Thierry Frémaux on ‘Lumière! The Adventure Continues!’ and Finding Inspiration From Cinema’s Founding Fathers

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As a film enthusiast who has had the privilege of delving into the rich history of cinema, I find myself utterly captivated by the life and work of Louis Lumière – a pioneer whose contributions to the world of cinema are undeniable. His ingenious invention and artistic vision have left an indelible mark on the seventh art, shaping it in ways that continue to resonate even today.

Thierry Frémaux, head of Cannes festival, will showcase some of the earliest known moving pictures at the Red Sea International Film Festival. He’ll be premiering his new documentary titled “Lumière! The Adventure Continues“, an in-depth exploration into the roots of cinema history.

The sequel to Frémaux’s film titled “Lumière! The Adventure Begins,” which was released in 2016, will be displayed during the festival’s special International Spectacular section. This upcoming movie showcases approximately 100 meticulously restored short films that were originally captured by cinema pioneers Louis and Auguste Lumière, and are now housed at the Lumière Institute, where Frémaux serves as director.

In their role as creators of the cinematograph – an innovative camera and projection technology that laid the foundation for films – the Lumières’ technical skills are widely recognized. However, in his latest film, which he also narrates, Frémaux delves into the artistic perspective of the Lumière brothers, exploring how they established the fundamental principles of cinema from the very beginning.

According to Frémaux, Louis Lumière stands as both the final inventor and the pioneering filmmaker. This is because with their early short films, the Lumières laid the groundwork for cinematic storytelling by mastering fundamental aspects like framing, lighting, and the impact of a solitary shot. Frémaux suggests that modern-day filmmakers could benefit from emulating these qualities of simplicity and direct observation that the Lumières embodied. In fact, when Wes Anderson viewed the first Lumière shorts at the Lyon institute, he exclaimed, “This is cinema for the future!” – a statement that Frémaux agrees with wholeheartedly.

The following interview, translated from the original French, was edited for content and comprehension.

In the sequel, what specific areas or developments regarding the beginnings of cinema did you choose to delve into further, which weren’t already addressed in “Lumière: The Adventure Begins”?

The filmography of the Lumières is significant as it encompasses approximately 1,500 official films and an additional 500 uncatalogued ones. In the documentary “Lumière, the Adventure Begins“, around a hundred short films were featured initially, and in its new version, the same number of films is showcased. However, this only accounts for 200! There’s still a wealth of material yet to be discovered. Many of these Lumières shorts are previously unreleased, extremely rare, and stunningly beautiful!

In researching the film, what did you discover that surprised (or delighted) you?

The Lumière films continue to amaze me, even when they’re not in great shape. With the assistance of France’s national center for cinema, CNC, we undertook the restoration of 500 Lumière films at the Lumière Institute. This allowed me to select from such exquisite pieces, though it was frequently challenging due to their beauty. It’s worth mentioning that in 2025, we will commemorate the 130th anniversary of the birth of the Lumière Cinematograph. The cinema lives on more vibrantly than ever, and its history remains valuable for us in the current times.

Considering your roles as the director of the Cannes Film Festival and the head of the Lumière Institute, could you elaborate on the relationship between early cinematic practices and modern movie-making?

The sequel, Lumière, The Adventures Continue, delves deeper into philosophical themes compared to the original, leaning towards a more “existential” exploration. Despite cinema being well-established by 2024, there’s still much to be gleaned from its early days. One crucial lesson that stands out: simplicity. Picasso once said, “I’ve always tried to paint like a child.” In this film, Godard remarks, “If we want to redefine the rules, we must observe the uneducated.” Lumière was cinema’s first ‘uneducated’, crafting his unique language. The wisdom he imparts is invaluable. When I screen Lumière films for filmmakers in Lyon, they are consistently amazed.

Can you find any traces of the groundbreaking work by the Lumières that are still evident in the filmmaking techniques used by contemporary directors?

Although Lumière films aren’t widely recognized yet, they serve as a clear inspiration. One might say it’s like a footprint, a legacy left behind. Lumière was indeed a trailblazer in this field. In the annals of cinema history, the works of Dreyer, Renoir, Bresson, Kiarostami, Akerman, Pialat, Eustache evoke the spirit of Lumière cinema. They carry the freshness of the New Wave or New Hollywood. Modern filmmakers such as Aki Kaurismaki, Alexander Payne, and Andrea Arnold – who share a similar affection for framing and an eye for detail – can be considered the descendants of Lumière in the world of cinema today.

What feature of contemporary movie-making, in your opinion, might leave the Lumières bewildered or amazed?

In 1895, Auguste Lumière pioneered the art of cinema and passed away in 1948. During this span, he witnessed the transformative journey of this medium. To his astonishment, he admitted that he could not have foreseen the growth of cinema into what we now know as the Seventh Art. However, it is his selfless act that truly captivates me – he produced films from 1895 to 1900 and then relinquished the reins, allowing others to build upon his foundation. In his own words, “We leave artists to continue the path.” To me, this speaks volumes about him being an artist himself.

In your question, you’re asking about similarities I might notice between the initial stages of cinema and the ongoing growth of film cultures in newly developing regions, specifically focusing on the Red Sea Film Festival in Saudi Arabia. How do the early days of cinematography and the current advancements in this festival relate?

At the 2024 Cannes Film Festival’s “Certain Regard” category, our selection was “Norah,” directed by Tawfik Alzaidi. I found an exquisite beauty in the power and simplicity of this Saudi film. It reminded me of the beginnings of Iranian, Chinese, and American auteur cinema, where being a pioneer offers unparalleled freedom. Once more, trailblazing allows you to soar with no bounds.

By focusing solely on the Lumières as pioneers of an innovative invention, what significant aspects of their artistry might we overlook or ignore?

This movie aims to highlight that Louis Lumière was both the last inventor in filmmaking yet the first true filmmaker, emphasizing this point is crucial as forgetting it means losing sight of a genuine cinematic artist. The film suggests that Lumière’s method of creating films laid the foundation for much of cinema’s language. Soon after him came Georges Méliès, and with his arrival, the essence of all cinema was already established.

The restored versions of these initial short films are visually stunning. Can you tell me about the original quality of these films and what novel technical advancements were utilized during the restoration process to achieve such remarkable results?

Since his early years, Lumière demonstrated a knack for invention, particularly in the realm of photography. He mastered the craft, appreciating the essence of monochrome, light, and composition. This expertise is evident in the stunning and captivating films he created. However, Lumière was also mindful of preserving his legacy, keeping his films close to him throughout his life. Upon his passing, the family entrusted these precious films to the Lumière Institute, the French Cinematheque, and the French State. This decision allowed for the discovery of high-quality materials, leading to the creation of beautiful restorations. The restoration process is currently underway, with our aim to raise funds for the restoration of ALL these films. It’s a remarkable thought: the first world cinema heritage remains intact. We must ensure its preservation for future generations.

What have we lost sight of in modern cinema that the Lumières can serve to remind us of?

Wes Anderson recently paid a visit to the Lumière Museum in Lyon and after watching the Lumière films, he exclaimed, “This is the cinema of tomorrow!” Indeed, silent cinema possesses a raw beauty that demands attention; it’s free from any intrusive sounds, allowing the power of an image or a shot to truly shine. The simplicity of Lumierre cinema evokes a naturalness often missing in modern cinema. Pierre-William Glenn, a cinematographer who worked with Truffaut and Tavernier, once shared his thoughts after viewing a Lumière film: “If I were to tackle this subject, I would do exactly the same thing. But could I manage such simplicity?” Similarly, John Ford had an innate understanding of where to place the camera, a skill that can sometimes be lost in contemporary cinema. Re-experiencing Lumière films today instills hope for the future of cinema.

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2024-12-06 09:55