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\u00ab\u00a0INESCAPABLY A MAJOR WORK!\u00a0\u00bb: \u00ab\u00a0Viva la muerte\u00a0\u00bb<\/a><\/blockquote><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! 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Base\u0301 sur son autobiographie Baal Babylone, Viva La Muerte est le premier film re\u0301alise\u0301 par Fernando Arrabal, artiste pluridisciplinaire iconoclaste et controverse\u0301. Fondateur du the\u0301a\u0302tre Panique avec Roland Topor et Alejandro Jodorowsky, Fernando tente l\u2019aventure cine\u0301matographique a\u0300 un moment ou\u0300 la censure se rela\u0302che. Ayant quitte\u0301 l\u2019Espagne en 1955, il tourne cette premie\u0300re \u0153uvre en France et en Tunisie afin d\u2019e\u0301voquer ses souvenirs d\u2019adolescent. Viva la muerte est pre\u0301sente\u0301 au festival de Cannes en 1971 et provoque un ve\u0301ritable scandale par son ton de\u0301libe\u0301re\u0301ment provocateur et outrageant. Censure\u0301e en France, ainsi qu\u2019en Espagne, l\u2019\u0153uvre fait depuis l\u2019objet d\u2019un ve\u0301ritable culte aupre\u0300s des initie\u0301s. LE FILM SERA PRE\u0301SENT\u00e9 PAR JEAN-PIERRE MOCKY *** Fernando Arrabal… son premier long-m\u00e9trage choc VIVA LA MUERTE. Une oeuvre g\u00e9niale marqu\u00e9e par des th\u00e8mes li\u00e9s \u00e0 l’enfance de l’artiste : la guerre d’Espagne, le franquisme, l’absence du p\u00e8re, la figure de la m\u00e8re envahissante. Autant de sujets bouleversants qui jalonnent sa extraordinaire filmographie compos\u00e9e de sept films-culte parmi lesquels figurent LE CIMETIERE DES VOITURES (1983), premi\u00e8re exp\u00e9rience cin\u00e9matographique d’Alain Bashung, J’IRAI COMME UN CHEVAL FOU (1973), L’ARBRE DE GUERNICA (1985), L’EMPEREUR DU PEROU (1982)… le cin\u00e9aste et co-fondateur du mouvement Panique Alejandro Jodorowsky, Bernard-Henry Levy, Alain Bashung, le critique Henry Chapier, la com\u00e9dienne Nuria Espert (interpr\u00e8te du personnage de la m\u00e8re dans VIVA LA MUERTE), le r\u00e9alisateur Jorge Armat d\u00e9cryptent l’univers singulier de ce \u00a0\u00bb grand po\u00e8te pur \u00a0\u00bb et reviennent sur le tournage ou la sortie triomphale des films dans le monde. \u00ab\u00a0A SURREAL SHOCKER\u00a0\u00bb – San Francisco Examiner. \u00ab\u00a0There are three perfect surrealist films: Un Chien Andalou, El Topo and Viva La Muerte.\u00a0\u00bb- digitalbits.com . \u00ab\u00a0INESCAPABLY A MAJOR WORK!\u00a0\u00bb: NYTimes The debut film of Spanish playwright Fernando Arrabal, VIVA LA MUERTE is a tour-de-force considered by many critics to be the pinnacle of Spanish avant-garde filmmaking. Fueled with surreal images of violence, sexuality and biting political commentary, the film posits Arrabal as the preeminent Spanish-language surrealists… Arrabal’s second film; I WILL WALK LIKE A CRAZY HORSE (J’irai Comme un Cheval Fou) forsakes the political allegory present in Viva La Muerte for a dramatic discovery of faith and organized religion. The story follows a man, Aden, played by the American George Shannon, who flees society after the death of his controlling mother. Out in the wilderness he encounters the beauty of nature, and under the tutelage of a hermit named Marvel, becomes a \u00ab\u00a0normal homme.\u00a0\u00bb Aden falls desperately in love with Marvel, who can communicate with animals, the clouds, and the sun. Upon returning to civilization, Marvel in tow, Aden is more aware than ever of the hideous and hypocritical nature of human society. I WILL WALK LIKE A CRAZY HORSE has long been considered a masterpiece of surrealist film and stands as Arrabal’s most delirious and devlish picture, an outrageous portrait of both other-worldly beauty and inner torment. le m\u00e9li\u00e8s,\u00a0 Renc’Art au M\u00e9li\u00e8s, L’\u00e9trange Festival St\u00e9phane Goudet, Ben\u00e9dicte Haz\u00e9, http:\/\/www.montreuil.fr\/fileadmin\/user_upload\/Files\/Culture\/cinema\/2011\/programme_melies_20juill_6sept2011.pdf CARTE BLANCHE A\u0300 JEAN-PIERRE MOCKY, EN SA PRE\u0301SENCE"}