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Funny, unifier, subversive, Coluche was much more than a comedian. This show recorded at the Elysée Montmartre in 1976 brings together the greatest sketches of the comedian with a big heart: the cop, the poem, the cancer or the hitchhiker will make you laugh! A show that has remained in the annals thanks to the famous scene where Coluche tried to play "Le temps des cerises" on the violin... with boxing gloves!
Three months of a daily newspaper in one minute.
Gives us a glimpse of a life which remains very monotonous despite the social upheavals that mark the country.
Shot in a country inhabited by Mossi people (Western Africa), Yaa Bôé is a poem that calls for visual decolonisation, relying on the technical and ideological foundations of audiovisual recordings and connecting them with a theoretical text by Dominique Avron.
An affectionate portrait of the left-wing publisher and bookshop owner François Maspero, who was a contributor to Far From Vietnam and would later publish the commentary to Le Fond de l’air est rouge. Maspero is one of the most satisfying and likeable of Marker’s films from this period, achieving an exemplary balance of quirky human warmth with a clear and inventive form of political argument.
Evolutionary film that focuses on culture and nature. Ants, Cézanne, Picasso, Sainte-Victoire, Avignon, Place de l'Horloge, Venice and its canals, Carmen, La Tosca, Gros Caillou de la Croix-Rousse, Toulouse, Mirail, swimming...
"Speech about cleanliness" according to its author. Two characters cramped in bathroom. Glamour trash. While Anne talks about her cats, and her mother, making up, Hans Christian tells while blowing into bathroom sink a scene film Boudu sauvé des eaux during which Boudu (Michel Simon) who has the mania to spit on the floor lenght of time in bookseller shop who saved the life of Boudu, is reprimanded by this one ; Hans Christian is recreating to his girl friend the dialogue between two characters' Jean Renoir film.
Cartoon-animation-scrapings and live shots. Is the other side worth the right side? What's going on behind the screen? What do we know about unsuspected realities? Organized delirium or organization of delirium? Delete unnecessary entries.
1974 saw the end of beans. The Halles were being destroyed. The extreme left was hesitating between the Molotof cocktail. The heirs of May '68 had not yet taken power, and desire was still in the streets. The characters seek an escape from their social alienation. We don't know whether they're living their desires or prisoners of hallucinations.
A portrait of the City of the Dead, an inhabited cemetery just outside of Cairo and on the fringes of the city’s public dumping ground, like a living reproach and a bad conscience. Starting from the City of the Dead, the film shows the populous neighborhoods of Cairo in the grip of hypertrophy and misery, every day more threatened by paralysis.
The styles of Henri Matisse's works range from impressionism to fauvism to an almost abstract technique. He, along with Picasso, are regarded as two of the giants of 20th century art. This installment of the Museum of Modern Art series depicts the works of Matisse, and is the only film record of the landmark exhibition in Paris in 1970. All of his works, including the seldom-seen paintings from the Russian collections are shown here. Rare footage of the master painter at work is also offered. Matisse scholar Pierre Schnieder narrates.
Surfaces speaks about continuity, it is a single rhythmic plane which is sustained by music. The best commentary on it is related to a phrase from Georges Petrix: What is the meaning of form, color, material? Why is it there? If it's only to make someone say "yes, isn't that pretty, isn't that nice?" then we're not interested. In truth, what it is an expression ourselves, our lives.
A little girl, a sort of Alice in the Land of Cinema, explores this new Garden of the Hesperides that is the cinema. She follows its main paths, rubs shoulders with the great mythical figures of this art form, and discovers her own image. Having become a woman by eating a magical caramel cream, she confuses her own existence, her own birth, her childhood, and her daily life with her own myth of being a great star.
In the wake of a heart-wrenching divorce, a young mother turns to her adoring lesbian friend for comfort. They have a brief relationship, but she is unable to face her own probable lesbianism, and soon retreats to the safety of a conventional marriage.
Four years after the great struggle and strike at the Lip factory in Besançon, the Cinélutte collective gives the word to the workers, two women, making an unforgettable portrait of two working class heroines.
An African immigrant finds Paris to be other than the stereotyped image of the city.
“Breaking in. Patrice Kirchhofer’s Anorexie 4 continues on the path of the narrated narrative (a short story by Chandler) and Décembre 79 on the path of photography. At the end of these two journeys, the film becomes the subject and the trace of the same act of breaking in. In Anorexie 4 the voice shapes the images (the play of chess and of light) and in Décembre 79, shot in the same abandoned mining region, the photos shape the film: chemical deposits, fossils instantaneously striped and imprinted by signs of life and haunted by their ghostly presence. A space of dreary grey, of desolation, which is in a never-ending process of dying because the place, even before being filmed, already went through a vampire-like depletion. In accepting the invitation of these tracking shots of abandoned factories, the spectator is summoned to riverbanks similar to those of Dreyer’s Vampyr and Murnau’s Nosferatu.” Charles TESSON. Festival de Digne. Cahiers du Cinéma n° 314 – Juillet–Août 1980.
In "Messe pour un corps", Michel Journiac organizes a real religious service and makes the participants receive communion with a black pudding made from his own blood.
Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film "The Society of the Spectacle"
The female universe through four female characters: a child, a prostitute who never appears, me and the other, the other and me. Inside. The texts: invasion of the female exterior.
Found footage, edited from international news footage.
On May 21, 1975, the trial of the members of the Red Army Faction (also known as the Baader-Meinstein Gang) began. Four members appeared before the Stuttgart court to answer for the attacks that had been raging for five years in the young Federal Republic of Germany. The documentary, whose title is borrowed from Berthold Brecht's In Praise of Dialectics, recounts the conditions of the trials and detention of the Baader-Meinstein Gang members and the disqualification of Klaus Croissant as their lawyer.
Crystal Pillar, White Lady, The Whale—these are the names given by ice-climbing enthusiasts to the spectacular ice formations surrounding Quebec's Montmorency Falls. Ice Birds shows two experienced climbers scaling the breathtaking wall of the Crystal Pillar with precision and considerable daring, appearing from below as black spots on the vast landscape of one of nature's masterpieces.
The adventures of a journalist behind the scenes of the famous Crazy Horse night club in Paris.
This film presents the point of view of an Arab from Algeria who rebels against colonization. He analyzes the process of awareness, the transition to revolt, to armed insurrection. Algeria and the settlers are seen through this lens and not the way a Frenchman saw the country. He gives voice to the Arabs at a time when this word was not heard: sometimes it was not even produced, at least publicly. The testimonies are based on real propositions, most of them were made to the author during his stay in Algeria from 1948 to 1956, then in 1958 and 1959. The comments are borrowed from the texts of Arab theorists of the revolution Algerian. This film thus completely evacuates the point of view of those who are not insurgents; he does not give the opinion of the colonists. It is the direct expression of what was the revolt of a colonized person: it thus constitutes the very type of the historical document.
A discovery of Bhutan, a tiny landlocked country in the Himalayas. An approach to its economy, one of the few on this planet that can pride itself on its self-sufficiency. A meeting with its people, characterized by their religiousness and their incredible propensity to happiness.
Mis en pièces means in French taking into pieces, but it could mean to set up a play, or to deconstruct a play. The film is about a theater play which is shot against the medium theater. This film is an attempt to destroy the representation of the perspectivist point of view. Disorganizing a process to see…
Debate about the natural process of acquiriing a language for the child.
Having completed his studies in England, Don César returned to his family's farm in Sardinia. He finds that the local peasants are living in terror of a cattle rustler, Marras, and his accomplices. Don César begins by lodging a complaint against Marras. But this was only the beginning of his plan: to catch the thieves in the act, he installed an alarm system around his property. One night, the beam of a searchlight sweeps across the property and the bandits must flee as quickly as possible. In revenge, Marras kidnaps the daughter of César's foreman. But she cleverly deceives her guardian and escapes. Marras sets off in search of Maria. Meanwhile, César and his foreman scour the region for her. It all ends in violence and bloodshed. Marras and the foreman are shot dead. César and the girl are unharmed.
A film to prove something, not for art. The strange and erotic atmosphere of this film is accentuated by a process of re-filming sequences that 'gives grain' and tarnishes the colors worn on the bodies of young men caressing each other. Shadows and light zones move to the rhythm of the pleasure given.
To approach a photo printed by Patrice Kirchhofer is frightening. I have long seen in them an agression by negligence. With patience, I found in them the solution that fancy lab prints could not convey. Patrice K manipulates the marks made irrationally, entirely by chance. When being photocopied, an overexposed photo reacts better than a carefully made print. It is this image, the photocopy, that K. used for his film. His films are characterized by accidental marks. And K. knows how to relate to one mark rather than another. (Bernard WEIDMANN - RHIZOME HERETIQUE - March 3rd, 1980.)
Documentary about the practice of abortion in France in the early seventies, at a time when it was still illegal.
Semi-documentary exposé of scandalous hunting practices in the Sologne, a wooded area south of Orléans where he shared a house at the time. The film, part tribute to Jean Renoir's The Rules of the Game (1939) and its celebrated hunting scene, is notable for its cinematography by Polish director Walerian Borowczyk.
A bailiff, amateur of diamonds, carries out seizures and expulsions in order to satisfy his passion for precious stones.
Shot in Paris after Moumen Smihi completed film school, Si Moh, pas de chance is an investigation into the lives of migrant workers in France. Connected back to the Maghreb by postcards and to his fellow migrants by shared experiences of alienation, the character Si Moh negotiates the industrialized suburbs of Paris as the subject of Smihi’s intimate camera.