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Guns for Banta is the first feature-length film by Sarah Maldoror. Shot in Guinea-Bissau, it follows the life and untimely death of Awa, a countrywoman involved in the African Party for the Independence of Guinea and Cape Verde (PAIGC). Financed by the Algerian army, which hoped to turn it into a propaganda tool, the film was confiscated from Maldoror because of her demands for full control over the editing. To this day the reels have not been identified or returned.

Young people aged 15 to 18 dramatize the class divisions and racism that tear apart and alienate a group of friends.

This documentary is the first film ever made by Bruno Monsaingeon. It was shot in the 1960s and early 1970s in grainy black and white and only average sound, when Boulanger was in her late 80s and still fearsomely in command of her abilities. Monsaingeon re-cut the film in 1977. This film remains one of the most important documents concerning this fabled teacher. She is seen at one of her fabled 'Wednesdays', a composition lesson held weekly in her apartment for almost six decades and attended by anyone who would come. In this particular session she talks illuminatingly with students about a small portion of Schumann's 'Davidsbündertanze'.

A test film shot in super 8 mm and 16 mm inflated for copying. A first film "long", made with nothing, "hypnotic", slow and repetitive as it was at the time fascinating and usual to do, as an exercise in style mandatory. A period film.

A César winning short film about a young woman who was caught stealing 500 grams of calf's liver. The next day she relates the incident to a friend

The last episode of this passion, the opening of the cinema theater "l'Entrepôt" in Paris is an opportunity to dream even more about the possibilities offered by this profession. Before passing to the other side of the screen, in the arms of Michèle Morgan or the first steps in the cinema of a little boy named Frédéric Mitterrand.

Family and industrial exploitation of the coconut tree and some scenes from the daily life of the inhabitants of Coëtivy in the Seychelles Islands.

In order to describe the metamorphoses undergone by the city of Paris, Gisèle Rapp-Meichler et Luc Meichler began from Guy Debord's texts on psychogeography to make Allée des signes, the last Situationist film-essay.

A series of misunderstandings and mistaken identities unfold in a casino during a high-stakes gambling event. Eccentric characters become entangled in schemes to outwit one another, leading to chaos, deception, and unexpected twists.

In Rennes, as part of the 5th Traditional Arts Festival in 1978, storytellers and musicians from the Seychelles islands express their concern with modernism and the disinterest of young people in traditional music.

In this two conferences about Vietnam, people denounce the violence of the american government. Veterans speak about their experience, the control of the media over the representation of the war and establish a link between what happens in Vietnam and how black people are treated in the United States.

The radar looks for an off-screen which is created from scratch and which is what one wants it to be. So we start from there, research, we find something or we do not find anything. We use the plans in their entirety, the images recorded there or elsewhere are deprived of their meaning. They are reconstructed in the overall movement of the film which is summed up (condenses) to its technical characteristics: S8 colors, 18 fps, 8mn, magnetic track lying down. The sense / sense that takes place here for 8 minutes is only the sum / combination of random elements having their own weight but which cancel each other out / add to each other / divide / multiply each other. (CJC)

Albert Knobler's film retraces with archive documents the history of Czechoslovakia from the entry of Soviet troops, acclaimed by all the population, until the arrival of Soviet tanks in Prague under the boos of a crowd taken aback and terrorized. From Prague to Prague Spring.

For La Source de la Loire, I was in Paris, looking for a job... All the time, the word source followed me (it turns out that my grandparents lived near the source of the Loire.) The word source escapes the world, it gives without taking anything. Suddenly the autumn, it was necessary to shoot, but it was not for me, it had to become a necessity, one has to be wary because that is not what is in the film.

Pardon of Josselin in 1975

The drama of the East German tanker on the coast of the island of Sein and the bay of Audierne.

Interviews and reports allow a sample of people ranging from the man in the street to the doctor, to express themselves on sexuality.

With an acute awareness of his condition as a mental patient, René Pacquot denounces all powers, and especially the practices of psychiatric hospitals, which he compares with those used in slaughterhouses: submissions by drugs, straitjackets and exterminations by electroshock. You have to see this film as a cry of revolt.

After directing Kami eiga (Paper Movie in 1972, which used paper film), I ended up with a dead track with Kanko eiga (Sightseeing Movie of 1973). Ideas no longer arose. I realized that I needed a fresh start to make films, and I thought that carefully studying the object that is a second, the most basic unit of time, would allow me to do things again, to find a new way of living. That's why it can be called an exercise. It's a film in which I say to myself: it's a film; that's how the second is, that's what happens when a photogram is over. When the twenty-four photograms are passed, the film is finished. I had fun making this movie. It is a film for which nothing knows anything about the cinema or begins to study it. It tells us what the film is, and how it is done.

On est tout seul dans son cercueil is a fake satirical documentary in which Philippe Simon expresses his deep disgust for the film production system, mercantile and inept.

A demonstration consisting of mothers from Val-de-Marne, in the Paris suburbs. Along with their children, they are marching with flower and sun-shaped signs, as they walk through the wasteland in Créteil, France.

A César award nominated short documentary.

16mm dairy film by Pierre Parat

A squatters family live on an island on the Seine river. Despite police intervention, they refuse to leave. The young woman and a cop are killed. The father escapes with his daughter. They arrive in Honfleur and manage to get on a ship.

The film, set in Auxerre, explores the life of a family of six living in a transitional housing project on the city’s outskirts. The family, consisting of a mother, father, and six children, has resided in two small plank rooms without water or electricity for 17 years. The film observes their daily routines, relationships, and dreams, focusing on the teenage son’s aspirations and the mother’s relentless work and lack of pleasure. It highlights the hidden existence of this community, often overlooked or denied by city centre residents.

One, Two, Three is a collection of three vignettes, entitled “The Shower,” “The Bird” and “The Machine.” They each place a doughy, confused man into a frustrating situation.

Kuntzel describes this work: "Three people, or rather three silhouettes of rare objects — frames, windows perhaps, a[n] illustrated manuscript — and a few minimal actions: pages being leafed through, someone sitting down, someone lying down, getting up, crossing a space, lighting a cigarette, a head turning, a mouth opening, someone looking around. There is hardly any representation in Nostos I: just enough to tip-toe around the edges of analogy, illusion, under the image and in between images." Unfolding as memory traces and dream images, figures and objects appear and disappear, decompose and recompose; disjointed fragments evolve in continuous transformation and manipulations of light and time.

I admit today, I benefited at the time of the shooting of this short film with an experimental character from the complicity of a former classmate, son of the boss of this garment factory. I had interfered by making it seem like I was shooting a document about the manufacturing of overalls. But I was there to illustrate the words of a young worker, daughter of a militant CGT of the railway and activist cégétiste herself. The film includes two parts: the ritual of punching out from the first to the last worker and the jostle of the exit into the bicycle garage. The first part is interspersed with 5 mini-sequences of work symbolizing the sum of 40 weekly hours.

Located in Ontario, Point Pelée National Park attracts birds in its long grasses, and brilliant Monarch butterflies on its trees. Wooden walkways through the marsh facilitate access for numerous visitors. A film without words. - NFB

A short film by Gérard Collin.

A sequence of non-abstract visual impressions on a theme open to all interpretations.