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10 juillet 2010 6 10 /07 /juillet /2010 11:58


  With the official support of the

XIV th Dalai-Lama

Lotus Productions – Film: The Last Call



  Dalai Lama and A Rodriquez



JULY 2010


25, Rue de PONTHIEU – 75008 PARIS

Ph: + 33 (0)1 53 89 77 52 – Fax: + 33 (0)1 53 75 15 66

Lotus Productions – Film: The Last Call





Jean-Claude Carrière

By the award-winning scriptwriter of Le Mahâbhârata, Cyrano de Bergerac, Bouvard et Pécuchet, Le

Hussard sur le Toit (The Horseman on the Roof) and more.

Original idea



: Pema Dhondup

Co-direction and adaptation :



Jan Kounen and Anne Paris

Executive Producer:



Lotus Productions

Manuel Collas de la Roche, producer of Darshan, the Embrace, directed by Jan Kounen (Cannes film

Festival 2005, official selection out of competition).




Integral Film, Alfred Huermer – Germany,

Serendipity Films, Ambika Hinduja – India,

Yves Fortin – Canada (Executive Producer for Canada : Mrs Daniaile Jarry)

In association with Only Dreams India



– Mrs Capucine Henry

Associate producers:

Dublena Investments

Pema Dhondup, Corinne Benichou

Anne-Marie de Kalbermatten and Catherine Guyonvarch

Eliane Borter

Dominique Marzotto

Production Manager :



Sylvie Balland

Special Advisor



: Bob Thurman

Advertising Manager : Jean Elia

Artistic & Technical advisor



: Capucine Henry

Shooting locations:



India & Germany

Languages :



French, English, Tibetan




The beginning of shooting is planned for October / November 2010

Technical team :

Director of Photography :



David Ungaro

Editing :



Anny Danché

Sound :



Vincent Tulli

Production Designers :



Marie Hélène Sulmoni, Philippe Renucci




Namlha Takla (costume director for Kundun by Martin Scorsese).

Lotus Productions – Film: The Last Call











Lotus Productions – Film: The Last Call




Budget: €4 million

Coproduction: France – Germany – India

100’ – Super 16 and 35 mm – Colour

Languages: French - English - Tibetan

More than just a documentary and much more than fiction, The Last

Call’s biopic of the Dalai Lama's soul over its 13 reincarnations describes

the arrival of Buddhism in Tibet and its spread throughout the world.

These 13 reincarnations have represented 14 individual men bearing

one soul with a single voice of peace, one spiritually true path. A simple

statement of compassion.

La vallée du Skitmang, Ladakh Vue du monastère du Karchak, Ladakh



There are few film images of Gandhi; there are none, of course, of

Jesus or Mohammed. What if you were offered the chance to see these legends, to listen to them and to ask them questions in person?

Legends develop over time and the Dalai Lama is a living legend of our era. The 14th Dalai Lama is the absolute symbol of wisdom, but above all he is the 13th reincarnation of this spiritual leader!

How has this enlightened soul been sharpened by events to become the standard and symbol of peace he represents in the world today?

This is the subject of our film. Describing the spiritual history of Tibet and Asia, we hope to make our own contribution towards the resolution of this conflict.

Lotus Productions – Film : The Last Call

Skayrak region, Ladakh


The last call; the secret history of the Dalai Lamas



is an introduction to the Dalai Lama and his history, alternating between interviews, documentary material, archives and fictional


Including exclusive interviews granted by the spiritual leader, this film will illustrate and put

into images a story still largely unknown to the general public; the course of one unique soul

throughout 14 peaceful representations of this leader.

To be discreet and transparent in the face of such a subject is more than an exercise, it is an


The words of the Dalai Lama have for a long time spilled over the walls of his monastery to

resound all over the world. The film is not a political statement but an epic story, the kind one normally learns from a

school book, and it is told by the one at the centre of the story himself.

We have conducted hours of private interviews with the 14th Dalai Lama to understand and to

recount the history, of his holiness and his 13 predecessors.

In many ways, it is an exceptional exercise because never before has the Buddhist spiritual

guide given over so much time to explain, to recount and to comment on how the Dalai Lama

is sought, chosen, educated and prepared for his role.

This is more than just a rich witness account; it is a veritable heritage with the blessing of the

highest Buddhist authorities.

So, the difficult question must be raised: in a more difficult, complicated and political context,

can the story continue?

Could the 15th Dalai Lama simply exist without being revealed?

“More than just a simple historical film, this will be a message of peace, compromise and

tolerance”, says Manuel Collas de La Roche, “Our civilisation is at the crossroads of great

change and I hope that this film will help answer some of our questions!”.

Lotus Productions – Film : The Last Call



With this production, our aim is to uncover the line of the Dalai Lamas for our intended

audience, right from the legend of its origins up to the present Dalai Lama – quite present in

current affairs today -, Tenzin Gyatso.

Our aim is to take the spectators on a journey through 14 centuries of history taking place in

an extraordinary natural environment to uncover for them the ancestral culture of Tibet as well

as the spiritual and nonreligious teachings passed on by the Dalai Lamas.

Without conducting a history lesson or making a detailed summary of Buddhist teaching,

something quite impossible in a 90 minutes film, we will put emphasis on the historical context

from which the line of Dalai Lamas emerged and blossomed and we will initiate the spectator

in Tibetan philosophy by developing two ideas at the heart of its message: interdependence

and impermanence.  will use both images and sound to describe this universal spirituality, accessible to all

citizens of the world, guiding the spectator so that they may perceptibly reach the gates of a

unique “world”, very different from the one we know.

For the success of such a project, the production and content of our film will be intimately


We will use three methods of representation: 3-D animation, cartoon film and film


The first will be the development of a 3-D Mandala which will be our main guide, based

on the Wheel of life Mandala.

This Mandala has a particular meaning. It represents all of the forms of existence from which

one must be liberated in order to reach the cycle of reincarnation and to light the way for the

journey of the soul, from the moment of death until the next reincarnation.

In Buddhist philosophy, it also symbolises the interdependence of all living phenomena and

energies constituting the cosmos.

Passing through the gates of this three-dimensional structure, we will travel to the past, to the

present and to the future. We will skip from one part of the story to another, from one Dalai

Lama and his reincarnation, from history to legend and from footage to historic reconstruction.

The second mode of representation is the use of real film.

This will be used for the reconstitution of certain key events during the life of the Dalai Lamas.

We will begin by the life of Gendrün Drub, recognised as the first Dalai Lama. Then we will

continue with Ngawang Lobsang Gyatso, the great fifth; Ridzin Tsangyang Gyatso, the sixth

Dalai Lama and a poet who would refuse his destiny and Thubten Gyatso, great reformer and


Lotus Productions – Film : The Last Call


We will also film key events in the history of Tibet which created the base for the emergence of

the line of Dalai Lamas.

We will also use film for the journey of the Tibetan travelling puppet theatre (which will act as a

second narrative guide) run by a father and daughter who travel from village to village through

the Tibetan landscape giving a show of mythological and historical scenes to spectators in the


These parts will be filmed using 35 mm.

We will film different people close to the Dalaï Lama, with whom we will conduct interviews

during their day-to-day life so that they will also narrate the film, on and off screen.

So, we will have accounts from Karmapa, the Dalai Lama’s Oracle, certain monks and nuns,

and of course from the 14th Dalai Lama, Tenzin Gyatso.

His account will be the backbone of the film as he speaks with our intended interlocutor, Jean-

Claude Carrière.

Again, more than just filming them in a conventional manner, we hope to encourage them to

express themselves and to give a part of themselves in parallel to their images, regards and

sometimes their silence.

At this point, it is important to note that the actual Dalai Lama as well as the exiled government

are favourable and enthusiastic for this project however, for the time being, we do not know

how many interviews we may be given.

In case we cannot shoot the end of the film with the Dalai Lama facing the mountains and that

we cannot hold long conversations on the future of the line, we may propose a different end to

the film using the puppet theatre of the puppet master and his daughter.

These parts will be filmed using super 16mm film.

We will also be using archive images from video, cinema, photography as well as paintings

and illustrations melded together to create movements and to combine all of the sources of the

different elements into a unique treatment.

These sections will be digitised in high-definition.

The third mode of representation will be 2-D animation.

The graphical style of Tibetan representations will be used for this technique.

Mainly used for the credits at the beginning of the film, this will be used to produce certain

great historical sequences, such as the scenes of great battles or those taking place at the

heart of China.

Lotus Productions – Film : The Last Call


The cartoon film will also be an extension of the puppet theatre.

Indeed, some of these scenes will require the simultaneous movement of around 10 puppets.

We could, for example begin a sequence with the puppet theatre on film then fade into cartoon

film and to finish again with real film.

We hope that this film would discreetly give each one of us the desire to become better, the

wish to feel more compassion and love.

Such is the clear message expressed in the Shantideva prayer:

“For as long as space remains,

For as long as sentient beings remain,

Until then may I too remain

To dispel the miseries of the world.”

This is the wish of all Dalai Lamas.

Whether or not we believe in this dimension of the story, there is an entirely human energy that

exists around the Dalai Lamas and orientated towards altruism and spiritual enlightenment

which we intend to illustrate and to transmit to a wider public.

Anne Paris and Jan Kounen.

Lotus Productions – Film : The Last Call



Pema Dhondup is a Tibetan filmmaker living in Los Angeles. He desires above all else to tell

the history of his country and the reincarnation of the Dalai Lama. Pema is the representative

of thousands of years of Tibetan tradition and culture and the highest Buddhist authorities have

placed their confidence in him for this film. He originally proposed the project as



Finding the

Dalaï Lama



to Manuel Collas de la Roche.

Manuel Collas de la Roche was enchanted by this partnership, above all because he had just

finished producing




by Jan Kounen telling the surprising story of Amma the wise

woman from the south of India.

Corinne Benichou, an audio visual lawyer turned producer accepted to support Manuel Collas

de la Roche from the beginning.

Lotus Productions asked Jean-Claude Carrière to write the scenario from the original idea by

Pema Dhondup.

Then, within the framework of an international production, Manuel Collas de la Roche spoke to

Alfred Hürmer from Intégral Films who then agreed to be the German co-producer and

Serendipity Film of Ambika Induja who agreed to supervise production in India.

Of course the film would be directed by his faithful partner Jan Kounen and co-directed by his

partner Anne Paris.

Anne and Jan immediately accepted to direct the film and began working with Jean-Claude

Carrière right from the start of the adaptation.

The scenario is ready. Shooting of the film has been planned for October 2010.

Lotus Productions – Film : The Last Call


Manuel Collas de la Roche is an accomplished producer having developed and produced

“Darshan, the embrace”, directed by Jan Kounen, the film was in the Official Selection (out

of competition) at the Cannes Film Festival in 2006. Darshan is the story of the Saint

Amma, “the Hugging Saint”, who has embrace millions of people.

Manuel Collas de la Roche and Paul Vilano created Lotus Productions, they renew their

collaboration with Jan Kounen and Anne Paris by producing “The Last Call”, written by

Jean Claude Carrière. A story illustrating the history of Tibet and the reincarnations and

the institutions of the Dalaï Lamas which shooting will start in october 2010.

Lotus Productions will also co-produce with Integral Film, Alfred Hürmer, the compelling

Franco-German feature film based on the true story.of Erwin Dold, “Ciel et Terre” written

and directed by Christian Schumacher.

“Ciel et Terre” tells us the story of the 24 year old ex pilot Erwin Dold who became a

prisoner camp commander during World War II and then decided at the risk of his own life

to act against tyranny by protecting his own prisoners. In 1946, he was the only nazi

prison camp commander to be set free by the French High Court for having shown

responsibility and humanity. This film will benefit from the superb cast of Matthias (Erwin)

Schweighöfer (confirmed) and Anna-Maria (Irene) Mühe (confirmed), Gérard Depardieu

proposed cast, Jean Reno proposed cast, russian actor..... shooting spring 2011.

Lotus Productions aims at co-producing films with Europeans, American and Indian

partners from his well established international network.

Manuel Collas de La Roche, once a Buddhist monk at the side of the Dalaï Lama, has a

spiritual and philosophical focus in all his work, their movies carry messages of peace, of

reconciliation and of the convergences between the philosophical beliefs of the East and

the West.




Lotus Productions – Film : The Last Call 15


Alfred Hurmer

Alfred Hürmer & Integral Film

Integral Film was founded in 1985 for developing and realizing primarily ambitious film productions

for cinema, often in the context of European co-productions. Since 1995 Alfred Hürmer has been

the Managing Director. Integral Film is based in Berg, near Munich.

Filmpolitical Engagement of Alfred Hürmer

He is a member of Managing Board of “Verband Deutscher Filmproduzenten”, member of

Administrative Board of “Filmförderungsanstalt-FFA”, Chairman of “German Films”, President of

“Les rendez-vous franco-allemands du cinéma“, Member of European Film Academy, Member of

German Film Academy and Founding Member of “L'Académie franco-allemande du cinéma“

Filmography (selection)

2008 Mr. Nobody



, Regie Jaco Van Dormael, Co-Production

Competition Venice 2009, Official

Selection Toronto 2009.




, Helma Sanders-Brahms, Co-Production

Festival de Tokyo 2008.

2007 Il y a longtemps que je t’aime



, Philippe Claudel, Co-Production

Competition Berlin 2008,

nomination Golden Globes 2008.

La File coupée en Deux



, Claude Chabrol, Co-Production.

2006 Un Secret,



Claude Miller, Co-Production.

Le Concile de Pierres,



Guillaume Nicloux, Co-Production

, Rome Festival 2006.

2005 L’Ivresse du Pouvoir,



Claude Chabrol, Co-Production,

Competition Berlin 2006.




, Didi Danquart, Co-Production

Rome Festival 2006.

2004 L’Annulaire



, Diane Bertrand, Co-Production.

20 Nuits et un Jour de Pluie



, Lam Le, Co-Production.

La Mademoiselle d’Honneur,



Claude Chabrol, Co-Production

Competition Venice 2004.

Lucky Luke vs. The Daltons



, Philippe Haim, Co-Production.

2001 TOSCA



, Benoit Jacquot,

Competition Venice 2001.

2000 Annas Sommer



, Jeanine Meerapfel, Co-Production

Thessaloniki Festival 2001, Competition

Mar del Plata 2002.

1997 Combat de Fauves



, Benoit Lamy, Co-Production,

Competition Venice 1998.

1996 Rossini



, Helmut Dietl

Bundesfilmpreis in Gold und 3 weitere Bundesfilmpreise, Bayerischer


1995 Hey Stranger,



Peter Woditsch, Co-Production,

Brussels Filmfestival 1995, Filmfestival von


1994 Historias del Kronen



, Monto Armendarix, Co-Production

, Competition Cannes 1994.

1993 Wiederkehr,




Competition San Sebastian 1993.

Lotus Productions – Film : The Last Call 16



Ambika Hinduja

Ambika Hinduja, an alumnus of the London International Film School, started by assisting in

the director Subhash Ghai on the banner production “Yaadein”. and worked on Farhan Akhtar’s

recent war film “Lakshya.”

In 2003, she launched her own production house Serendipity Films, and released her first film

“Being Cyrus” in 2005. Her follow up production Teen Patti was released in early 2010.

Lotus Productions – Film : The Last Call








Dalai Lama Pax Cultura

The history of international treaties shows us how many of

them were relevant and applicable to the times in which they

were signed, but then lapsed into irrelevance. The Roerich

Pact, however, has kept its heart and its life, and is linked to the

needs of today’s chaotic world as much as ever. In many

countries, we see a deterioration of cultural values and a

disregard for the right of all cultural treasures to have their own

continued existence, forever protected and unimpeded.

One can only hope that a greater awareness of the importance of humanity’s cultural heritage will increase,

rather than deteriorate.

There is no greater value to a nation than its culture.

In 1929, the complete text of the Pact with Roerich’s accompanying message to the people of all nations

was published. The first and the second one paragraphs of the Pact said:

“The historic monuments, museums, scientific, artistic, educational and cultural institutions shall be

considered as neutral, and as such respected and protected by belligerents. The same respect and

protection shall be due to the personnel of the institutions mentioned above. The same respect and

protection shall be accorded to the historic monuments, museums, scientific, artistic, educational and

cultural institutions in time of peace as well as in war. In order to identify the monuments and institutions

mentioned, use may be made of a distinctive flag”.

Roerich offered a distinctive flag and called it “The Banner of Peace”. It should be placed on the objects

which must be protected. The design of the Banner shows three spheres surrounded by a circle in magenta

colour on a white background.

The Banner of Peace symbol has ancient origins. Of the many national and individual interpretations of this

symbol, the most usual are perhaps those of Religion, Art and Science as aspects of Culture, which is the

surrounding circle; or of past, present, and future achievements of humanity guarded within the circle of


October 25, 2004, Mr. Victor M. Afanasyev, Pilot-Cosmonaut of Russia, President, International League for

Protection of Culture, presented the Roerichs Banner of Peace, which had been in the outer space, to

Hon’ble Speaker of Lok Sabha, Mr. Somnath Chatterjee, who promised to preserve it in the Library of the

Parliament as a precious treasure. Roerich’s idea was supported by the progressive public.

R. Rollan, B. Shaw, T. Mann, A. Einstein, H.G. Wells and many others approved Roerich’s initiative.

In 1930, the draft of the Pact was submitted to the International Intellectual Cooperative Committee for

consideration. Nomination of Roerich’s candidature for Nobel Prize showed the effect which his offer made.

While Nicholas Roerich worked in Urusvati Institute and led the expedition in Asia, the Roerich Pact and

Banner of Peace movement gre

w rapidly in Europe and America.

In 1931, in Bruges, the International Unity of Roerich Pact was organized under the direction of K.

Tulpaniuk, a member of Monuments Protection Commission in Belgium.


In September, 1931, the First international conference took

place in Bruges. Officials an members of social and art

organizations from different countries participated in this


Roerich said to the delegates:

“The idea of Culture presumes no distraction or abstraction but

reality of art; it is led by the wish of feat, labour, creation. The

Pact itself declared the necessity for protection of the cultural

product and activity of the world - both during war and peace without the roar of the guns when

helpless mistakes against Culture are made”.

The plan for the propagation of Roerich Pact in schools and universities was worked out. Relations

with International Art Affairs Committee and Reduction of Arms Bureau were established.

In August, 1932, the Second Roerich Pact Conference was held in the same city, in Bruges. The

conference declared the Roerich Pact Treaty to be the international document. A special exhibition

was organized, where more then 6000 photos of unique architectural monuments, which needed

protection were presented.

The Third International Conference was called on November, 1933, in New York

D.C. Officials from 36 countries took part in it. The conference prepared a

recommendation for governments of all countries to adopt the Roerich Pact.

The Roerich Pact was the first document, which was agreed to by twenty-one

nations of the Americas and signed as a treaty in the White House, in the

Presence of President Franklin Delano Roosevelt, on April 15, 1935,

by all the members of the Pan-American Union. It was later signed by

other countries also.

The Pact itself declared an international necessity for protection of the cultural product and activity of

the world—both during war and peace—and prescribed the method by which all the sites of cultural

value would be declared neutral and protected, just as the Red Cross does with hospitals (indeed, the

Roerich Pact was often called The Red Cross of Culture).

The Pact of protection of cultural values created by him continued to attract supporters even after

Roerich’s death.


In 1948, the Pact was approved by the Government

of India and in 1950, the New York Committee conveyed

the main articles of the Pact and all documents about its

history to the General Director of UNESCO, James Torez

Bodet (Mexico).

The Special Commission of UNESCO began to work out

a status which was offered to the conference on the issues of

education, science and culture. This conference was called

in the spring of 1954 in Hague.

This conference adopted the International Convention on

Protection of Cultural Treasures in Times of Armed Attacks.

Representatives from 37 countries signed the Hague Convention. So,

Roerich’s political-diplomatic initiatives lived him through and became part of international



www.bannieredelapaix-france.over-blog.com –




Pema is a second-generation Tibetan. He was born and grew up in India. He

began his career as a filmmaker upon leaving the USC School of Cinema and

Television in 2002. Pema was awarded the prestigious Fulbright scholarship by the United States

government to study at the USC. He also holds an Indian MBA.

At the USC, Pema concentrated on directing and writing while learning necessary technical skills.

A diligent and sensible student, he was chosen to direct one of the four short films produced by the USC

during his second university year. This is the most coveted cinematographic experience for which cinema

students compete with each other.

Given the emphasis on creating real experiences in this class, students finishing their studies are ready to

produce almost any film.

A complicated psychological drama called ECHO based on the scenario written by a German student was

shot and produced as a short 16 mm film. Pema chose this film as his thesis.

He wrote, produced and directed the first Tibetan digital film called WE’RE NO MONKS. He brought together

an international team and used every means possible to make his first independent film. It was also an

attempt to show a new direction to his community. Inspired by the Italian neo-realism and particularly The

Battle of Algiers, Pema shot his film on location in Dharamsala where the headquarters of the Dalai Lama

was set up and transformed this little Tibet into a vast gathering. This factual story about Tibetan youth and

the fight from exile turned out to be a significant cinematic production, inspiring frustrated younger

generations to consider other methods of freeing themselves than violence.

Pema and his wife began the first video news bulletin of the Tibetan people called SARGYUR (The News)

using the non-profit organisation that they set up called TIBET COMMUNICATIONS.

Once more leading exiled revolutionary media, Pema created the Tibetan press club and was also the first


In Development:




Shangri-la, the legend of the Buddhist warrior




In God's country




The Divinity

Directed Films:




We’re no monks

Jan Kounen studied the artistic decoration in Nice (E.P.I.A.R.) focusing in the areas of cinema,

animation and pixilation. He completed his schooling in 1988 with a



Diplôme National Supérieur

d'Expression Plastique



(Superior State Diploma in Visual Arts). Promptly he made his first short films using

super 8mm and 16mm film (




) while also

making animated films for Dutch television. He then became assistant cameraman and director for video

clips and documentaries as well as reporter and cameraman for an agency.

In 1989, he directed the movie




that was awarded the overall short film prize at the

Avoriaz Festival and, the following year,




(The Age of Plastic) with the group ELMER

FOOD BEAT. While continuing writing his own projects (including the adaptation of the novel by Serge

Brussolo and television series



Gisèle Kérozène), he made first video clips for Pauline ESTER (

Le monde est




– the world is crazy), ELMER FOOD BEAT (Daniela), CHIHUAHUAS and ERASURE ( Voulez-vous,


All Your Love On Me



). He also filmed several commercials in France, Germany and Great Britain for Nuts,

Peugeot, Tang, Gordon's Gin, Miko.

Jan KOUNEN wrote the project




in 1991 along with Carlo de BOUTINY and then filmed it in

1993. This short film won the research prize at the Clermont-Ferrand film Festival. He also made




X, a so-called unfinished short film, followed by LE DERNIER CHAPERON ROUGE (

the last

Red Riding Hood



) starring Emmanuelle BEART and working with Philippe DECOUFLE (choreography) and

Tetsuo NAGATA (cinematography).

Jan made his first feature length film called




in 1995 that was to be both controversial and

remarkable. He immediately left to Mexico and Peru to search for the background for his adaptation of




. There, he discovered the shaman culture of the ibo-conibos with whom he fell in love. He

committed several months to them during which he filmed the feature length documentary




(released in 2004). He created the Association called SPIRIT OF THE ANACONDA and is planning a series

of 52 minute documentary films entitled




, his second feature length film,

was released on 11 February, 2004.

Since then, he has continued with several documentaries



AUTRES MONDES (other worlds) and


length films such as




to be released at the beginning

of 2010 in France.

Selected Filmography/Director:

Blueberry, l’expérience secrète (A hallucinogenic experience)

D’autres mondes (Other worlds)

Darshan: the embrace

99 Francs

Coco Chanel & Igor Stravinsky


Anne Paris studied the artistic decoration in Nice (E.P.I.A.R.), Specializing in video,

sound and dance. She left in 1987 with a



Diplôme National Supérieur d'Expression




(Superior State Diploma in Design Arts).

Anne became assistant director and writer for directors such as Régine Abadia, Mehdi Charel, Erik Ifergn,

Jan Kounen and Paul Planchon. From 1996, she directed video clips for songs sung by Pierre Bachelet and

the group GHOST. While continuing her writing projects (



LE COULOIR DU DESIR - The seventh door and




), she made her first video clip for Pierre BACHELET (La Ville Ainsi Soit-il

), the group GHOST




Psyché) and made her first short film called

JE MARCHE…(I'm walking…).

She began working with Jan KOUNEN on



D’AUTRES MONDES (other worlds

) as a camerawoman and on

the documentary feature




where she was director for the second team. Since then, she has

continued with several documentaries:





making of the film



BLUEBERRY by Jan Kounen) and


cry of a man on a virgin canvas).



She has made several commercials as well as video clips for songs sung

by Florent Pagny, Aude, Lara Fabian, Raul Paz, Michaela Mendes and Rim’k.

Selected Filmography/Director:

Pierre Bachelet: La Ville Ainsi Soit-Il

Florent Pagny: Et un jour une femme

Lara Fabian: Immortelle

Lara Fabian: Bambina

Raul Paz: Mua mua mua

Michaela Mendes: Mon plaisir

Rim’k: Au coeur des conflits

Director of the second team:

Darshan: the embrace by Jan Kounen


Carte Bleue Visa

X Head

News stories:

TF1 program



Le temps d’un tournage

–about the film by Jacques Cortal

Quand je vois le soleil


Lara Fabian, intime – M6

L’Esprit du film – TPS

Un cri d’homme sur une toile vierge

Amina (in production)

Vahina Giocante (in production)


Born in a small country village in the south of France,



Jean-Claude Carrière

studied classical students that

brought him to the ENS at Saint Cloud. While he was still a student, he published his first novel




, and

he also met Jacques Tati and Pierre Étaix, well-known French comedians and filmmakers. Based on films

by Tati, he wrote



Les Vacances de monsieur Hulot (Mr Hulot's holidays), and Mon Oncle (My Uncle)


both books were illustrated by Pierre Étaix. Together they then made two short films:



Rupture and


Anniversaire (Happy Anniversary)



, which won an Oscar in Hollywood. The following year, they wrote


Soupirant (The Suitor - Louis Delluc prize),



followed by

Yoyo, Tant qu'on a la santé (While we are still





Le Grand Amour (The Great Love).

In 1963, Jean-Claude Carrière met Luis Buñuel with whom he would work for 20 years (



Belle de Jour, Le

Charme discret de la bourgeoisie, etc



). He also worked with Milos Forman (Valmont),

Volker Schlöndorff

(Le Tambour),



Andrej Wajda (Danton), Louis Malle (Viva Maria, Milou en Mai), Jacques Deray

(La Piscine,




Jean-Paul Rappeneau

(Cyrano de Bergerac).

In television, he wrote around 15 films, which won three



Sept d’or (

La Controverse de Valladolid - The

Valladolid Controversy



, among others). In theatre, following his first piece

L'Aidemémoire (the memory aid),

he worked for 30 years with Peter Brook during which time he wrote




He has never stopped

writing and publishing books including, more recently:



Le Dictionnaire amoureux de l'Inde (The Indian love




, Le Vin bourru as well as two recent essays published by Odile Jacob called

Fragilité (fragility)




Tous en scène (Everyone on stage!)

. He has written opera booklets and songs. He created and then

presided over the French State Cinema School FEMIS for 10 years. He is the president of the




des Comédiens



(The actor’s springtime) theatre festival in Montpellier and a member of the Board of

Trustees for the Guimet Museum. He is an officer of the French Legion of Honour.

Author of La force du Bouddhisme (the force of Buddhism), a book of interviews

with the Dalaï Lama.

Selected Screenwriter Filmography:

Le Journal d’une femme de chambre (Journal of a chambermaid), by Luis Bunuel

Yoyo, by Pierre Etaix

Borsalino, by Jacques Deray

Le tambour (Die Blechtrommel, the Tin Drum), by Volker Schlöndorff

Le retour de Martin Guerre (The return of Martin Guerre), by Daniel Vigne

Danton, by Andrzej Wajda

L’Insoutenable légèreté de l’être (The unbearable lightness of being), by Philip


Valmont, by Milos Forman

Cyrano de Bergerac, by Jean-Paul Rappeneau

La Controverse de Valladolid (The Valladolid Controversy), by Jean-Daniel Verhaeghe

Le Hussard sur le toit (The Horseman on the roof), by Jean-Paul Rappeneau

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28 février 2010 7 28 /02 /février /2010 23:31


De l'Esprit de l'Himalaya

à la Pax Cultura

« Appel  à  l’Unité »



FILM Documentaire



Un Film de



Sur une Idée Originale de










Une Longue Histoire d'intérêt Universel


Origine du Projet



    L’Association Française de la Bannière de la Paix – A.F.B.P  est une Organisation de type Non Gouvernemental à caractère et Vocation Internationale ayant pour objet d'œuvrer pour la Paix et la Culture Universelle.

     Elle est également une Association à vocation humanitaire en solidarité avec les peuples de la Vallée de Kullu (Inde du Nord) lieu de départ de l’action du ‘Projet-Roerich’.


     A.F.B.P. est notamment inscrite au ‘Programme d'action sur une Culture de la Paix’ selon la Résolution A/RES/53/243 de l'Assemblée Générale de l'ONU - 53ème Session du 6 octobre 1999.


     La Vocation prioritaire d’A.F.B.P. consiste à promouvoir la Bannière de la Paix point d’orgue de l'œuvre tant artistique qu'archéologique, humaniste et philosophique de la famille ROËRICH qui fut à l'origine du ‘Traité Roerich’ de 1935 puis du Traité de LA HAYE de 1954 sur la conservation du patrimoine culturel planétaire en temps de guerre.


     L'A.F.B.P. intervient dans le domaine public par le biais de conférences et manifestations en collaboration avec les différents organismes concernés par l'Oeuvre de Paix et la Culture.


     La vocation de l’A.F.B.P. est aussi humanitaire et tend à accompagner le développement de la Vallée de Kullu, lieu du départ de cette œuvre culturelle, en apportant son concours tant au développement des domaines sanitaires (soutien au ‘Shamballa Hospital’ de Naggar) et éducatifs qu’à la formation des populations locales, et la mise en valeur de son patrimoine en lien avec les autorités locales et Organismes spécialisés dont le Mussée Roerich de Naggar.



Pour répondre à ses objectifs

L’Association Française de la Bannière de la Paix – A.F.B.P

Produit et réalise le Film :


"De l'Esprit de l'Himalaya à la Pax Cultura"

Appel à l'Unité Mondiale



Pourquoi promouvoir la Bannière de la paix par un film axé sur l'esprit de l'Himalaya ?


     Des différents échanges interculturels nous est apparu un constat: La Bannière de la paix ainsi que ses Traités et leur initiateur Nicolas Roërich, malgré l'immensité de son œuvre et de sa contribution à la sauvegarde du Patrimoine Culturelle Internationale, restent majoritairement inconnu du public, comme le sont aussi les paysages de la Vallée de Kullu et les trésors culturels immenses qu'elle recèle dans son environnement


     Mais surtout cette vallée himalayenne, point de départ avec la ville de Manali de randonnées de réputation internationale, est le creusé  où a pris naissance ce projet de la Pax-Cultura.


     Ce film est donc destiné à combler cet important vide culturel et a pour vocation de servir d'instrument de liaison entre les peuples, et devenir ainsi un « outil de paix » par la culture.


     Nicolas Roërich, instigateur et ''cheville ouvrière'' du Traité concernant la protection des institutions artistiques et scientifiques et des monuments historiques (Washington 15 avril 1935 - Pacte Roërich ou Pax Cultura), proposait une vision globale très bien résumée dans l'un de ses discours:

                                                                                                                                                                  « La Culture est la vénération de la Lumière ; la Culture est l'amour de l'Humanité ; la Culture est l'unité de la Vie et de la Beauté ; la Culture est la synthèse des réalisations qui élèvent et inspirent... La condamnation, le dénigrement, la destruction et toutes les autres caractéristiques de l'ignorance ne conviennent pas à la Culture. Par l'étude, l'estime et l'admiration, nous pouvons devenir de réels coopérateurs de l'Évolution, et c'est de la Lumière que peut émerger la vraie Connaissance. Cette Connaissance véritable est basée sur la tolérance réelle ; de cette tolérance réelle vient la compréhension absolue ; de la compréhension absolue naît l'enthousiasme pour la Paix, qui éclaire et purifie. Ainsi, la Culture et la Paix rendent l'homme véritablement invincible car, se rendant compte de toutes les conditions spirituelles qui leur sont nécessaires et indispensables, il devient tolérant et capable de tout embrasser ».


     Nicolas Roërich peintre et anthropologue, est aussi un humaniste qui s’engagea jusqu’au bout au service de l’humanité.  Tant dans ses tableaux que dans ses écrits ou dans les écoles et Instituts qu’il a inauguré, voire ses choix politiques, l’idéal de Nicolas Roërich se lit en ces termes :


Révéler la conscience, protéger et développer la culture, favoriser l’idéal de Paix,


     Au-delà de ses travaux et de son œuvre personnelle, Nicolas Roërich fut surtout un humaniste qui exerça ses talents au service de la paix et de la défense des valeurs culturelles et morales de l'humanité tout entière au point qu'il fut sélectionné en 1929 pour le Prix Nobel de la Paix.



Quelles sont nos intentions ?

     L'intention principale consiste à combler un vide culturel par la réalisation, la diffusion et la promotion d'un Film sur le projet de défense de la culture dans le monde fondé sur l'idéal de Nicolas Roërich.

     Ce film se voulant un instrument de culture et de liaison entre les peuples, un  outil de paix.


     Ce projet contient également une intention pédagogique qui consiste à développer auprès du plus large public, et de manière internationale, l'idée de considérer l'art et la culture comme valeurs patrimoniales universelles, d'où la nécessité de leur protection au bénéfice de l'humanité.



Quel est notre projet ?


     Notre projet consiste en la réalisation d'un film documentaire  distribué sous forme de DVD et en son exploitation par différents canaux pour promouvoir et développer les idées ci-dessus évoquées et en permettre l'accès au plus large public.


     Destiné aussi bien aux chaînes Arte, Planète, FR3 ... qu'aux Grandes Institutions ONU, UNESCO, bibliothèques publiques, Centres Pédagogiques, Musées, Sites Internet... avec adaptation en différentes langues dont l'espéranto, destiné aux Médiathèques avec une version grand public. (Voir chapitre Exploitation en annexes).


     L'importance de ce projet nous conduit à rechercher une société de production exécutive du film et à s’adjoindre un réalisateur possédant à la fois la compétence professionnelle mais aussi le charisme nécessaire pour cerner et restituer la dimension du sujet en même temps qu'une connaissance des lieux et des mentalités des sites principaux du tournage.




     Le choix du réalisateur, conseillé par le CRRAV de Tourcoing,  s'est imposé en raison de la connaissance particulière nécessitée pour la mise en lumière des valeurs culturelles de la vallée de Kullu et par l'expérience professionnelle et spécifique en matière de reportages ou documentaires qui sont la spécialité du réalisateur Dilip VARMA,  Lillois, ce qui facilite les relations de travail pour l’œuvre en cours. Son origine Indienne constitue également un précieux atout. (Voir en annexes rubrique Equipe Technique).



L'idée   du Film


     Elle consiste en la réalisation d'un documentaire permettant de saisir l'importance capitale pour l’Humanité de la Bannière de la Paix comme œuvre majeure de la famille Roërich pour l'humanité et son parcours intellectuel de manière à mettre en lumière l'importance de l'impact philosophique qu'a eu l'Himalaya, et plus spécifiquement de la Vallée de Kullu, sur la pensée de la famille Roërich et sur ses actions en faveur de la Paix, d'où le titre : ''De l'Esprit de l'Himalaya à la Pax Cultura''


Le Synopsis du Film


     Aux portes de l'Himalaya, la Vallée de Kullu, appelée Vallée des Mille dieux, n'est pas un endroit ordinaire : la démesure des décors génère un choc de dimension universelle, incite à la méditation et  ouvre à l'humilité.


     Quel étrange parcours en effet, quel étrange destin que celui de Nicolas Roërich, ce fils d'avocat élevé dans le milieu de la grande bourgeoisie de Saint-Pétersbourg.

     D'origine suédoise, il s'intéresse très jeune à l'archéologie et à l'art. Particulièrement doué pour le dessin, il mène des études de droit tout en travaillant la peinture à l'académie des beaux-arts de Saint-Pétersbourg sous la direction d'Arkhip Kouindji, peintre paysagiste d'inspiration romantique. Il participe avec Serge Diaghilev à la création de la revue d'art Mir Isskoutsva (Le Monde de l'art) puis part à Paris où il s'inscrit dans l'atelier de Fernand Cormon, célèbre peintre amateur de préhistoire et d'orientalisme.


     De retour en Russie, il se marie et crée avec sa femme Elena, qui poursuit la même quête spirituelle, un cercle de réflexion philosophique et culturelle. Les deux époux se passionnent pour les pratiques du yoga et révèlent une pensée d'inspiration bouddhiste et humaniste. Il expose en 1897 et peint ses Séries slaves, Rencontre des aînés, Idoles.


     Roërich devient directeur de la Société pour l'encouragement des arts de Saint-Pétersbourg où il fait enseigner toutes les disciplines artistiques, associant la musique, la peinture et la danse aux arts industriels. C'est grâce à lui que Marc Chagall obtint un emploi, fut autorisé à résider à Saint-Pétersbourg et qu'il fut exempté de ses devoirs militaires pour poursuivre des études d'art.


     De 1923 à 1928 le couple entreprend un périple entre le Tibet, le Turkestan et la Mongolie pour s'installer définitivement dans la vallée de Kullu aux contreforts de l'Himalaya dans l'année 1928. A son arrivée à Kullu, Il découvre, avec son épouse Elena, la puissance d'une nature étourdissante en même temps que Mille temples, mille fois et mille respects qui se côtoient dans une harmonie surprenante pour l'homme de culture occidentale.

     Il dira : « La Vallée de Kullu est une sonate, un poème, un tableau qui ne sont pas des objets définis mais des thèmes de contemplation et de réflexion, des mondes en attente ».


     Nicolas Roërich, peintre visionnaire, devient ici le philosophe de l'avenir et l'humaniste défenseur des valeurs culturelles qu’il voudra faire partager à l'ensemble de l'humanité.

     Kullu Vallée lui servir d'écrin, d'inspiration et de base d'action.


     Nicolas Roërich retourne à différentes reprises aux États-Unis où il milite pour créer des institutions internationales dans l'intention de protéger les œuvres d'art et promouvoir la paix par la culture. Suite à son action continue, M. Georges Chklaver, de l'Institut des Hautes Etudes Internationales de l'Université de Paris, dressa un projet de Cnvention de Protection Culturelle qui fut soumis aux Organisations Internationales et à l'Office International des musées de la Société des Nations.


     Nicolas Roërich reçut le soutien de nombreuses personnalités tels Franklin D. Roosevelt ou Albert Einstein en passant par George Bernard Shaw ou encore H.G. Wells, ainsi que Georges Chklaver.


     Des conférences internationales menées par Roërich dont les premières furent tenues à Bruges en 1931 & 1932, puis à Washington en 1933, ont engagé la Société des Nations à recommander aux gouvernements l'adoption du projet de cette Convention  qui prit le nom de Pacte Roërich.





     En 1933, la Septième Conférence internationale des Etats américains a également recommandé la signature du Pacte Roërich. Le texte final du traité a été établi par le Conseil Directeur de l'Union Panaméricaine et le traité a été signé le 15 avril 1935.


     La conclusion en 1935 du « Pacte Roërich » représente l’aboutissement de l’ensemble des efforts de ce grand humaniste.


     Nicolas Roërich a résidé durant les dix sept dernières années de sa vie dans la Vallée de Kullu. Il y a fondé l'Institut « Urusvati » (mot sanskrit signifiant " Lumière de l'Etoile du matin"), dans le but d'approfondir les découvertes botaniques, thérapeutiques, linguistiques, archéologiques et historiques de l'expédition en Asie Centrale.


     Il meurt le 13 décembre 1947 à l'Hôpital de Naggar. Deux jours plus tard son corps fut incinéré dans sa propriété de Kulu qui fut plus tard recouvert d'une pierre à l'emplacement même de la crémation faisant face au puissant Himalaya.

     L'inscription suivante y est gravée: "corps de Maharishi Nicolas Roërich, grand ami de l'Inde".

     Un an plus tard, le Président Nehru lui rendit hommage en inaugurant l'ouverture d'une exposition commémorative à Delhi.


Le Traité de 1935 dont il fut l'artisan aboutira en 1954

à la Convention Internationale de LA HAYE

sur la protection des biens culturels en cas de conflits armés.



Découpage du Projet

     L'importance de la personnalité de Nicolas Roërich et du Pacte, mais aussi la nécessité de disposer d'un véritable instrument culturel, justifient un projet d'ambition.


     Cette situation impose un découpage technique comprenant plusieurs phases principales:


1ère phase – 2005/2010 :  Travaux d'écriture, de recherche documentaire, de préparation et tournage de repérage des principaux sites dans un format permettant l'exploitation éventuelle dans le montage finale de certaines séquences (caméra digitale). Recherche d'illustrations. Démarches d'autorisations. Protections de droits et actes administratifs divers.


Recherche de Financements, développement de la recherche de partenariats (inclus de sponsors ou mécènes éventuels), et de distributeurs ou diffuseurs.


2ème phase – 2010/2012 : Finalisation de l'écriture et tournage principal au format vidéo (mixte très haute définition et numérique Bétacam selon les financements obtenus).


Montage, Sonorisation, Finalisation. Duplication. Mise en place de la distribution et de la diffusion.


Seconde phase de post-production en vue de la masterisation et du pressage de DVD dans différents versions et langues pour une diffusion auprès des médiathèques et ultérieurement pour une diffusion très grand public en synchronisation avec la sortie officielle.


3ème phase – 2015 : Sortie officielle - Promotion du Film en version Cinéma et Télévision. Promotion du DVD.



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