to enjoy an exceptional concert, courtesy of the Eastwood Symphonic (playing music from the films of Clint Eastwood as reinterpreted by his son Kyle’s quintet, accompanied by the National Lyon Orchestra), while the final cherry on the cake is the 100-year anniversary of Murnau’s legendary masterpiece Nosferatu, which will be celebrated by way of a film concert in which a restored copy of the movie is set to be screened, accompanied by Lyon’s Opera Orchestra, directed by the famous Timothy Brock.

For its part, the International Classic Film Market (MIFC), which will be celebrating its 10th anniversary, is set to unspool between 18 and 21 October. As the first and the only classic film market in the world, the event is rapidly expanding in step with the fast growth experienced by the heritage film sector (as attested by the success of the cinema re-release of a restored version of Jean Eustache’s The Mother and the Whore, for example). Everyone active in the sector, from sales agents to broadcasters (TV networks, platforms, cinema operators, festivals, etc.), by way of financiers, institutions and service-providers, will all be in on the action, taking part in four days of debates, round tables, overviews and focus sessions. The Great Witness of 2022 – the Bologna Film Library’s director Gian Luca Farinelli – is scheduled to deliver a keynote speech, while Spain will be this year’s country of honour. Likewise worth a mention on the MICF’s jam-packed menu are brainstorming sessions around the issues and prospects linked to the reselling/re-purchasing of films and catalogues, and the complementarity of public actions and private initiatives when it comes to funding restorations and broadcasting issues.