| Back to Previous Festivals |

Festival Schedule and Program

en français | time schedule | feature films | short films | program [PDF]

2010 Festival Feature Films (March 25-28)


Actor Firat Ayverdi presents Welcome

director Philippe Lioret screenplay Philippe Lioret, Olivier Adam, Emmanuel Courcol starring Vincent Lindon, Firat Ayverdi, Audrey Dana, Thierry Godard running time 1 h 55 min general audience


To impress her and win back his wife’s heart, Simon, an instructor at the Calais swimming pool, decides to defy the law by helping a 17-year-old Kurdish illegal immigrant reach England by swimming across the English Channel.

Philippe Lioret

2008 Welcome
  Lignes de front by Jean-Christophe Klotz
2005 Je vais bien ne t’en fais pas
  Vache qui rit
  Tue l’amour
2003 L’Équipier
2000 Mademoiselle
  Pas d’histoire
1996 Tenue correcte exigée
1995 1, 2, 3 Lumières
1993 Tombés du ciel


2010 Lumière award for Best Film - Welcome
International Film Festival of Durban Best Director Award - Welcome

Vincent Lindon

2009 Mademoiselle Chambon by Stéphane Brizé
2008 Welcome by Philippe Lioret
  Pour elle by Fred Cavayé
2007 Ceux qui restent by Anne Le Ny
  Mes amis, mes amours by Lorraine Lévy
2006 Je crois que je l’aime by Pierre Jolivet
2005 La Moustache by Emmanuel Carrère
  Selon Charlie by Nicole Garcia
2004 L’Avion by Cédric Kahn
2003 La Confiance règne by Étienne Chatiliez
2002 Le Coût de la vie by Philippe Le Guay
2001 Mercredi folle journée! by Pascal Thomas
  Chaos by Coline Serreau
  Vendredi soir by Claire Denis
  Le Frère du guerrier by Pierre Jolivet
1999 Belle maman by Gabriel Aghion
  Ma petite entreprise by Pierre Jolivet
  Pas de scandale by Benoit Jacquot
1998 L’École de la chair by Benoit Jacquot
1997 Le Septième Ciel by Benoit Jacquot
1996 La Belle Verte by Coline Serreau
  Le Jour du chien by Ricky Tognazzi
  Les Victimes by Patrick Grandperret
  Fred by Pierre Jolivet
1994 L’Irrésolu by Jean-Pierre Ronssin
1993 Tout ça… pour ça! by Claude Lelouch
1992 La Belle Histoire by Claude Lelouch
  La Crise by Coline Serreau
1991 Netchaiev est de retour by Jacques Deray
1990 Il y a des jours… et des lunes by Claude Lelouch
  La Baule les Pins by Diane Kurys
  Gaspard et Robinson by Tony Gatlif
1988 Quelques jours avec moi by Claude Sautet
  L’Étudiante by Claude Pinoteau
1987 Un homme amoureux by Diane Kurys
  Dernier été à Tanger by Alexandre Arcady
1986 37°2 le matin by Jean-Jacques Beineix
  Yiddish connection by Paul Boujenah
  Prunelle blues by Jacques Otmezguine
1985 Parole de flic by Jose Pinheiro
1984 Notre histoire by Bertrand Blier
1983 Le Faucon by Paul Boujenah


1998 Paparazzi by Alain Berberian


2000 Cyrano

Firat Ayverdi

Welcome by Philippe Lioret (Durban International Film Festival, Best Actor 2009)

Audrey Dana

2009 Le Bruit des glaçons by Bertrand Blier
2008 Welcome by Philippe Lioret
  La Différence, c’est que c’est pas pareil by Pascal Laëthier
  Ah! La libido by Michèle Rosier
  Tellement proche by Eric Toledano and Olivier Nakache
  Second Souffle by Varante Soudjian
2007 Ce soir je dors chez toi by Olivier Baroux
2006 Nos amis les Terriens by Bernard Werber
  Roman de gare by Claude Lelouch
  Amélie’s Matrix by Clément Tonelli

Interview with director Philippe Lioret

How was the project, Welcome, born?
First from the enormous desire to create a film on this subject. WelcomeFor these people who are fleeing their troubled countries, who want at all costs to reach El Dorado, which in their eyes is England, and after an unbelievable journey, they find themselves stuck in Calais, France, bullied, brutalized and humiliated just a few kilometers from the English coast, which is even visible in the distance.

One night, while talking with Olivier Adam, I started to think that the place between England and France was like the Mexican border in the U.S., and we only had to dig a bit to find an incredible dramatic subject. I spoke with Emmanuel Courcol and we started to think about a story that could take place in this framework.

And how did you proceed?
With Emmanuel, we contacted the organizations that did what they could to help these poor people and we left for Calais. WelcomeDuring many days of an icy winter, we were in the midst of the lives of these volunteers and the hell of these refugees: the “jungle” in which they live, dangerous clandestine border-crossing, incessant police persecutions — an entire branch of the riot police is dedicated just to them — detention centers, truck and ferry checks where they risk their lives to escape CO2 or heartbeat detectors, scanners, etc.

What surprised us a lot is the age of the refugees, the oldest are not even 25. There are even 15-year-old kids who tackle this insane journey alone. While speaking to Sylvie Copyans of the Salam Association, we learned that many of them, in desperation, have even risked swimming across the Channel.

Staging is omnipresent, even though the camera seems discreet, almost invisible.
To film a scene well, there are not umpteen places for the camera, so we needed to find the perfect one. I insist on asking actors for authenticity, but the camera also has ways to “speak off-key.”

If in a scene, we feel the camera’s presence too much, if camera movements are unmotivated or decorative, unconsciously we say: “Ah yes, it’s cinema,” and then I get the impression that instead of gaining, we lose something. And then, as a viewer, when the film pleases me, it is as if someone has given me a gift. But if I see too much camera work, I get the feeling that one left the price tag on it.




Virginia Commonwealth University University of Richmond University of Richmond