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A César nominated short documentary film investigating this volcanic eruption, what caused it and just how high the debris went up into the sky.

Unpacking a drawer, with its heterogeneous contents, of a secretary in an office, relentless repetition of the words "My name is Didier Ozil" illustrated by the images on the wall of his apartment, tailing consumers on a Saturday afternoon in the streets of Lyon, and the overflowing of garbage cans on the sidewalks of the city center.

The work explores the essential need to regain awareness of the body as a primary means of expression, communication, and experimentation. Agnès Contat, a psychomotor therapist by profession, brings to the film a critical reflection on social systems that exert continuous pressure and repression on the body, locking it into unnatural frameworks. Through this lens, the film challenges therapies that merely attempt to "fix errors" within a flawed social system and asks how to prevent the "death of the body" caused by the intellectual and abstract over-privileging of discourse — often found in psychological and psychoanalytical fields — at the expense of physical reality.

From the French television series Encyclopédie audiovisuelle du cinéma, the episode uploaded here, Jean Epstein ou le Cinéma pour lui-même, was produced and (I'm pretty certain) directed by Claude-Jean Philippe. There isn't much info out there-- especially not in English-- regarding the series in general (though there is an imdb link for the series as a whole) or the episode devoted to Epstein. Running around 25 minutes, the episode combines lengthy excerpts from Epstein's cinematic canon with the ideas contained in his theoretical texts to uncover the personal and conceptual underpinnings running beneath the work of this most exquisite filmmaker. I treasure this documentary in particular as it contains extensive footage from L'Auberge rouge.

A portrait of Serb erotic surrealist painter Ljubomir "Ljuba" Popović.

A César winning short animated film depicting ghostly apparitions of a woman inspired by ancient Greek romantic fiction.

An exploration of the Centre Georges Pompidou and its surroundings on its opening day in 1977.

A collage film, a dialogue between mother and the unborn child, the film can be seen as a personal self-analysis by René Paquot, who dreamily delivers his conflicts with maternal, medical and religious authority. revolt.

There is a gap separating the surrealism from the Interwar period and that of the post-war era, and that is the way this movement would understand racial difference. At first, the other or "primitive" was the opposite of the bourgeois subject. In this documentary, Sarah Maldoror interviews one of the most influential surrealist poets from the former surrealism, while at the same time we witness the movement's anachronist views regarding the affirmation of other identities.

In a house, a man and a woman.

A year and a half after "Le Lit e la vierge", Zouzou and Pierre Clémenti are in another bed, this time in front of a window, with Sacré-Coeur in the background. Filmed in two days, in July 1970, with a stolen film from the ORTF, this film, a tribute to these two vedettes of the French underground, is of immense beauty. The title is inspired by the silhouette of Pierre Clémenti, evocative, for Lagrange, of the male physicist during the Renaissance. Grandson of Léo Lagrange and nephew of the chief operator Ghislain Cloquet, Yvan Lagrange is two years younger than Philippe Garrel. "Renaissance", his first film, shows to what extent his generation was influenced by Garrel.

Archangel Gabriel tells a young housewife that she has been chosen to be the mother of Jesus. Mary's response is different than one would expect.

A few hours after Sanchez Bravo's execution, his sister recounts the condemned man's last night. Otaegi's mother talks about her son's life and the last conversation she had with him. Txiki's mother speaks of the solidarity of her village, where she has lived for eleven years, a widow with seven children. She denounces the "phantom" trial, the torture and murder of her son.

An experiment with color fields.

A César nominated short film.

In August, a brand new 16mm source of this event surfaced on the French INA Archives, featuring continued camera angles as well as entirely new angles. Putting all 3 of these camera feeds together creates an uninterrupted 23m14s clip showcasing the entirety of two songs, "Set The Controls For The Heart Of The Sun" and "Cymbaline".

Thomas is a young man who rebels against society after witnessing his father's suicide. He embarks on a marginal and increasingly violent existence with Malvina, a woman he meets, as they attempt to escape societal pressures. Their journey ultimately leads to their internment in a mental asylum, a bleak outcome reflecting their futile struggle for individual freedom.

An intimate report on Paris. A heavy, mysterious night-time Paris: that of a young homosexual wandering the streets in search of desire.

Thanks to his gifts of clairvoyance, the son of a former servant of a noble family makes his fortune and buys the mansion where he spent his childhood. But he is obsessed by the memory of this house, because the owners were, one by one, victims of an evil spirit. With a troupe of actors, he attempts to reconstruct the dramatic scenes he witnessed.

Placed for so long in the city next to each other, the noses, ears, and eyes had never had the opportunity to meet. Yves Brangolo imagined this historic encounter, even spicing it up with a few fingers also separated from their natural context. But an aggressive mouth will come to reorganize this little anarchic world...

Based on the Greek myth of Narcissus and Echo, Foldes employed live-action photography and visual feedback synthesizers from France's Computer Image Corporation to tell the tale in a disquieting, psychedelic manner.

It is an attempt to put in representation of my own universe, my "I" being defined through friends filmed in familiar sets. This film precedes the serial movies that will follow. Nevertheless, the repetition is already very present for this film inspired by the music: that of John Cale, emblematic of my own passage from the rock aesthetics (Velvet Underground, Lou Reed, ...) to the minimal American music of La Monte Young, Philip Glass and Steve Reich whose composition processes will orchestrate upcoming films. Filmed with a Pathé Webo DS 8mm camera, the reel was shot several times in the camera in a series of layers of images overprint shot in Paris, Nanterre, La Défense and in the Perche. The filmic matter is apprehended in its thickness; I was very impressed by the film HYNNINGEN by Werner Nekes and Dore O.

An experiment in visual perception in which a witch becomes a girl, and then returns to being a witch.

The project originated during a workshop in La Rochelle, where a group of women "took possession" of the film to create a work where the camera could be used by each participant at her own discretion, guided by her own "desiring" gaze. According to Fréderique Gros, this "lived wandering" was later reshaped during editing to try and articulate the transition between the internal and external worlds.

Densité Optique I (Optical Density I) mark a chromatic decomposition of the image. The choice to show a scrolling film movie as an extreme slow motion, frame by frame voluntarily directs the gaze on the work of the image. This aesthetic can remember those photographs retouched by painting. However, this type of image is obtained by a chemical decomposition of the film emulsion. Indeed, it is composed of three colored layers deposited on a transparent plastic substrate. Light passing through these layers is tinged with the colors and optical density, recreates the images and colors of the frames. Certain mixtures of chemistries acids attack these layers in the decolorizer, diluting in different aspects.

A single sequence shot near a slag heap.

The destruction of part of the rue de Saint-Malo district in Rennes as part of the program to reduce unsanitary housing. Extract from the author's text: "... So, good people, the rue de Saint-Malo is dead, at the end of this crazy 20th century..."

First works with pure color. The slits are organized into vertical Yellow-Red-Blue strips which move laterally across the screen according to a pre-calculated order.

Work in a supermarket of the Paris region, in particular that of the cashiers, revealing the mechanisms of trade and class relationships.

A man tries to escape a camera.