Disney told the truth: Chimps is “a story that only nature could tell.” Or at least that only nature has told. The images were shot in the wilderness. Monkeys acted freely. And the incredible adoption of the young Oscar by a large alpha male, the main narrative of the film appears, has indeed occurred. The feeling generated by the fireworks together, largely due to the silliness of the remarks attributed to animals, is only more depressing.

“They were filming their natural behavior, so he had to play the game,” said Christophe Boesch, scientific director of the feature film Disney Nature. Internationally recognized researcher, the Franco-Swiss heads in Leipzig, Germany, Department of Primatology, Max Planck Institute for Evolutionary Anthropology. But it is in C? Te d’Ivoire, in the National Park Ta?, He studied for thirty-three years the behavior of chimpanzees. This film, without him, would never have been possible.

The filming lasted three years, in difficult conditions. “I have imposed strict principles, explains primatologist. A team shooting restricted to four people, including myself, to avoid disturbing the animals. And the compulsory wearing of surgical masks in front of the nose and mouth to protect men monkeys and risk of disease transmission. ”

For days and days, the team of? walk to the heart of wild chimpanzees ties …

DO NOT CHANGE to change everything. In deciding that the successor model to the 308 also called 308, Peugeot will introduce a historic change in the name of its system models. Since 1929 and the launch of the first 301, the brand had built a model of organization of its unique range of its kind.

The first digit indicating the category, “0″ was intended to refer to the central brand identity and the last representative model generation, rose a notch at each renewal. However, this beautiful mechanical eventually jam. Given the enlargement of the range, it was necessary to introduce a double zero from 2005 (1007, 3008, 5008) to describe the models’ specific architecture “(SUVs, crossovers, minivans).

DO NOT SCRAMBLING CARDS

Dialing the Peugeot way – that would be depleted after a series of 9 – part of the European automotive landscape, but it is difficult to read in emerging markets, where the lion brand put most of its future.

Finally, Peugeot has also realized that the constant renewal numbers prevented him from capitalizing on the reputation of a successful model. Typical example: 206 would have everything to gain and to call 205 to register in the wake of the cult model. The Volkswagen Golf, she is riding on its success over four decades.

At the end of the year, the 308 will be renewed without change of name. This, incidentally, will not confuse the issue by recalling the memory of the 309. A controversial model appeared in 1986 and which was con? U by Simca. Subsequently, the 107 became the 108 so that all models ending once and for all by 8. In parallel, the numbers ending in 1 will be used to identify “low-cost” models for – for now – to foreign markets. The Peugeot 301 – sold in particular in Eastern Europe and the Middle East – has already started the ball rolling. Pending further 201 and 401.

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The Italian architect Stefano Boeri has designed, with its office in Milan, the project of the new Regional Centre Mediterranean from Marseille (CRM). Assistant to the culture of the city of Milan, the former director of several journals of international architecture, he remembers fondly Gabriele Basilico. He met photographer contemporary architecture in the late 1980s. Since they shared experiences and projects, until his death, Wednesday, Feb. 13.

“This morning, Gabriele was still lucid, he wanted to prepare a new book … He looked forward to a new edition of his first work, Seacoast With projects Beirut and factories, ports were his favorite topic . I remember that it was I who called on him to capture the city of Genoa in its infancy. Then he continued, Barcelona and elsewhere.

Gabriele was a compulsive photographer. He could not stop, he had this need to measure all the time with spaces. He began in the years 1970-80, with the walls of Milanese factories closed one after the other, as Falck, Breda … They were very strict images. I believe that this time, it inspired a lot of the German couple, Bernd and Hilla Becher.

For me, as an architect, meet someone like Gabriele was very informative. It was a real expert and architecture critic, he knew everyone. I could trust him, ask him for his advice, guidance.

We did so much together! I remember the Architecture Biennale in Venice where we presented a project on “dispersed city” – the city grows around the city. Together, we went to take pictures in Florence, Milan, Naples … He had this amazing ability to always find the right angle to take the picture. It was a ma? Be balance. Gabriele knew how to give dignity to all building, miserable, poor, or imposing. For him, they were all at the same level they were equally important.

When I led the architecture magazines Domus and Abitare, I often worked with him. We did a great job on Israel? L and Jordan with him, filmmakers Amos Gitai and Ennio Morricone. Just a few months ago, the magazine Abitare published his latest book, The? Ons photography. Inside, there is a notebook: it was so good at drawing.

His pictures of my buildings, I had the habit of posting on the fences surrounding the construction site. Today, I feel sad when I think of his photos of the new Milan Porta Nuova which are exposed in the street, in the same neighborhood where I invited him to work last summer. He was handed over to the photo, after treatment against cancer. He was very weak, yet it still worked.

I am convinced that Gabriele go down in history. In 100 years, to understand what the cities of the late twentieth century, it will look at the work of Gabriele. He went to Europe, Africa, Latin America, Asia, it was everywhere, he photographed all cities. I think he saw his work as a whole, a whole continuum.

With all his friends, we decided to organize a commemoration at the Triennale in Milan on Friday. It was one of the places in the city that Gabriele loved most. ”

Read also: obituary photographer Gabriele Basilico.

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pastels Umbrellas, the tangy colors Demoiselles, the color of sun dresses, moon, time, Peau d’ane, there is all the magic of Jacques Demy. But there is no need to remember the the? Ons fractions to remember that the magic is less than half of Demy. The exposure that the French Cinematheque? Ease dedicated to the author of Lola from Wednesday, April 10 boldly tries to embrace all of the artist, one of which was contradictory.

Provincial (it is the “Jacquot de Nantes” advanced by celebrated his companion, Agn??s Varda) and cosmopolitan (he threw himself to lost in the Californian scene body and counted among the first Western to be interested in mangas), chaste ( one of the most recommended movies with girls is probably Les Demoiselles de Rochefort) and erotic (a little further, in Loire-Atlantique, Dominique Sanda is naked under her mink in a room in town), fascinated by the optimistic tragedy, Jacques Demy is made of sometimes irreconcilable facets that constitute a work heterogeneous, unequal and yet indivisible.

In the halls of 51 rue de Bercy, Matthew Orleans, the curator of the exhibition and Rosalie Varda, Demy, decorator cinema and daughter of the director, have con? U a path that zigzags between the terms of these contradictions.

From the outset, we find a collection of childhood memories that bring to light the early years of a child of war (Demy was born in 1931). First, there is a Mickey and Donald drawn (which date from a time when Walt Disney was a distant magician pleased t that teaches a string of supermarkets) and almost immediately after a screen shows Le Pont of Mauves, the first film of Demy, realized a year after the bombing of Nantes, in 1943. The film, whose original version is lost, has been restored, it is made of rough drawings that show waves of planes arising from heaven to let go of objects seeming to destroy the image.

Organized according to the chronology of a life whose chaptering is imposes all alone, exposure recounts the meetings Nantais with Parisian luminaries, the filmmaker Christian-Jaque or Jean Cocteau, which are all two quickly persuaded of its talent. Followed by the first feature film – Lola, La Baie des Anges, the fabulous success Umbrellas and Demoiselles, the California trip and the apotheosis of Peau d’ane.

At each step, Matthew Orleans wanted closer cinema Jacques Demy contemporary artists whom he felt close – Matisse, Hockney and Leonor Fini -, even forcing some events like this red and gray composition of Gilbert & George, who next with images of parking, the unsuccessful attempt of resurrection of the myth of Orpheus, who was the penultimate film director. It is not certain that Demy had seen the oeuvres, but as the movie, it is nourished by the terrible anguish 1980s.

The exhibition is accompanied of course? R the projection of the integral of the oeuvres of the filmmaker, small animation from childhood to Three Places for 26 films, his last feature film shot and released in 1988, two years before his death. We will also see the Jacquot de Nantes Agnes Varda documentary Anne Wiazemsky dedicated to Mag Bodard, the amazing producer Umbrellas, Demoiselles and Peau d’ane.

Le Monde enchanted of Jacques Demy, Cin??math??que fran? Ease, 51 rue de Bercy, Paris 12th. Exhibition and retrospective from 10 April to 4 august. On the Web: cinematheque.fr.

South Korea called, Friday, April 26, the return of all South Koreans remained on the inter-Korean Kaesong industrial site in North Korean territory since its de facto closure by Pyongyang on April 3, in response to the refusal of the regime in the North to resume dialogue on this issue. “The government has made the inevitable decision to withdraw all persons living (Kaesong) for their own safety,” said the South Korean Minister of Unification, Ryoo Kihl-jae, during a press conference.

On Thursday, South Korea had given twenty-four hours North Korean regime to accept its proposal to resume the dialogue on the site, otherwise it was exposed to “significant measures”.

“If the South Korean puppets continue to aggravate the situation, it will take us to the final and serious measures,” replied Friday, April 26, the Committee of North Korea’s National Defense in a statement quoted by the agency South Korea’s Yonhap news.

The North Koreans prohibits access to Kaesong complex, situated on its territory, about ten kilometers from the border. It withdrew its fifty-three thousand employees as tensions were very bright in the peninsula. Setting South Korea remains suggested that Seoul is ready to withdraw permanently, at least permanently, its eight hundred and fifty employees Kaesong, a large proportion of managers who run the hundred twenty-three South Korean companies. Only about one hundred and seventy South Koreans currently remain on site.

LOGIC OF CONFRONTATION

Single remaining inter-Korean reconciliation efforts after freezing bilateral relations in 2010, Kaesong has always remained open, with rare and brief exceptions. The site was born in the wake of the “sunshine diplomacy” led by South Korea from 1998 to 2008 for promoting contacts between the two feuding brothers, who are at war, the diplomatic point of view since the Korean War (1950-1953) ended with an armistice, not a peace treaty.

Kaesong is thus closed and threatened with bankruptcy while, with a turnover of $ 469.5 million in 2012 (EUR 360 million), it is a boon in terms of employment, imp? T and contribution of foreign currency for North Korea, where everything is lacking.

Pyongyang has engaged in a logic of total confrontation with Seoul and Washington after the vote in the United a new round of sanctions meets the third nuclear test by North Korea in February despite its obligations Nations international.

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By the admission of the Australian Defence Minister Stephen Smith Tuesday, March 26, the mission of fifteen hundred soldiers sent by Canberra there is “more ten years “in Afghanistan is” too long “.

Australia will close its main base, which focused its military in southern Afghan province of Uruzgan, near the Taliban stronghold of Kandahar. With the closure of the base Tarin Kot by the International Security Assistance Force (ISAF), the international NATO force, “the majority of Australian troops will leave Afghanistan to go home,” said Smith for that war “is the easiest thing in the world to start and harder to stop.”

“THE SECURITY IS MUCH BETTER”

Australian authorities had announced in 2012 that they would advance the return of troops to 2013, rather t until 2014, when the end of the NATO mission. By the end of 2013, “at least a thousand Australian soldiers return home,” he assured Stephen Smith. The remaining third will be based in Kabul or Kandahar.

The minister said he was optimistic about the transition. “If we do not think the transition can take place in Uruzgan by the end of this year, then we would not have made the decision” to leave. “Security is much better than when we got there,” he assured. He added, however, that foreign troops would not leave starting a “perfect society”.

The government, which will in the coming weeks a report on long-term savings, repeated over and over again that he did not intend to touch the system advantageous to life but wishes to encourage the use of the funds deposited therein in real estate.

France suffers from a shortage of new housing, with some 300,000 housing starts in 2012, a deficit of 200,000 compared to the level that is the government.

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The budget minister, Jer? Cahuzac me, had said Wednesday aim “tens of billions of euros”, while the outstanding life insurance is around 1400 billion during the parliamentary meeting of savings.

The heart tee insurers are reminded that the priority is to diversify investments with secure returns.

“Housing is one of those assets, but for reasons related to such co t of land in tense areas, performance is low, around 2.5%. This rate does not match the expectations of investors and it will therefore find how to make her more attractive “financial environment, told AFP Bernard Spitz, President of the French Federation? ease of Insurance Companies (FFSA).

Read also: Life Insurance: List of 2012 funds rate in euros

“Therefore, life insurance, which already spends more than 17 billion euros in housing will be able to intervene more heavily on this market,” he added.

He also argued that much of the savings in 2012 was directed towards the Booklet A and LDD, who saw their ceiling raised to facilitate the construction of such housing.

Read also: A booklet has a record collection in 2012

“As a result, the resources of Booklet A are much greater needs. It would therefore be logical to primarily use these surpluses before turning to life insurance just when it was deprived of part his collection, “insisted Mr. Spitz.

The only certainty for holders of a life insurance contract, the government did not intend to return to its advantageous tax: capital gains are taxed at 35% for contracts of less than four years, 15 % for a contract of 4 to 8 years and 7.5% accompanied by a reduction of 4 600 euros for a contract of more than 8 years.

It gives freedom go to Caf?? de la Libert?? de la Ga? Tee, close to his pied-??-terre in Paris in Montparnasse. He wears a red scarf of “Moroccan Red”, the patterned green by a friend, the painter n? Claude Viallat months.

It is the latter who illustrated the book of his new album, Paco Iba ez canta a los poetas Latin American: a pocket that reveals that the colored cells of Viallat and texts written by the Chilean Pablo Neruda, the Peruvian C??sar Vallejo The Cuban Nicol??s Guillen, the Nicaraguan Ruben Dario, set to music by the Spanish singer. Contained in this directory, Yo sere tu lado has, Argentina Alfonsina Storni, poet obsessed with the sea and death who committed suicide in 1938 by entering gently into the ocean in Mar del Plata, as provided in his writings (Ariel Ramirez and Felix Luna did in 1969, a classic, a marvel, Alfonsina y el Mar.). Paco Iba? Ez said that “a song is a piece of existence.”

The new album is thick. And now, if we said he still did it from the pouch. “Ah, Ah,” said the fellow, stature rock fighters hair: art can not be divided into slices, “he.”

In 1964, a Catalan friend, Salvador Dali, who had not sided with Franco offered him the visual of her debut album, Paco Iba? Ez flight. 1, six poems by Federico Garcia Lorca (1899-1936), as Luis de Gongora (1561-1627). For the following discs, there was the …

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writer Dan Franck is also a screenwriter for film and television. Alexandre Brachet is a producer, founder of Upian, a company that specializes in web documentary. Writing modes of narration or dissemination meeting at the crossroads of two worlds destined to unite.

You’re from different generations: one fed to the paper, the other to the Web. Is it possible to reconcile these two modes of writing for television?

Alexandre Brachet Yes, because they complement each other. I started to get interested in Internet bars in 1994 and this meeting with hypertext was a thunderbolt. My intuition when I decided to participate in creative movement on the Internet, has naturally focused on the independent web and political satire. Today, the Web is diverse and I am impressed by what he has become.

I think Dan Franck and television there is room for all creators. I write from the age of 12 … a way for me to pick up girls! Then I wrote all kinds of things for others as negro. Then I met Jean Vautrin, filmmaker and writer, with whom we created Boro, a journalist photojournalist who has allowed us to tell the tumults of the century. This is where John advised me to write for film and television.

One works as a team, one solo …

A. B. Yes. Upian, our production company founded in 1998, is a small structure of eighteen employees. We have a design studio and development allows you to be independent. In fact, we exercise ons two businesses: one is to imagine interfaces for the Web, such as the consolidation of Rue89 or Arte site, the other is to invest in the production of web documentaries for television and cinema? . The webdoc Prison Valley, written by journalists David Dufresne and Philippe Brault, broadcast on Arte and won numerous awards, been fundamental to us. On the Internet, mass media par excellence, we must be very attentive to the content and show how collusion operates bottom-platform use.

D. F. The Web is very interesting because it is both highly creative and criminogenic: it kills the traditional publishing at all levels and also allows different modes of consumption. However, even if the Internet has radically changed my way of documenting me, it did not influence my writing.

The advent of Web television would not have changed the way of writing or changed codes?

D. F. Not quite, because there is a real grammar of television. I love dipping my pen in different inkwells, and I would like to discover this universe that is the Internet, with its collective writing, perhaps richer. But my approach is that of a novelist, so very lonely. I try to defend my point of view, but I have no idea behind it is the producers who offer me. All new modes of expression obviously interest me. I do not use them all, but the Internet is a wasteland and extraordinary modernity. There will capillaries between the two forms of writing.

A. B. These changes evolve slowly. I believe that a user who enters our program has made an effort. Maybe did he do it on purpose, but we need to capture and captivate immediately. Sometimes, he is seduced by the interface or by a film presentation. Or it may, as with Alma, having a shock.

For a long time there has been a craze around the webdoc, but the projects were extremely low. Today, there is a demand for quality. Ing the willingness of each – which is also mine – is to involve as many people come from different worlds. The question remains: how our programs can they emerge from the millions and millions of pages? Internet is a little Wild West …

D. F. I think sooner or later there will be a convergence between our modes of writing, including documentaries. People of the Web will, over time, bring something new. For fiction, it starts a little to get rid of very restrictive rules of television.

In this regard, the series can they be part of a complementary Web-TV?

D. F. Yes, because the series is writing something great, close to the opera of the nineteenth century. Must be taken captive and then apply certain rules public, exposing things with a minimum of words. It is a requirement that is not artistic, but pleased t that of a chess player. We must never forget, if your contacts are there to remind you: the TV still exists because there are people who watch it. I am also currently developing with Flint, a young bo? You production, adaptation of three of my books, Bohemians (Calmann-Levy, 1998), Libertad! (Grasset, 2004) and Midnight (Grasset, 2010). The only requirement of my producers is to make a new product, not a classic documentary with archival interviews, but rather very graphic t?. The idea is of course to do the same for the web.

A. B. I think TV is now ready to accept very different formats. The explosion of the series is linked to the emergence of the Internet. Some of them, particularly harsh and violent, like “The Corner” by David Simon – this UFO in black and white on drugs – are more appropriately on the Internet.

A webdoc is it more cost effective than a traditional documentary?

A. B. Generally, documentary producers do not earn money. Today, Web budgets are comparable to those of conventional documentary Alma co tee a little more than ? 500,000?. The big difference is that there is then no commercial exploitation. Initially I try to find a more budget to sell a project. With webdoc, we are free in terms of formats, but it must still be profitable. Extend to infinity a webdoc is not necessarily the right idea.

Whether fiction or documentary, is it easier to denounce than to tell?

D. F. In books or television dramas that I write, and I said I denounce. I did with Gerard Mordillat in “The Living and the Dead” and the series “Men of the shadow.” Fiction can tell everything to do with the condition of talent!

A. B. Totally agree! “Handling a comfortable French history?”, A series of six times 52 minutes on the Clearstream affair, produced by Christophe Nick, broadcast on France 5 and resume on the Internet, was a political pad on the Web. Seeing the whole series and diving into the web experience, we understand the whole story! But it must be told, it is especially necessary to tell. This is the question of pedagogy.

What are you working on now?

A. B. I prepare with a Phillippe Brault webdoc around the “Game of 1000 euros,” broadcast on France Inter. It is a road movie in the way that the film Tandem photography and tells the story of Frenchman … We are also preparing a new documentary with Christophe Nick on youth, called for now Generation Y. And I really want to achieve a draft fiction series around Rwanda.

D. F. Besides the adaptation of three of my books, I end for France 2, the writing of the second season of “Men of the shadow.”

What projects would you like to achieve?

D. F. I’d love to tell the boat wash-house, the era of Picasso, Apollinaire, Max Jacob, and show in the form of feature film how did cubism. Also, I’m thinking, with Enki Bilal, how to adapt to and tell his hunting parties, while communist ideology are over.

A. B. I would like to work with American authors series or books that I consider to be visionaries. I think Warren Ellis and his book Transmetropolitan, Jason Horwitch and its series “Rubicon” on the issue of terrorism as well as David Simon, whose interest me all series in more developed.

The aborted takeover of Yahoo! by Dailymotion continues to make waves within the government, suggesting a lack of communication at the top of the state, especially with Orange, which the company has online video and the control state? the 27%. While the Minister of productive recovery, Arnaud Montebourg, claimed to have re? U support his colleague of the economy, Pierre Moscovici, to block the takeover, it has denied being personally involved.

Mr. Moscovici said to have had on the subject as “very general conversation” with Mr. Montebourg:. “There was no meeting, joint decision on this issue it is not a folder in which I was heavily involved. ” Arnaud Montebourg had yet claimed, at the exit of the Cabinet, the decision to block the takeover was joint.

ORANGE CONTINUE to HOLD DISCUSSIONS

Communication with St??phane Richard, CEO of France Telecom-Orange, appears to be more complicated in this case. In an interview with Les Echos on Thursday it had initially criticized veiled government intervention, noting that “it is the group, its management and its Board of Directors who manage this issue,” and ensuring that “We were about to come to an arrangement.”

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Then, it is in Le Figaro announces that next trip to the United States where he will meet with Amazon, Apple, Microsoft, Facebook and Google. “On the agenda, I will speak of course? R Dailymotion record, he said. I even re? U new proposals from the European media giants.” Richard assures not have “opposition on the bottom with Arnaud Montebourg” but concedes “a variation on the level of the partnership.” Richard also indicates a possible takeover by Yahoo! would have resulted in the creation of “a global center of competence for the video.” However, on France 2 in the evening, he recognizes t that Yahoo! was “not a good choice” for Dailymotion.

According to Richard, looking for a foreign partner for vital international business development of online video, lasted six months. “We looked over sixty potential partners in France and abroad before we focus on Yahoo!, he says. Now we will resume our search.”

AYRAULT: “LEAVE FROM THIS INSTRUMENT FRAN AIS Do WAS NOT WELL?”

Orange therefore are still discussing with foreign partners, with the risk, as was the case with Yahoo! to see the French company? Ease disappear be in a larger group. As Le Monde revealed, the U.S. group wanted to buy 75% stake in Dailymotion, with an option for up to 100%. The state does not want to go further than 50%. This is why the acquisition, valued at approximately $ 300 million (228 million euros), fell into the water.

Prime Minister Jean-Marc Ayrault, said during a chat on Thursday LeMonde.fr, it had to be “very careful” in this case. “If the solution is to let the French instrument? Ais in an international company, it was not good. Government encourages Dailymotion find the financing to grow while maintaining its national position.”

On different versions of Ministers, services Matignon ensure that “there is no bickering” and Arnaud Montebourg “has not made a decision [but] expressed objectives, guidelines on behalf of the State shareholder. ” “As for Pierre Moscovici, maybe it was a part of his cabinet who knew not him,” adds one.

Mr. Montebourg explained the decision to block the acquisition citing fears about the health of Yahoo!, it considers “sometimes flickering.” Wednesday on Europe 1, it was confirmed that u re Yahoo! officials in his office to inform them of his decision, stating: “Yahoo! wants to devour Dailymotion We told them:. No, it would be 50-50. ”

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