Pascale Ferran




After graduating from IDHEC where she pursued cinema studies from 1980 to 1983, Pascale Ferran worked as an assistant in television and as a co-author for Pierre Trividic, Arnaud Desplechin, Jean-Pierre Limosin and Philippe Venault.
She directed six short films from 1979 to 1990, notably LE BAISER [The Kiss], which received awards in several international festivals. She directed her first feature film COMING TO TERMS WITH THE DEAD in 1993. The film co-written with Pierre Trividic, received the Golden Camera award at Cannes the following year.
Her second movie, L’ÂGE DES POSSIBLES [The age of every possibility], was commissioned for student actors at the National Theater of Strasbourg. Co-written with Anne-Louise Trividic, it was broadcast on Arte and released in theaters in 1996. It received the Grand Prize at the Entrevues Belfort International Film Festival and two “7 d’Or” prizes for Best Television Film and Best Director in 1997.
 In 1999, she directed the dubbing for the French version of Stanley Kubrick’s EYES WIDE SHUT. Then she directed her first documentary, filming every single recording session of a jazz record, performed and composed by Sam Rivers and Tony Hymas: FOUR DAYS IN OCOEE.  
Afterwards, she co-wrote a film with Pierre Trividic, PARATONNERRE, a project that had to be abandoned at the pre-production stage due to lack of financing.
She then adapted D.H. Lawrence’s JOHN THOMAS AND LADY JANE (an earlier edition of LADY CHATTERLEY'S LOVER), which was developed into two versions, one for theatrical release, the other as a two part television mini-series. LADY CHATTERLEY, the theatrical version, won the Louis Delluc Prize and several Césars in 2007 (Best Film, Best Actress, Best Adaptation, Best Cinematography, Best Costume). The television mini-series, LADY CHATTERLEY AND THE WOODSMAN, was broadcast on ARTE in summer 2007. Following the César awards, she created and chaired Le Club des 13, a think tank of 13 French personalities in cinema, composed of screenwriters, directors, producers, national distributors, sales distribution firms and movie theater owners. The group’s work resulted in a report titled LE MILIEU N’EST PLUS UN PONT MAIS UNE FAILLE [Arthouse films are no longer a creative bridge, but a weak link], raising a red flag and taking stock of the challenges related to financing art house and avant-garde films.
Afterwards, she went on to write the screenplay for BIRD PEOPLE, with Guillaume Bréaud, and as of the summer of 2011, has dedicated her time to preparing and directing the film.