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North Korea: The Great Illusion

This is a journey like no other, after several months of wrangling with North Korean authorities in Paris reporters Michaël Sztanke and Julien Alri obtained a visa for Pyongyang but as soon as they arrived the scene was set by a compulsory photo shoot. Journalists are kept under close surveillance and to go to North Korea is to accept the presence of guides who provide supervision 24 hours a day, their primary role is to protect the countries image. In North Korea’s eyes every foreigner is a potential enemy who must be closely watched, this being said Sztanke and Alri attempt to delve deeper into the inner workings of the hermit kingdom, discovering the real nature of this political regime and how life is for your everyday North Korean.

North Korea: The Great Illusion

7.0 2015
The Watershed

Line watershed falls within the scope of the watershed of the Loire, the source of the Vienna Convention on the Millevaches to the estuary. Watershed, not the Loire river! That is to say the inclined to the sea level, all of the irrigated area, not only the stroke of the river. That is to say, the business areas and wetlands, ditches and highways, meeting rooms and yards. Because water is everywhere, in soil, ground, air, flowing, seeping, evaporating and everywhere connecting the territories between them, indicating their interdependence, making us dream of solidarity. The line of the watershed is not only the geographical dividing line between watersheds but it is also the policy line that connects individuals and groups who have something shared: water, territory, landscape.

The Watershed

9.2 2014
Portraits: Première Série

"These portraits are encounters I wanted to be kept from oblivion, even if it is only while you are watching them. They are women who work, who have children, and who, at the same time, keep their independence of mind. I shot 24 portraits of 13 minutes each. I have chosen this short running time for several reasons: not becoming a bother, escape tv adds cuts, shoot the movie quickly, in one pace and without too many scratches. I am not a documentaries maker. I am more like a faces, hands and things lover. To show reality is not my goal. “Reality” is just a word, just like its twin sister “fiction”, which I practice as well, but with a different delight." (Alain Cavalier)

Portraits: Première Série

8.0 1988
Contacts: Sophie Calle

Sophie Calle often defines herself as a "narrative" artist. Her photographs are items of evidence through which she tells stories that are both ordinary and disturbing, using her own life and experiences as the raw material for reconstructions that hover somewhere between truth and fiction. The Contacts collection is an invitation to discover the artistic approach of the greatest contemporary photographers from an original angle. Through a series of images (contact sheets, proofs, prints and slides), with a commentary by the photographer, the viewer enters the secret world of their creation and is guided into the heart of the photographic creative process.

Contacts: Sophie Calle

NR 1997
René ou le roman de mon père

This ‘roman’ (both romance and novel) of her father is narrated by Cécile Decugis’ voice – somewhat hoarse, unsentimental and unforgiving. It is a ‘photo-roman’, a story in stills (a few cinematic shots excepted). It starts as a chronology of her father’s and mother’s lives: characters like everybody else – and thus unique. The photographs in the family album record the feeling of time past through the gradual changes in body language, in women’s dresses, in artefacts of self-representation – cars, planes.

René ou le roman de mon père

NR 2016