Michael Mann will receive the Light Prix 2025

Next October the director of the lonely, Heat, Ali and Miami Vice will be honored with the “Nobel Prize” of cinema as likes to baptize him Thierry Frémaux.

The seventeenth Light price will be awarded to the American filmmaker, Michael Mann82 ans.

A prize that the director of the Lumière de Lyon Institute soberly defines as the “Nobel Prize for Cinema”. Before Mann than heavy necessarily: Eastwood, Scorse, Tarantino, Deneuve, Burton, Campion … to Isabelle Huppert last year. The said trophy will be given on the sidelines of the cinephile rating dedicated to heritage cinema to be held from October 11 to 19 in the land of the Gones.

Michael Mann is celebrated when we celebrate the thirty years of Heat (a number of First classicSisted to this thriller carried by the face to face of Niro – Pacino is in preparation) and that the continuation that the filmmaker first slept in novel, seems on the right rails. Cantor of aesthetic modernity, the American is known by his processing of the digital image whose possibilities he experienced from Ali In 2001 before drawing the abstract contours of a world where surfaces, beings and matter reflect a light in trompe-l’oeil:

Collateral (2004) with a graying Cruise Tom and Unplugged; Miami Vice (2006) Cinematographic variation of the cult series of the same name of which he was the producer; Enemy (2009) Film de Gangsters 2.0; Hacker (2015), a globalized and unloved thriller, to its Ferrari (2023), the project of a life landed directly with us on a platform.

Born in 1943 in Chicago, Mann First made his weapons via the documentary form (he was on the Parisian barricades in May 68) before starting a career as a Hollywood filmmaker. Besides his TV movie, Like a free man (1978), his first feature film, The loner In 1980 with James Caan in chest piercing, Jerry Bruckheimer in production and Tangerine Dream in music, is a wonder of desperate tension. Obsession with detail, constant research of perfection and precision of gestures, there is certainly Melville at Mann.

After a chaotic hook by the fantastic, The black fortress (1983) whose recent rediscovery in theaters has not regretted its long purgatory, The sixth sense (1986), film adaptation of Thomas Harris’s work five years before The silence of the lambsprefigures modernity to come. The color game and the permanent questioning of representation tools reveal the origins of an insidious evil.