Cinema: Tim Burton, a fade to black for the Lumière Award – Lyon Capitale

Tim Burton will be the recipient of the famous prize for this 14th edition of the Lumière festival. From Saturday October 15, it will be an opportunity to review his films and many others with Louis Malle, Sidney Lumet, Warren Beatty, Jeanne Moreau in mind, a multitude of previews and a few rarities from the depths of the ages. Let there be light.

We found out in the middle of summer. If the Lumière Institute played with the suspense of its Lumière 2022 prize, it was to better announce a heavyweight in world cinema, the great Tim Burton, not far from being the most singular figure on the festival’s list since its beginnings. – it can nevertheless be discussed.

Because Burton is a spirit, a universe and a trajectory like there are few. He started as an animator at Disney, on the film Rox & Rouky in particular, to then do anti-Disney with its Gothic universe… Before returning to the bosom of the Californian entertainment empire.

His thing at Burton is fade-to-black, macabre, off-the-wall tales that hide their melancholy beneath layers of eccentricity.

His subjects, his obsessions in his early days: death and adolescent malaise that irrigate his courts vincent, Frankenweenieand his first feature films (Beetlejuice, Edward Scissorhands…) born from the imagination and poetry of a big child who, from an early age, suffers from being or feeling different. A difference that is also at the heart of films like Ed Wood, Mars Attacks! Where Big Fish.


Four classics in a row on Saturday October 22 at the Halle Tony-Garnier: Beetlejuice, Ed Wood, Mars Attacks!, Sleepy Hollow


Burton Night

But Burton is also a lover of classics from literature (in the broad sense), television or cinema (sometimes all three) who will provide more or less successful and always daring adaptations of Batman, Planet of the Apes, Sleepy Hollow, Sweeney Todd, Charlie and the Chocolate Factory, Alice in Wonderland, Dark Shadowsall sifted through its darkness and zaniness (the latter increasingly outweighing the former over the years).

Sleepy Hollow © Prod DB / Paramount

Recently, Burton even indulged in the temptation of platforms by adapting and hijacking the point of view of a classic American telecine, The Addams Familywith wednesday.

The director will be in Lyon from October 20 to 23 to, of course, receive his prize and accompany the retrospective program of his work. In particular, a very tasty Burton Night, on Saturday October 22 at the Halle Tony-Garnier with four classics in a row: Beetlejuice, Ed Wood, Mars Attacks!, Sleepy Hollow, an ideal cast for this kind of program dear to the festival.

But the festival is not limited to its headliner, other retros will be in the spotlight. Those in particular devoted to two giants Louis Malle and Sidney Lumet.

Louis Malle is an oscar and a palme d’or obtained before the age of 25 (for The world of silence) and a work at the crossroads of the New Wave and independent American cinema.

Rather sulfurous, his work adapts Drieu la Rochelle with The wisp, talks about collaboration and scandal with The little (which features a very young Brooke Shields) and Heart Breath. A few much more consensual successes will punctuate Malle’s career, such as Snowy in May or the highly acclaimed (and heartbreaking) Goodbye children, at the heart of a filmography that only includes giants: Elevator for the scaffold, Zazie in the subway, Atlantic City. The opportunity also to note – for those who have forgotten – that the director has filmed the greatest: Burt Lancaster, Susan Sarandon but also Bardot and Belmondo on the actors side and Modiano, Nimier, Carrière on the scripts and dialogues.

Lumet to Light

Mirroring this French retrospective, its American counterpart with another very great, Sidney Lumet, also author of absolute classics. One thinks in particular of his collaboration with Pacino in A dog’s afternoon (probably his masterpiece) and the singular Serpicoperhaps the two biggest roles of a Pacino at the top.


His thing at Burton is faded, macabre, off-the-wall tales that hide their melancholy under layers of eccentricity.


But also to his legal thrillers like The verdict (with Paul Newman) or the classic among the classics Twelve Angry Men (with Henry Fonda).

But Lumet is also about more minor films – at least in the way they were celebrated –, also more recent like Counter-investigation or the sublime At the end of the run, infinitely political film on the run of a family of extreme left activists with an absolutely vibrant young River Phoenix who makes us witness his entry into adulthood.

A body of work that spans fifty years, right between Twelve Angry Men (1957) and 7:58 that Saturday which also recounts fifty years of American political history.

Hidden treasures

It should also be noted that in the traditional and always fascinating “Permanent History of Women Directors”, a veritable reservoir of hidden treasures, Lumière will familiarize us with the work of Swedish Mai Zetterling, an actress at the start, as often in the case of these women filmmakers. (she notably played for Muriel Box, to whom this cycle has already paid homage), who very early on worked at the forefront of the feminist struggle and worked as much for cinema as for television and series.

Another actress filmmaker will be in the spotlight, in the person of Jeanne Moreau, whose work as a director is not very well known. His two films Light, The Teenage Girl and the documentary Lillian Gish will be presented in obviously restored versions.

Like the first five films (his Hungarian films) of the Austro-Hungarian director turned American André De Toth and a film which celebrates its fortieth anniversary with a fine classic status by Warren Beatty (another actor-filmmaker), Reds, biopic dedicated to John Reed, American communist activist and journalist (two rather contradictory qualities) who won the Oscar for best actor and best director in 1982.

Not to be missed: the cine-concert devoted to the only (silent) film directed by actor Charles Vanel, Dans la nuit

Charles Vanel mute

Among the always prestigious guests of the festival, we will count the South Korean director Lee Chang-dong, Louis Garrel, who came to present the innocent, Monica Bellucci, who will walk in the footsteps of Anita Ekberg, for a documentary dedicated to the Swedish actress and a master class – a program of master class which will be completed by Lee Chang-dong, Marlène Jobert, Nicole Garcia and American director James Gray. But also Jerzy Skolimowski, Claude Lelouch, Guillermo del Toro, Nicolas Winding-Refn for exceptional screenings.

Finally, not to be missed, the cine-concert devoted to the only (silent) film directed by actor Charles Vanel, In the nightin 1930, quite simply one of the last silent films, which will be accompanied by Adam Bernadac’s organ.


Light festival – From October 15 to 23.


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Cinema: Tim Burton, a fade to black for the Lumière Award – Lyon Capitale