The Bastards

The cinematographer must affirm its titles of nobility and defeat a slavery which many brave men try to free themselves from.

― Jean Cocteau

You scare me,
You make me feel sorry,
You seduce me:
One takes revenge.

― Lise Deharme

The fire of the first edition of Ultracinema Art Festival is an impure hybrid bastard cinema.

Narrative cinema that dialogues with the essay form.

Figurative cinema opening up to abstraction.

Cinema of actors that allows the invasion of documentary.

Documentary cinema where the magic of cinema radiates.

Cinema that proudly takes a curse upon itself, a curse which is not, of course, its goal.

Outlaw cinema, prestigiously invisible.

Reckless cinema that avoids the two dangers Orson Welles warns us against: the self-sufficiency of the content, the easiness of the formulas.

Cinema pendulum oscillating between pudor and horror, empathy and entomology, blessing and hex, enchantment and disenchantment, eclipse and ellipsis, tenderness and brutality.

Anti-dogmatic cinema that imposes the author to rethink, if not to overturn, their idea of cinema, establishing in their lives as creators a before and an after in the sign of the still beyond or never again or…

Erotic heretic cinema: erratic cinema.

Cinema between a dog and a wolf: fusional metamorphic beastly cinema.

Cinema that speaks for the voiceless.

Cinema of the exeptionals and the expelled.

Cinema of the first ones and of the last ones.