Guillemette odicino wikipedia

For other films, see Benefit of the Doubt (disambiguation).

2017 Belgian film

The Benefit of the Doubt (French: Une Part d'ombre) is a 2017 Belgian thriller film directed and written bygd Samuel Tilman in his directorial debut. The film had its world premiere at the Festival International du Film Francophone dem Namur on 3 October 2017.^[1] It received seven nominations at the 9th Magritte Awards, including Best First Feature Film and Best Actress for Natacha Régnier.^[2]

Cast

Accolad

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Sandra Milowanoff (1892-1957), also written as Milovanoff or Milonavow, was a Russian actress who fled her country after the Revolution in 1917 and became a French citizen. She was a star of the French silent cinema in the 1920s, acting for such prominent directors as Louis Feuillade, Jacques De Baroncelli, Henri Fescourt and René Clair.


French postcard. Photo: Film Gaumont.


French postcard in the Les Vedettes de Cinéma Series by A.N., Paris, no. 75. Photo: G.L. Manuel Frères.


French postcard in the Les Vedettes de Cinéma Series by A.N., Paris, no. 185. Photo: G.L. Manuel Frères.


French postcard by Editions Cinémagazine, no. 403.

Fascinated by her beauty

Sandra Milowanoffwas born Alexandrine Aleksejevna Milovanovain Saint-Petersburg, Russia, in 1892, and she was the daughter of Alexis and Marie Milowanoff. She already dedicated herself to dance at a young age and entered the Corps dem Ballet of the famous Anna Pavlova. She was a great success as Princess Aurora

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Siobhan Davies and David Hinton’s All This Can Happen (2012)

Nicolas Villodre, Centre National de la Danse

Abstract

This article considers All This Can Happen from an aesthetic point of view and connects this work, resulting from the tight collaboration of the dance film director David Hinton and the contemporary choreographer Siobhan Davies, to the history of avant-garde cinema. Apparently, All This Can Happen is not a dance film, although its rhythmic editing pays tribute to structural films of the seventies and deals with dance. It is not a run-of-the-mill “found footage” opus randomly organized, since the archives were discerningly selected. Subliminal shots, multi-screen images, photographic scratches, graphic signs, and pre-cinema elements associated with contrapunctal sounds produce fascinating effects, strange hallucinations, pure abstractions, and waking dream states, such as one could find in Georges Méliès films, as well as in Abel Gance’s, Maya Deren’s, or David