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"WELCOME" LUX Prize-winning film of the European Parliament

Welcome French film director Philippe Lioret was the winner of the third edition of the LUX Prize for cinema of the European Parliament.

"Welcome" competed in the final two films: The Bulgarian-Swedish coproduction Plays Eastern Kamen Kalev and Sturm Hans Christian Schmid (Germany, Denmark, Netherlands) A panel of seventeen experts from the film world (producers, distributors, festival directors, critics, etc.) was in charge of choosing the finalists films LUX film prize of the European Parliament and that list the 736 MEPs elected as winning film Welcome.

Many of the candidates in this issue deal with subjects such as solidarity, immigration, justice, civil liberties or fundamental rights because the award is a recognition of the importance of the role of cinema in the process European construction.

The criteria for selection is that these films are a reflection of the cultural diversity of the old continent, and the debate on the integration of Europa.WELCOME tells the story of Bial, a 17-year-old from Kurdistan Iran across the Middle East and Europe to meet with his girlfriend recently emigrated to England. But his tour stops abruptly when, on the French side, keep her from crossing the Channel. Decides to swim across the channel.

To meet its objective, begins training at the municipal pool. There she meets Simon, a swimming instructor in the process of divorce. Simon is willing to do whatever it takes to get his wife back and risk everything to provide protection to Bilal.

Lux Awards were born in 2007 with the aim of supporting European cinema and to facilitate the distribution of films within the European Union. LUX Prize is valued at € 87,000, for finance and kinescoping subtitles in 23 languages \u200b\u200bof the European Union, as well as localized versions for deaf and invidentes.GOLEM distributed in Spain for the second time this award winning film and in 2007, the year of BIRTH, THE OTHER SIDE Fatih Akin won the award. Welcome

is scheduled to release date on 12 febrero.Más information: http://www.lux-prize.eu/index_en.htm

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Girbaud Outletphilippines

FILMOGRAPHY Lioret
PHILIPPE 2008 2006 Je vais
WELCOME GOOD, NE FAIS PAS t'en, César for Best Hope Women (Mélanie Laurent), César for Best Supporting Actor (Kad Merad) and nominated for the César for Best Film, Best Director and Best Screenplay. THE STRANGE
2004 nominee for Best Actor César, for Best Supporting Actress and Best Music.
2001 THE CORRECT SLIDE DIM items required
1997 1993 IN TRANSIT


FILMOGRAFÍA seleccionadas VINCENT LINDON
2009 WELCOME, Philippe Lioret
2008 FOR IT, Fred Cavayé
2007 PEOPLE WHO ARE, Anne Le Ny, nominado al Mejor Actor César al
2006 BY CHARLIE, Nicole Garcia, sección oficial Festival Cannes 2005
AIRCRAFT, Cedric Kahn
2003 THE COST OF LIVING, Philippe Le Guay
CAOS 2001, Coline Serreau
1999 NO SCANDAL, Benoît Jacquot 1998
PAPARAZZI Alain Berberian
1997 THE SEVENTH SKY, Benoît Jacquot
1996 EL PLANETA LIBRE, Coline Serreau TODO ESTO ...
1993 PARA ESTO ¿?, Claude Lelouch
1992 THE CRISIS, Coline Serreau
THE BEAUTIFUL STORY, by Claude Lelouch
1990 HAY DIAS ... Y LUNAS, Claude Lelouch
UNOS DIAS CONTIGO 1988, Claude Sautet
1985 Betty Blue, Jean-Jacques Beineix
1984 NUESTRA HISTORIA, Bertrand Blier

FILMOGRAFÍA seleccionadas AUDREY DANA
2009 WELCOME, Phillipe Lioret
SO CLOSE, Olivier Nakache Eric Toledano y
2007 TONIGHT JE DORS CHEZ TOI, Olivier Baroux
ROMAN DE GARE, Claude Lelouch , Premio Romy Schneider 2008

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FILMOGRAPHY INTERVIEW WITH AUDREY DANA INTERVIEW WITH Vincent Lindon

- ¿Qué has the empujó rodar WELCOME?
- Whenever he saw the work of Philippe, I thought: "I love to roll with this director." Came to one of the first screenings of Roman de gare, Claude Lelouch, and I said I had in mind for a future film ... I did not know what would be his next over, in fact, he did not, because I had thought of another actress. He spent some time as he reflected, but was still not the actress who was looking for. It seemed too young to play Simon's wife. Finally decided to call me and stayed for the next day. He was thirty when I entered the restaurant. After a few minutes, had reached 35 and my name was Marion.
When I finally read the script I was very happy to have accepted the role.

- Do you feel close to the character of Marion?
- It was not an easy role for me, even though Philippe opposite opinion. Marion is a simple woman, very human and, above all, very quiet, calm. Is an English teacher and a committed person. I think I'm much more nervous, neurotic, complicated. Faced with this woman so well built, I was in front of a black abyss. I think the hardest role I've had to date. In addition, he has lived ten years with the same man. Ten years is a long time, I've never had a relationship so lasting. He had to learn everything, let me go, put aside the references, name brands. Now, with distance, I can say that I love to meet Marion and become it. It was a humbling experience.

- How to work with Philippe Lioret?
- Philippe focuses exclusively on the film. In the script there is nothing about. For him, work is the writer and director.
Sometimes it is easy to follow, is so precise that he failed to understand why we do not see all that on its head. But it also provides great security. Actually leads us and we know it will be okay. With Philippe has been working. No no room for nonsense, just for the job. Their level of demand is contagious. There is no one on set who did not give everything. I am aware that if the movie will be like for him, if the actors are good, also be for him. And if you like, will also be for him. The film is him.
remember a night shoot where, after trying many times the dialogue and movement, I went into a trance. I had never been anything like it, and taught me a lot.

- And with Vincent Lindon?

- Vincent Lindon is a child on the set. At that time there anything but the film, and cares about all his scenes, the other actors, the entire film. It is very pleasant to work with an actor so dedicated. Despite having shot many films, have much experience, is a child, fears and passions. Shares everything. I have a feeling that was always beside me, taking me by the hand. And now I've seen WELCOME, I have come forward to accompany her to the end of the world because I think a movie that deserves to be seen by as many people as possible. Talk about love with a social background, or maybe the other way around, do not know ... We on the essential.

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- What WELCOME moved in?
- When Philippe told me about the story, I immediately conquered. I remember at the end of a meal, I said I would read the script, but just for fun. He was determined to make the film. Then after reading it, I called to tell him how much I liked that mixture of toughness and tenderness, and that we should shoot right away because I was dying of impatience.
What I like about the films of Philippe is the ability to choose topics very powerful. In this case, the problem of refugees in Calais, but it tackles head on. Prefers to focus on the characters and their emotional, as Simon and Bilal. But it all goes hand in hand in this movie, big and small story of why it is so strong dramatically.

- Lioret Philippe spoke to Simon?
- Very little. Above all we talk about details that may seem unimportant. A character is built from instinctive elements. During filming, we spent hours talking in the hotel bar, but not necessarily in the movie. We talked about life, women, children, movies we like ...

- How was the character?
- As I said, I want to learn more. I think film, the habit makes the monk himself. In the scenes of the pool, I focus on how I take my sweatpants, flip-flops in the swimming teacher. I'm worried about whether the appearance of the character I play is credible, shoes, whistle, t-shirt and a little gut. Simon is a former professional swimmer, but since he left the racing world, has gained something. To become a Simon, I decided I too fat. Everything must be realistic, the characters, sounds that resonate within the precincts of the pool.

- How was the beginning of filming?
- Upon arrival at Calais, a Saturday night, Philippe took me the "spring hut" where refugees are going to eat. As we left, we passed three guys and we took them in the car. They had nothing, but had not lost his smile. Asked us to leave in a desert place, much like a huge garbage dump. There was no one and there was one house. Then, without exchanging a word, Philippe took me to the hotel. On any comments. It was my first time in Calais and had seen what to do.

- Philippe Lioret says you anticipate your requests.
- I'm glad you created. No more looking in my profession, just move as the director has envisioned when writing the script, and stop at the appropriate time and place. When it gets like osmosis, and does not happen often, then we both know that we have found the right tone.

- Your personality and that of Philippe Lioret could have been a source of conflict.
- Of course. Many people who know us feared the worst. But it was just the opposite. At no time was there a moment of doubt or lack of mutual trust. He felt that we were called to shoot this film together. Despite several failed attempts in other films, I always knew in my heart that someday hold a big meeting. It was like meeting my twin.

- How was the shoot with Ayverdi Firat, the interpreter of Bilal?
- I never thought like a child, or as a professional actor. At first I realized that I intimidated him, but after a few days was established parent-child relationship. I ended up feeling so protective of him on the set as Simon with Bilal in history.

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INTERVIEW WITH PHILIPPE Lioret

- How did the draft WELCOME?
- Mostly because I really wanted to make a film on the subject. I mean people who flee countries ill prepared to do anything to get to El Dorado called England and, after of unimaginable journeys, end up trapped in Calais, humiliated, battered and humiliated a few miles from the English coast you see in the distance.
One night we talked about it with Adam Olivier and I thought this place was a bit of our border "Mexican," which was enough to dig to find a formidable dramatic thread.

- How was the process?
- Emmanuel and I got in contact with associations working to help these people and we went to Calais. For several days in a frigid winter, volunteers live with trying to alleviate the refugees' living hell "jungle" in which they take refuge, the business of the pins, the continued police harassment - in fact, devotes an entire garrison - detention centers, truck checks, in hiding to board ships and where they risk their lives to avoid be noticed by CO2 detectors, heartbeat, scanners, etc.. But perhaps what most surprised us was the age of these refugees. The older ones have not turned 25 years. There are kids of 15 who travel the road alone terrible. Talking with Sylvie Copyans, Salam Association, we learned that several of desperation, even tried to swim across the channel ... After a few days we returned to Paris with this information, without exchanging a word in the road.

- How did the plot of the script?
- I could not get his head the idea of \u200b\u200bthe boy who wanted to cross the English Channel swim. Emmanuel was the first to say: "And going to the swimming pool to train for Calais." And I said: "There she meets a swimming instructor." In two sentences we have summarized the plot and characters, knowing that it would be a "superescenificación" and does not betray the lives of refugees. On a subject so strong, so today, honesty had to go first.

- So was born the character of Simon?
- had to get away from the documentary aspect and focus on the personal history of the characters, the relationships that determine the lives of each and how often are behind everything that happens. Noting
volunteers, I thought that probably some would live with a partner who might not be so generous and was so committed.
Simon has flaws, and like all of us, is not perfect. At first, like almost all the inhabitants of Calais, not interested in the problem of migrants, simply ignored. "Lower your gaze and returns home," says Marion, his former wife. As a young man had the opportunity to have a large career, but did not be and is bitter. Act like you give swimming lessons out all his life. His only real problem is that he has left Marion. Meet Bilal and decides to help him for the wrong reasons. Offers home to Bilal and his friend Zoran to impress Marion, to show that it is not as individualistic as she thinks, thinking that will win her back. But nothing goes as planned, the law punishes those who support an illegal.

- Bilal wants to go to England to meet Mina. The movie could be summarized as follows: A man loses a wife and unhinged, another, younger, loves a woman and can do anything to meet her.
- The two destinations are crossed and face the absurd order that rules the world.
The film shows how a chance meeting can make you more than himself. I think we've done this long because we want to believe in the feelings and intelligence, instead of cynicism and interest.

- The situation is reminiscent of an era ungrateful Occupation.
- Yes, could be in 1943, be someone who hides Jews in her home and who end up catching. But it happens today, 200 km from Paris.

- wrote the script thinking of Vincent Lindon?
- often thought it to previous movies. First, because it seems a great actor, and also because I have the feeling that unites us something. Normally when I write, I try not to think about the actors and focus on the characters. This time it was not. We ate together and told him the story. He said he would work in the film without reading the script. Vincent is a man of heart, I think that besides the character of Simon, I liked the idea of \u200b\u200bgetting into this story. I wrote the character thinking of him, and nothing has come between us ever since. However, people who know us feared that sparks flew on the set. But as we were both in the same direction, film, chemistry between the two was exceptional.

- What kind of actor is?
- is able to convey feelings with a simple gesture or attitude, thus avoiding a phrase or a word. It is an engaged man, a perfectionist. As an actor, is always outstanding, and shuns any effective detail, allowing you to perfectly embody the Simon. I know that after shooting looks good when it is released worldwide flowers, but knowing it was great, both the arts and in humans. We talk daily and see often. We will make other movies together.

- And Audrey Dana?
- Audrey is what whites call "the girl next door "(the girl next door) is the opposite of a star. I soon find it. I needed a credible woman school teacher who, by mere human efforts, takes money to the refugees. Neither wanted a militant suffragette. Only a girl would be comfortable with herself with a generosity that is not invented. And Audrey is. Marion scared him a little, but he liked the story. Besides, I was convinced he could with the character. He is a very full, which takes things seriously without taking itself seriously.

- Bilal And how do you find?
- literally like a needle in a haystack. It was a very important deal. The character is 17, speaks only Kurdish and English, and must hold the film with Vincent. Every time I thought, I came sweats. Did not even know if there was the actor to interpret. Casting director Tatiana Vialle and I traveled for weeks between Berlin and Istanbul, via London and Sweden, where a significant Kurdish community settled. Finally, we find Firat in France. Not a professional actor and the first trials were very ... special. But he had a truth and intensity inside that made the difference.

- You wanted to be an actor?
- for nothing. Wine to try a little joke and it was necessary to convince and their parents. Then I thought of working with him in rehearsing a lot, but ultimately chose not to destroy its spontaneity. As the filming date approached, my fears increased. A Firat it was the same. Once on set, it took about three hours to find your site and the extent of the paper.

- There are many non-professional actors in the film.
- All young Kurds Bilal known in Calais find them while searching for the actor to embody him. Most come from Istanbul, Berlin ... I learned a lot from them. You have to shoot fast, not try too and let them evolve without imposing too limits on the set. There
wonderful discoveries, like the young Derya, for example, who plays Mina. Emerged as an exceptional actress and now wants to pursue a career as an actress. We shot a very complicated scene in one take, without prior testing, Trusting your instincts. It's incredible.
Other actors, who had been in my previous movies, I like a lot, as Emmanuel Courcol, my co-writer, Blandine Pelissier, Eric Herson-mackerel, Gilles Masson ... And Tatiana was able to find great people like Olivier Rabourdin, who plays Lt. police, a very complicated and that leaves an average of 45 cops on TV every day, but this should not be conventional Ligarde Patrick, the neighbor informant.

- The scenery, as it often does in his films, are real characters.
- Of course, the swimming pool serves as a catalyst, not only evokes the truncated race champion Simon could have been, it is also where Bilal learns to swim across the English Channel.
wanted to shoot in natural settings where the action. Include stories better when shooting in a real location: the streets of Calais, as the giant trans-Mancha, beach Blériot and continuous flow of ferries ... These sites provide greater accuracy to the film. Producer Christophe Rossignon and I decided not to run in the Czech Republic and Romania, as is often done for economic reasons. And it shows in the film.

- The stage is omnipresent, but the camera is very discreet, almost invisible.
- No 40 sites where to place the camera to shoot a scene, and we need to find it. I'm always asking the players to seek the right tone, but the camera can also speak in their own way. If you do notice much in a scene, if the movements are free or purely decorative, the viewer unconsciously, think: "Sure, it's a movie." When that happens, I get the impression that is lost something. As a viewer, when I like a movie, it's as if someone had made a gift.

- During the first 15 minutes of the film gives the feeling that we are discovering an unknown world.
- But very close. Not bad that a film allows us to discover an unknown facet of the country in which we live.
On the problem of migrants, refugees, undocumented immigrants, the multiplicity of television programs on the subject are lost in the huge media cacophony. After all, many debates, many legitimate rebellions are useless because no one hears anything. I prefer to make a movie, count on the big screen the story of two men to two women, facing his affection in the midst of all this mess. I just hope to move the viewer sitting in the dark and help you get an idea of \u200b\u200byour own on the subject. And I hope that some of the film will stay with him.