Tamasa Awaits Resnais’ ‘Muriel’, Bresson’s Mouchette’, Bows Sautet’s ‘Max” and ‘Things’ in New Digital Copies (EXCLUSIVE)

Company taps into key Studiocanal, Argos Collections

LYON – Sourcing titles from Studiocanal and Argos Films, two of France’s most valuable classic film collections, Tamasa, the Paris-based sales-distribution company, is introducing Alain Resnais “Muriel” and Robert Bresson’s “Mouchette” to buyers at Lyon’s Classic Films Market.
“Muriel” and “Mouchette” will complete restoration in 2015.

News of the upcoming additions to Tamasa’s sales catalog comes as the Lumière Festival, the Market’s host, world premieres newly-minted digital 2K copies of two of French master Claude Sautet’s most admired films: “The Things of Life” and “Max and the Junkmen.”

In more recent completed sales, Tamasa has sold five Jean Renoir films to Spain Classic Films and now discussing Ealing Comedy titles, Jean-Luc Godard’s “Alphaville” to Japan’s Mermaid, and is negotiating a “Hiroshima, Mon Amour” sale to the Netherlands, Tamasa’s Laurence Berbon said at the Lumiere Fest’s Classic Films Market.

Part of the Argos Films collection, and now being restored for re-release, “Muriel” is Resnais’ third feature, following the more famous “Hiroshima, Mon Amour” and “Last Days in Marienbad.”
Set in 1962, it still explores the mix of present and past, perhaps imagined, adds formal experimentation – it was shot in constant static camera set-ups – and great performances, winning Delphine Seyrig the Venice Festival’s Best Actress Copa Volpi. It turns on a reunion between the nearly-40 Helene, her ex-lover, Alphonse, who abandonment still torments her, and her stepson, traumatized by his torturing a girl, Muriel, in the Algerian War.

Made in 1967, and again under restoration, after “Au Hazard, Balthasar,” and acclaimed by critics as one of Bresson’s best films – though less known than many – “Mouchette” is a coming of age film whose titular character suffers an alcoholic father, dying mother, mockery at school and rape, all portrayed with Besson’s characteristic intensity. The Criterion Collection released a DVD of the film with a trailer by Jean-Luc Godard. It will now have a 4K full restoration.

Sautet’s breakthrough feature, “The Things of Life,” starring Remy Schneider and Michel Piccoli, and “Max and the Junkmen,” again with Piccoli and Schneider and reckoned by some to be Sautet’s finest achievement, are two of nine Studiocanal Claude Sautet titles repped by Tamasa. Both play in new, 2K restored, DCP copies at Lyon.

Tamasa’s also serves as a a distributor for France, for which recent classic pick-ups include “Stella, a Free Woman,” Elio Petri’s “Property Is No Longer a Theft” and Patrick Grandperret’s French film “L’Enfant Lion,” on which it will create a DVD set box with the film and a game.
For international, Tamasa represents theatrical and non-commercial (cinema clubs, universities, festivals) on Studiocanal vast library, outside the U.S. and Studiocanal’s direct distribution territories: the U.K., Germany and Australia. Tapped from Studiocanal, it has brought eight Ealing comedies onto the market as a set collection, including “Kind Hearts and Coronets” and “Whisky Galore.” Five titles star Alex Guinness.

In an extraordinary sweep of Euro film riches, Tamasa also handles all rights on the Argos Films Collection based on films produced by Paris’ celebrated Argos Films. The Collection boasts, sometimes for just French-speaking territories, European movie milestones as Resnais’ “Hiroshima,” released in France last summer to 16,000 Paris tix sales, and “Au Hasard, Baltasard, the subject of a 4K fully-restored version” now on Tamasa’s 2014 sales slate, Volker Schlondorff’s “The Tin Drum” Chris Marker’s “La Jetée,” Wim Wenders’ “Paris, Texas,” and Andrei Tarkovsky’s “The Sacrifice.”

Scandinavia, Japan and Spain count among Tamasa’s strongest territories on Studiocanal titles, Berbon said.

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