Join us for a special event with acclaimed French film director and screenwriter Pascale Ferran at the Alliance Française Toronto, and don’t miss the premiere of her latest film Bird People at the TIFF festival this year!
The masterclass will be moderated by Professor James Leo Cahill (University of Toronto). The audience will be welcome to attend a convivial cocktail party following the event.
As a militant, film-loving teenager, the young Pascale Ferran ran a high-school film club. She studied filmmaking at Paris III university, where she was taught by influential movie critic Serge Daney. Ferran then trained in directing at the IDHEC film school (formerly Fémis) in Paris from 1980-1983, where she met Arnaud Desplechin, Eric Rochant and Pierre Trividic.
She made her first short films: Anvers, Voie 5 - Départ 13h16 and H. Widenberg (1980-1982), followed by Souvenir de Juan-les-Pins (1983), a vacation story, then co-wrote Christian Vincent’s short film Il ne faut jurer de rien (1983). She worked as an assistant in television, and established a growing reputation as a screenwriter, working for Jean-Pierre Limosin (Guardian of the Night, 1986), Philippe Venault (Blancs cassés, 1988), Louis Skorecki (Les cinéphiles 2 – Eric a disparu, 1989), and Arnaud Desplechin with The Sentinel in 1992, which left its mark on the French cinema of the 1990s. Then she directed two short films, one with Pierre Trividic, Un dîner avec M. Boy et la femme qui aime Jésus (1989), where solitudes were already colliding, and Le Baiser (1990), an observation of two faces before and after a kiss. First feature film, winner of the Caméra d’Or in Cannes Ferran’s first feature-length movie caused a sensation. Petits arrangements avec les morts (1994) is a dense and ambitious existential meditation in three chapters, which she wrote with Pierre Trividic. The film won the Caméra d’Or in Cannes, before being nominated for Best First Picture at the Césars, the French equivalent of the Oscars.
Then she worked with Anne-Louise Trividic (Pierre’s sister) on the script of L’Âge des possibles (1996), a portrait of youth, with its doubts and aspirations, made with students from the Théâtre National de Strasbourg, which won many festival awards. She co-wrote Mathieu Amalric’s first film as director, Mange ta soupe (1997), filmed a documentary in Florida, Quatre jours à Ocoee (2000), about recording a jazz record, then wrote another feature, Paratonerre, which was never made due to lack of financing.