Emmanuel Finkiel
Emmanuel FINKIEL (1961, France) began his career in 1979 as an assistant director to Jean-Luc Godard, Krzysztof Kieslowski and Bertrand Tavernier. In 1995, he went behind the camera and directed Madame Jacques sur la Croisette, a short film centred around one of the recurring subjects of his work: the Holocaust. Award-winner at numerous festivals, he notably won the César for Best Short Film in 1997. In 1999, he directed his first feature, Voyages, for which he received the César for Best First Film and Best Editing, Youth Prize at the Directors’ Fortnight. In 2009, he directed a second feature film, Nulle part, terre promise, selected and awarded at numerous festivals. In 2024, he directed La chambre de Mariana/Mariana’s Room, adapted from the novel by Aharon Appelfeld.
Filmography
Mme Jacques sur la Croisette/Madame Jacques on the Croisette (1996, short), Mélanie (1996, TV), Voyages (1999), Dimanche (2000, short), Samedi à dimanche (2000, short), Samedi (2000, short), Mardi ou mercredi (2000, short), Du lundi au venredi (2000), Les Justes (2000), Casting (2001, doc), En marge des jours (2006, TV), Nulle part, terre promise/Nowhere Promised Land (2008), Les Européens (2008), Je suis (2012, doc), Je ne suis pas un salaud (2016), La douleur (2018), La Chambre de Mariana/Mariana’s Room (2024)
More info: Wikipedia, Emmanuel Finkiel
Emmanuel Finkiel op IFFR
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La Chambre de Mariana
Emmanuel Finkiel | 130' | France | World premiere
A unique tale of survival and revelation, set in Ukraine during the Second World War. -
Nulle part terre promise
Emmanuel Finkiel | 94' | France | None
Episode film in which three travel stories from very different Europeans on their way to a better future cross each other and together provide an… -
57000 KM entre nous
Delphine Kreuter | 82' | France | International premiere
Nat, a French adolescent, seeks her own course in the chaos of her pleasantly dysfunctional family and among other adults who act strangely. Almost al -
Voyages
Emmanuel Finkiel | 115' | France | -
Old Jews as fictional travellers, that carry something with them that is deeper and more complex than the visible wounds of the Nazi atrocities. This