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Germaine Dierterlen talks about Dogon mythology at a conference on the Bandiagara cliffs. The Songo canopy is a sacred site in Bandiagara. Its walls are covered with paintings depicting the different phases of creation. A little further on, in a cave near the village of Bongo, symposium participants are discussing the Tellem, the people who lived in the houses built into the cliffs before the arrival of the Dogon. The archaeological remains and migratory movements of these two peoples are discussed.

Pierre finally came back to see his dear grandfather. Together, shortly before the beautiful sunrise, they relive a moment in the life of Corporal Pignerol.

A dazzling, inventive, and rarely-screened fairy tale from the feminist artist.

The Basilica of Monreale, near Palermo in Sicily acts as subject and springboard of Carné's final film; Its hundreds of gorgeous and intricate tiled mosaics vividly depict scenes from the Bible. Kinetic camerawork and dramatic narration of each scene compliment these stunning pieces in order to retell the Holy Book's age-old Story.

A film about women. A film by women. A film for women. With a man’s camera. Someday women will see these sad images of our survival and will wonder how we have been able to take it. (D.J.)

Five friends come to the city Brizul. Here they want to find Mr Auguste Kougloff who owns them money, namely 20 million.

Ludovique wanted to spend her holidays with her husband Jean,alone together. But she will have to stand her whole family and relations.

Short by Bernard Eisenschitz

A writer, Kamouraska is based on a real nineteenth-century love-triangle in rural Québec. It paints a poetic and terrifying tableau of the life of Elisabeth d'Aulnières: her marriage to Antoine Tassy, squire of Kamouraska; his violent murder; and her passion for George Nelson, an American doctor. Passionate and evocative, Kamouraska is the timeless story of one woman's destructive commitment to an ideal love.

Julien est envoyé par son patron à l'île Maurice, où il fait la connaissance d'Henri, un chômeur professionnel. Un soir de beuverie, les deux hommes se soulagent au pied d'une statue sacrée. Offensés par ce sacrilège, les dieux les punissent en leur ôtant leur reflet et en les faisant léviter. Si cette situation leur paraît au début invivable, les deux hommes finissent cependant par tirer parti de ces désavantages pour régler leurs problèmes personnels.

In the far away African country of Tagabombo a millionaire adventurer has died. His ex-wife and a private detective are more than interested in his money.

Veteran Chamonix mountain guide Michel Servoz and the young aspiring guide Patrick Falavier attempt to climb the west face of the Dru in the Mont-Blanc massif. When they are gone for five days, the captain of the gendarmerie in Morteau is worried, but he cannot undertake research for a rescue without the permission of the family.

A white soldier brings a creature to life. The creature, bound with its arms spread out like a cross, becomes the victim of unbearable torment.

The Moreen family hires Pemberton to tutor young Morgan. Pemberton has no money of his own, and the social non-conformity of his employers condemns him to the impossibility of being paid. Yet an emotional relationship develops between master and pupil. Little by little, Morgan becomes an object of blackmail. Having run out of arguments, the parents give their son to his teacher. The child, abandoned by his parents, dies.

Under pressure from their bloodthirsty boss, several working-class women, employed by manufacturer Mr. Duralac in a remote French countryside factory, are subject to vampirization while accomplishing their night shift.

When going from a painting job to a cinematographic work, I felt the need to establish the basic concepts of my creative activity. The day before I left the workshop where I had been working for two years, I decided to make a film about the glances thrown by the passers-by of the rue Louis-Blanc in the window of this room. —Jakobois

A young Ivorian man travels to Paris in search of his white wife and their daughter, after she has returned to France. His journey through the city becomes an account of a mixed marriage and the social tensions surrounding it. The film, Désiré Ecaré's feature debut, unfolds as a satirical comedy set to a score by Memphis Slim.

Daniel gets out of the hospital where he has been cured for "vampirical obsessions". But his life takes a weird turn as he transforms into a vampire and starts to kill women. Despite his young fiancee's support, Daniel's fate is definitely doomed...

A mad man prematurely goes out of a psychiatric hospital and pretends to be Hitler's son to go back in.

A tribute to Mallarmé that not only asserts the continuing relevance of his work but also confronts its literary ambiguities with political and cinematic ambiguities of its own. In outline, the film could not be more straightforward: it offers a recitation of one of Mallarmé’s most celebrated and complex poems (it was his last published work in his own lifetime, appearing in 1897, a year before his death) and proposes a cinematic equivalent for the author’s original experiment with typography and layout by assigning the words to nine different speakers, separating each speaker from the other as she or he speaks, and using slight pauses to correspond with white spaces on the original page.

An aging dentist looks for a little liveliness by abandoning his wife in favor of a younger woman. When he learns that his mistress also has another younger lover, he gets jealous, but tries not to make an issue of it. In the end, he dumps her and returns to his wife, who is not about to stand for his middle-aged immaturity. She leaves him.

Eustache’s grandmother Odette Robert was a key figure in his life, serving as a substitute mother during much of his childhood (My Little Loves was dedicated to her). In 1971, he recorded an interview with her that went largely unseen until 2003—Eustache never screened the complete film publicly, although a radically truncated version was presented on television. In a string of long, stationary takes, the camera watches over Eustache’s shoulder while he pours countless glasses of whiskey and Odette tells the stories of her life. A number of her themes resonate with those of Eustache’s films: cruelty, male philandering, the Rosière festival of Pessac. Number Zero is a return to origins—of cinema and of the self—and an experiment in narration, both restrained and deeply personal.

In modern Paris, a sick and nervous man, a "déclassé", tries to seduce others by means of his illness. He meets three women, mixes up his life and his fantasies. Is he unhappy because he wants to be or not? He lives in a painter's studio that one of his friends has lent him.

Performance requiring 1 or 2 projectors 16mm, 2 projectors super 8, a room without armchairs with white walls, a solid table or an Estrada for one or a dancer covered with mirrors, and an audio CD reader.

An elderly woman would like some company as her son is off venturing foreign lands and seducing women from lands afar. Her resident priest who seems to live in the same château as her does not agree and seems to have preconceptions and superstitions as to a family curse.

Pauline intends to end her days and meticulously prepares her suicide, but she meets Peppo, an Italian immigrant, who will change her mind.

A story about two symbolic characters who sway to the song Alouette.

The same sequence is mingled with itself, calibrated according to curves that draw shapes on the blue or on the yellow, creating shifts in the thickness for a search of volumetric effects.

Ahmed, an Algerian laborer and young father, leaves his country and arrives in France, hoping to find a job through Salah, a friend who has been living in the Paris suburbs for several years. He is disappointed when he arrives in Nanterre, where Salah lives in a shantytown. Without any support, Ahmed has to make the daily rounds of the employment offices, like so many other immigrants who, like him, have been lulled into complacency.

In Fellini's film Amarcord, an ocean liner emerges from the night and the mists of the water, appears like a mysterious monster, passes like a dream. This video takes up the idea of ​​an unreal "passage" and plays the effect of spectacular surprise that it reveals.

Germain, a great seducer, collects the mistresses. There are four, all brown, and all married. When the husband of one of them disembarks to threaten him with death, he must break up. But with which? The gouailleur Robert Lamoureux interprets this man who does not like to leave women.

Hailwood, Agostini, Sheene

Man has evolved from the invention of the comb to the first step on the moon, but he still made a large box in the event of a cataclysm.

This film takes place on the island of Sein and reflects an experience that happened to the director, Jeanne Labrune. Before her, film crews on the trail of the sailors who, in 1940, joined De Gaulle in England, had bored the islanders. The filmmaker found herself in a position of incrustee, in a state of non-communication bordering on exclusion. Unable to obtain anything from the inhabitants, but nevertheless involved in the environment of granite and mutism of the people, she filmed herself as a "wanderer not integrated" in an island, whose tendency to fossilization she thus reveals.

Summoned by his bosses to broadcast only neutral information, Jean, a reporter, leaves town with his friend to go and collect testimonies from simple people, in the heart of the Laurentians, and reach out to them and outside society at genuine freedom, happiness. The departure is joyous, but the isolation in which they confine themselves does not bring either of them the results they expected. The adventure ends in failure. Would it be an illusion to believe that one can escape the community to which one belongs?

Disguising himself as a geisha and introducing himself as Madame Mufiko, a certain Max Fox opens a school in Paris where he proposes to teach the Japanese art of love. He recruits a few students, boys and girls, to whom he teaches to imitate the positions represented on old prints. The young people set themselves to it with such ardor that soon the girls are pregnant. In addition, the school is put under police surveillance and the false Mufiko sees her true identity revealed.

Loosely following the Greek myth of the Flight of Icarus, Georges Schwizgebel opens his directional career with Le vol d'lcare, a short animation of LED lights.

This investigative documentary examines life in Nazi-occupied France, and features interviews with civilians who lived through World War II as well as stock footage of French entertainers performing for German soldiers. The filmmakers investigate the distinctions between collaboration, resistance and self-preservation by speaking with citizens who interacted closely with Nazis, who discuss their personal views about the ethical dilemmas they faced under occupation.

Philippe and Sylvie bring home a small container they found on the way from school and strange things start happen...

"Catch" is a little different than other sports. Each Sunday afternoon or Saturday night, catch brings several hundred people to Elysée Montmartre in Paris. In this film, you can see different kinds of ‘catch': catch with four fighters, catch with women, catch with masks.... A film shot with a certain sense of humor, both fun and pathetic.

A pacifist apolitical documentary about North-Vietnam.

Two crooks think up a scheme to get rich at the expense of the vain and excessive Grand Duke.

Charles Moreau, general practitioner, and Hélène, his wife, have four girls aged 11 to 20 years. The eldest, Claire, plays the piano when she does not let her mind indulge in solitary reverie. Bernadette has a real passion for horses, while Cecile, the youngest, plays from a young age to realize all her whims. As for Pauline, at the age of 17, she decided that she would become a novelist. So she writes a book telling the story of family life. One day, when she comes out of high school, she meets Pierre, a penniless painter, from whom she immediately falls.

During the filming of "Jeanne Dielman" Sami Frey recorded what was happening on the set. A film about a film in the making.