Everybody has a favorite Parisian neighborhood, left or right bank. That particular atmospheric energy exuded by the history and stories of the capital inspires us. Sometimes the history and stories fade away. Yet Paris has always been lucky. Numerous directors have filmed the City of Light. Their works highlight the fugacious essence of the city and their movies capture forgotten images and stories.
These films are unique works, witnesses to a past magically captured and fixed on film stock.
Ten years after Marice Delbez filmed Belleville in RUE DES CASCADES (our crowd-funding project, which just reached 100% the first week of May), Anna Karina takes us on a journey across the Seine to discover her beloved St Germain neighborhood.
Anna Karina shot the VIVRE ENSEMBLE during a four-week period. Claude Agostini, her director of photography, helped her transform her apartment into a mini film studio, with filming taking place in the living room while the kitchen was used as the technical support room.
The result? A film that plunges us into a nostalgic, idealistic 70’s, just before the oil crises of 1974 and when the spirit of May ’68 still reigned in the Latin Quarter.
Selected for the 1973 Cannes Film Festival in the Critic’s Week line-up, VIVRE ENSEMBLE is also a genuine Parisian documentary (notably the exterior shots). The film’s atmosphere will delight anyone who knew and loved the city in the 1970’s.
Anna Karina tells us a story of a couple, of love and its many forms, of LIVING TOGETHER. Her film also brings us as far as New York, with stolen images of rare beauty that exude innocent energy and lost youth…
HELP US FINANCE THE RESTORATION OF THIS FILM
VIVRE ENSEMBLE has received a grant from the CNC but the restoration works are quite costly (especially since the film was auto-financed by Anna Karina -- with a little help from SNC -- and shot on Super 16 mm). The project cannot reach its full potential without this campaign, which will allow for a greater range of technical solutions.
Anna Karina is personally involved in this campaign with the intent of giving it every chance of success. With this crowd-funding project, you can give your support to Anna Karina. In return, depending on your choice of a reward, you name will be included in the restoration titles on the film, you will be privy to “behind the scenes experiences” or you will receive authentic mementos of the film.
CELLULOID ANGELS and SNC are going to try to motivate additional partners who will add a festive and exciting touch to this campaign.
So choose your reward or make a simple donation. We hope that over the next few weeks, thanks to a collective effort, we will be able to write a happy end to this story.
Olivier PRUVOST, Restoration Supervisor
Restoration work has commenced but as technical supervisor Olivier Pruvost points out “our ability to obtain the best possible results from this restoration depends on the flexibility of the operations. The need for experimentation is somewhat unusual with this project. The film was shot on Super 16mm with a limited budget and lighting. The 4K restoration magnifies the presence of any defects or anomalies, including inherent aspects such as lack of sharpness or underexposure.
We need to alternate grading with restoration and correction, going back from one to the other, in order to achieve the right balance. Certain sections of the Super 16mm scan will be “replaced” with segments from the 35mm blow-up if this option allows the restoration be more faithful to the original work.
The treatment of film grain will be the final step in harmonizing the source material.
This “going-back-and-forth” approach to the restoration has a major inconvenience: staying within the budget and timeframe. We must make difficult decisions and having the possibility to push the technical limits of the restoration is definitely in the best interest of the film.''
Technically, this is a quite a challenge so I certainly hope we will be able to obtain the financial backing necessary.”
Indeed this is an ethical question. If SNC is to respect Anna Karina’s artistic orientations, it is necessary to have the financial leeway to explore all technical solutions.
A BREAKDOWN OF THE RESTORATION FINANCES
The restoration budget is 116.313 €. The CNC has awarded a 70.000€ grant. We are trying to raise 19.000 € (the gap will be covered by DVD sales and a potential TV sale of the film, which has never been broadcast on French TV).
The 19.000 € breaks down as follows: 13.000 € will be allocated to the film restoration (69%); 1200 € will be used for the creation of the rewards (6%); 4800 € will be used to promote the campaign, manage the rewards system and undertaking marketing and communication of the restoration project (25%).