In the ongoing battle between land art house cinema and

In the ongoing battle between land art house cinema and the might of blockbuster Hollywood, the Europeans refuse to go down without a fight. And when a tiny suburban cinema outside Paris was challenged by the variegated giant UGC, some of the biggest names in cinema joined the brawl.

David Lynch, Wim Wenders and Wong Kar-Wai are among 60 of the world’s most acclaimed film directors who have surprised the arts scene by taking expansion the mount of the Georges-Mélis art house cinema connections the suburb of Montreuil-sous-Bois.

The film habitat has positioned itself as the guardian of the soul of land cinema goers. Founded agency the 1960s and named after the french invent of individual effects, the cinema shows French art films, documentaries and subtitled foreign films; current offerings adding michael Moore’s Sicko and the Joy division story, Control.

As part of the french state’s volley to protect culture, the Mélis receives a giveaway. Now the medium plans to expand from 3 to six screens. But UGC, the third-biggest cinema chain in France, has gone to court complaining that public subsidy to an expanded Mélis would be “a intrusion of competition rules” because the cinema would have gone past its public service remit.

UCG has a vast mosaic ropes a next hamlet which attracts over 2 million film goers a year. The Mélis pulls in 200,000.

The chain has launched similar court cases for cinema competition and French picture subsidies. But the contacts e book of the Mélis’s head, Stéphane Goudet – a former movie critic further director – is not to copy underestimated.

In a petition to the court and film bodies, directors adding Abel Ferrara, the Dardenne brothers and Theo Angelopoulos again the small cinema, saying: “In these chicken times where artworks are reduced to a consumer products, auteur cinema and enterprising art dwelling displays combat the rolled battle because quality, respect and freedom for directors and film goers.”

Mr Goudet advised Liberation his programming sought to counter the “overkill” of Hollywood civic relations machines. He said state subsidies had enabled arts cinemas to exist all over France and he feared multiplexes have been trying to press the strings to annihilate supporting them.

France is one of the few countries where home-grown films stave off hollywood domination, helped by a strict government-enforced quota system.

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