Les Malheurs de Louis Feuillade shows the ravages of time on the film Bout de Zan et le crocodile that Louis Feuillade shot in 1913. By isolating and slowing down the most damaged parts of the film by this pioneer of cinema, Gérard Courant has managed to create an object with abstract forms and, insidiously, to give another life to a leading artistic work.
Les Malheurs de Louis Feuillade shows the ravages of time on the film Bout de Zan et le crocodile that Louis Feuillade shot in 1913. By isolating and slowing down the most damaged parts of the film by this pioneer of cinema, Gérard Courant has managed to create an object with abstract forms and, insidiously, to give another life to a leading artistic work.
After writing for Cahiers du cinéma, a young Jean-Luc Godard decides making films is the best film criticism. He convinces producer Georges de Beauregard to fund a low-budget feature, and creates a treatment with fellow New Wave filmmaker François Truffaut about a gangster couple. The result? Breathless, one of the first features of the Nouvelle Vague era of French cinema.
With a torrid past that haunts him, a movie theatre owner is hired to search for the only existing print of a film so notorious that its single screening caused the viewers to become homicidally insane.
A second-class horror movie has to be shown at Cannes Film Festival, but, before each screening, the projectionist is killed by a mysterious fellow, with hammer and sickle, just as it happens in the film to be shown.
In a devastated future, the apocalypse threatens the Earth. The last hope lies with a man capable of time travel. His mission: to return to the past and change the course of events. But the time police hunts him down in every era. A race against time begins for the Visitor from the Future...
In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.
Low-budget independent filmmaker Nick Reve tries to keep everything together as his production is plagued with an insecure actress, a megalomaniac star, a pretentious beret-wearing director of photography, and lousy catering.
Arizona ants mock the food chain on their way to a desert lab to get two scientists and a woman.
After the discovery of a mysterious VHS tape, a brutish police SWAT team launches a high-intensity raid on a remote warehouse, only to discover a sinister cult compound whose collection of pre-recorded material uncovers a nightmarish conspiracy.
Two contempo Frenchmen of Antillean descent visit their ancestor's time as well as their land in the slavery-themed French era.
1975. When Seyolo Zantoko, a doctor from the Congo who has managed, along with his family, to flee tyranny, is hired by the mayor of a small town in northern France, he begins a struggle to adapt to a new life and gain the trust of the prejudiced villagers.