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Transposed to the 1960s, this short story by Balzac tells the story of a jealous husband who hears a door slam when he returns home. His wife swears there was no one there, but refuses to open the oil tank. To get to the bottom of it, the husband has fuel delivered. To what fatal outcome will their stubbornness lead them?

A civil war soldier is lost in the woods when he shoots what he thinks is his enemy.

A documentary short for "Five Columns à la une".

The young goat herders from the cliff of Bandiagara practice on the stone drums of their ancestors. An ethnomusicological film experiment describing the subtle plays of the right and left hand of Dogon drummers.

A film without words of Old Montréal, with accompaniment by the Swingle Singers and their unusual and lively interpretations of music by Johann Sebastian Bach. The colour camera gathers together varied impressions of the old city, ancient streets, monuments and memories.

Harmonious, inspired by nature, moving, luminous... there is no shortage of words to describe La Chapelle Notre-Dame du Haut in Rochamp (France) and its curves. To create this Catholic place, at the beginning of the 1950s, Le Corbusier was inspired by the mosque of the Algerian Sahara of Sidi Brahim, by a crab shell for the shapes of the roof, and by the nearby Vosges valleys. .. Multiple influences for a building full of contradictions, a mixture of round and square lines, slender or squat depending on the angle of view, apparently vast from the outside, but small and intimate from the threshold crossed. Both a place of contemplation and major architectural innovation, the Chapelle de Ronchamp has been listed as a Historic Monument since 1965. Labeled “Heritage of the 20th century” in 1999, it entered the UNESCO World Heritage list in 2016 with 16 others works of Le Corbusier.

The first film broadcast around May 1968, conceived in the first half of May, "Ce n'est qu'un début" (This is only the beginning) places the first "night of the barricades" in the context of the "wildcat" strikes in Caen and Redon and the student protests in Nanterre.

A geographical stroll through the Tuileries Garden in Paris, in November. Time to dream of an island in the heart of the city, open to every horizon.

Investigation in 1967 on the profession of variety singer through the testimonies of Michel Fugain whom we follow during a studio recording, of Lucien Morisse artistic director in a record company, of the lyricist and musical arranger of Michel Fugain (Jean Morlier), of the disc-jockey Mini Max. They analyze the keys to success, their respective roles, the evolution of French song in relation to Anglo-Saxon music (source: Média Scérén).

Trimmed photographs taken from different sources such as postcards, newspapers, police registries, and family photo albums, creating a vast art installation, merge Christian Boltanski's everyday life and lost memories.

Three years after the 1959 expedition, abandoned 350m from the summit, Lionel Terray leads a new assault on Jannu, one of the most demanding peaks in the Himalayas. At the base camp, equipment and food rations are prepared. The conditions are optimal and the ascent can begin. The camera follows the progress of the mountaineers and Sherpas as closely as possible, from one high-altitude camp to another: installing fixed ropes, progressing over crevasses, in the middle of frozen towers, vertically down immense ice falls or along the edge of sharp ridges. From 7000m, oxygen bottles become essential, as the difficulty of the climb prevents acclimatization. The expedition is a total success: the majority of its members reach the 7710m summit.

The film documents the process of detox treatments at a hospital in Bordeaux.

Lucien Clergue observes the formation of salt in a crust or in a filament on the surface of the water and follows the slightest movements, the slightest shudders of the Camargue marshes.

Rushes of an incomplete short film, narrated by director Jean-Denis Bonan.

Guy Gilles creates a brief, poetic evocation of Parisian cafés, from the most famous to the most popular. High-quality imagery and editing accompany a commentary tinged with nostalgia, presenting the cafés as places untouched by time.

A portrait of the Malian artist Mamadou Somé Coulibaly who draws his inspiration from the history of the African people.

A group of leftist activists expose the exploitation of immigrant workers by a criminal network with connections to local government officials. The movie was produced by the group SLON (Société pour le Lancement des Oeuvres Nouvelles, also the Russian word for elephant). SLON was a film collective whose objectives were to make films and to encourage industrial workers to create film collectives of their own. Its members included Valerie Mayoux, Jean-Claude Lerner, Alain Adair and John Tooker, and Chris Marker.

"The film systematically shows man destroying man. It is about war and inhumanity. Largely assembled from newsclips and elaborate montage of still photographs. While working on the film, I came to realize that the strongest thing about violence and the most abstract thing about violence is its sequential nature, that war has never stopped, and that it is just the leading of one conflict into another conflict. I could keep this film going forever...." —Charles Gagnon

Lifting and holding up a chest of drawers.

TV short for the series Bouton Rouge.

Sand, wind, water and sun ballet on the beaches of Camargue.

Île de la Cité, spring 68. Between two demonstrations, a group of young people testify about police violence.

A film about the construction of the Pacific Experimentation Center (CEP) and the first atmospheric testing campaign in this area.

Werther was one of the last feature films that Jean-Pierre Lajournade made for television. The Lajournade's version of Werther makes a critical rereading of Goethe's work through a challenge to bourgeois society.

Sitting on a promenade in nice with a sign: Watch me, that’s all.

A counterpoint between what happens in a Parisian cemetery and in the Latin quarter of the same city.

Upon his return to France, sergeant Bakary claims the bride he had chosen. But she refuses this imposed marriage.

This film traces the development of the first French nuclear bomb, from its construction to its explosion in the Sahara on February 13, 1960. This operation was called “Gerboise Bleue,” although the narrator does not mention it. At that time, nuclear weapons were possessed by three major powers: the United States, the Soviet Union, and Great Britain. In turn, France, under the responsibility of the Military Applications Division of the Atomic Energy Commission, embarked on its own nuclear testing program.

Parviz Kimiavi's student film, a short silent Western

The Touchagues painter, a lover of all forms of beauty, takes us on a tour of Parisian nightclubs and the beaches of the Côte d'Azur, in search of his models and, above all, his studio, which is occupied by numerous nude models.

Videographic dream.

Another experimental film by the director Vic Towas who continues in this cinematographic essay his experiments in the world of "direct film" painting technique.

Schoolboys decide to play football during their lunchbreak, but the ball escapes and the boys follow it on a series of adventures before returning to class. Nominated for Best Live Action Short Film at the 1962 Academy Awards.

When a little boy is in love with a little girl, what better gift can he give her than a bird made of newspaper? But a cat will spoil the party and the bird will wander across the rooftops of the city. After many adventures, however, it will be found and will lead the child to the little girl.

Follows a young owl who salvages the reputation of owls, by clearing an area of a rodent infestation.

1967 documentary film originally aired on French television about Hermann Scherchen.

Surrealist in inspiration, the film depicts vaguely dystopian creatures that at times evoke carnival figures, seen through the lens of a "small oval cache" (Lafleur) and whose bodies seem to float under the action of the camera. The soundtrack intertwines carefully recorded sound effects.

The members of the artists’ group run around the streets, play amidst the ruins of the city, and literally break through the credits of the film as the bewildered bourgeoisie look on. The bourgeoisie are represented by a masked married couple who have tethered their child to the balcony of their apartment. To the irritation of the parents, the child repeatedly throws a ball down into the street, and the father has to retrieve it again and again. At the end of the film the artists, now positioned on the stairs of the Academy, are all wearing masks and badges with what look like convict numbers. People in the streets begin to uncover the pistols under their coattails. The “Art Brut” music for the film was made by Asger Jorn and Jean Dubuffet and is played on toy instruments. Jean-Luc Godard wanted the film shown before screenings of La Chinoise (1967), but the request was vetoed by Debord.

After receiving a large inheritance, a young man movies from his family's ancestral grounds to the city and work in a printing house. Shortly after, he discovers that he is not the sole inheritor. The other, a drug addict going by the name of Mister Jean, will try by all means to grab the entire inheritance.

Spontaneous expression in '68. The beautiful month of May when students were remaking the world and attempting to engage in dialogue with workers.

“Palestine Vaincra (Palestine Will Win)" is regarded as the first French documentary film made in support of the Palestinian liberation movement. Shot in 1969 by Jean-Pierre OLIVIER de SARDAN in a student dorm, the film blends historical testimonies by Palestinians, photographs, stock footage, maps, and music. The documentary centers on the 1968 Battle of Karameh, while also tracing the complex story of the past five decades of Palestinian resistance against oppression and colonialism.

François Truffaut said of Paul Vecchiali in his early days that he was "the only true heir of Jean Renoir." The first short film of this director, who was to become a singular figure of independent French cinema, follows the path of an elderly woman towards her memories and beyond. Attentive, affectionate and sometimes cruel, Vecchiali's camera invents its own expressive language.

An intimate and poetic homage to the seventh art and its threatened or disappeared temples.

Revisiting the port of Le Havre, a young woman recalls a lost love from her previous time there. The whole harbour is visually and magnificently enhanced by flashbacks that reconstruct this relationship and time seems to slow down. But this is a love that perished, and thus the spell is broken: everything becomes screeching pain.

A hand-made, scratched-on film experiment in intermittent animation. The images are a group of twenty-four visuals, all non-representational, which arrange and rearrange on the screen in many combinations. The result is a changing pattern of sound and image that has its own rhythm for eye and ear.