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This short film is both an attempt to recreate Kuleshov's famous experiment, a crucial point in all theories about cinema, and a nod to film buffs haunted by the ghosts of lost films.

A study of Veronese’s painting The Feast in the House of Levi (1573), originally conceived as a representation of the Last Supper. By transforming the traditional space and spirit of the subject into a grand Venetian banquet, the painter was accused of heresy by the Inquisition (reconstructed here through a voice-over of his dialogue with the judges). Ordered to correct the work, Veronese changed only its title.

The film is the cinematic encounter of two looks (that of the painter Arié Mandelbaum and that of the filmmaker Boris Lehman) with one voice: that of the singer Esther Lamandier (who goes by the same name as Arié: Mandelbaum means «I'amandier»).

On the right, a very dark tree clings to the slope of a hill. At the center stands Saint Anne. She wears her hair in braids, her eyes lowered, smiling. Seated on her knees is the Virgin Mary, dressed in a low-cut, billowing pink gown. She leans toward the Child Jesus, a two- or three-year-old baby. Naked and very curly-haired, he is stepping over a rearing lamb. Behind them, the landscape reveals mountain peaks and glaciers from which roaring waters emerge. Anne seems to envelop Mary; Mary wraps her arms around Jesus, yet he escapes from his mother’s embrace, as if symbolizing a new birth. Painted between 1500 and 1515, The Virgin, the Child Jesus, and Saint Anne accompanied Leonardo da Vinci when he settled in Amboise in 1517 at the invitation of Francis I. The painting never returned to Italy and entered the Louvre in 1801.

Père Lachaise cemetery reflects the socio-economic hierarchy of French society during the second half of the 19th century. The film pays homage to the Communards who were shot and whose simple commemorative gravestone contrasts with the insolence of the monuments of the great bourgeois families.

Film produced on behalf of Peugeot by Jean Louis Mourey, chronicling the debut season of the Peugeot 205 Turbo 16 and its fortunes on the 1984 Tour de Corse, Acropolis, 1000 Lakes, Sanremo and RAC Rallies.

This superficial, psychological travelog is about a young man who goes to India, leaving behind the woman he once loved, to search for a spiritual awakening. His first such awakening comes in Calcutta when his baggage is stolen, but undaunted, he jumps on a cargo boat going up the sacred Ganges River and thus begins a journey that will take him to the home of a family in a small village and eventually up into the mountains -- long held to be the best places for spiritual discovery. If the internal life of the young man was described in terms of a turbulent past history, unconquerable emotions, trauma, or whatever it was that drove him to India, then viewers might find some inspiration in his journey. As it stands, most audiences would be hard put to sympathize with his search without a good reason -- though the external journey is poetically and eloquently filmed.

A harbor illuminated by the setting sun in a city of Italian style. On the left, a small temple topped with a clock. In the background, a large Renaissance villa with its four corner towers. On the right, sheltered by a small fort, a large basin reveals a row of tartanes. In the foreground, a shore where two ships are anchored. All around the port, figures stroll, gather, and converse. Positioned high, the viewpoint suggests a spectator looking down over the scene. A perspective effect is created by the convergence of lines toward an area near the center. Colors, the spacing of objects, grazing light, and the perspective of the architecture all combine to produce a powerful illusion of depth. The low sun generates numerous color combinations and transforms the relationships between the usual tones of objects.

A breton movie about dreams.

Computer animated short from the perspective of a dolphin.

No no no it's not a bike, it's crazy musicians, great songs, and a France Gall at the peak of her career.

Souls in the Sun takes an honest look at some victims of the world's neglect - a few individuals among the teeming masses of poor people.

The film is based on the autobiographical novel by Jean Egen. Written with a sense of humor, he quickly sold out in France within a few weeks it sold 100 000 copies. This is the story of an Alsatian family from the point of view of a child who does not understand, belonging to a nation he must feel in himself. Recall that Alsace and Lorraine are alternately passed to France, then to Germany until the 2nd world war.

An animal-rights activist and his lawyer companion track leopard-hide poachers in Africa.

Experimental, 16mm

That evening, in the Vosges mountains, a snowstorm swept through the valley. Within the walls of a farmhouse, another deluge descends on a family watching over one of its members on his deathbed in a heavy atmosphere, favorable to the return of old superstitions... Can they still hope for a spark to shake them out of their torpor?

“A Colheita do Diabo is my first major film experience (…) in which for the first time, aside from theatre actors, I used people who had no [film] experience. The main characters were former fighters, former FRELIMO guerrilla fighters who took part in the war for independence.” Licínio de Azevedo

A little boy on vacation at the seaside meets an invisible girl who takes him to her world.

La Cage seems to be divided into two parts: a homosexual writer visualises his fantasies and a collective joins what seems to be the story of an encounter between two men.

Bal is a pensive self-portrait by Dominique Willoughby and his most dazzling film. His face in extreme close-up is slightly anamorphosised. This is a tête-a-tête between Dominique Willoughby's face and his camera lens whose position the viewer assumes, and during which his eyes follow the movements of his own face. The movements of the face are short and sampled, multiplied and super-imposed filling the screen with a multitude of faces, with abrupt movements, turning, and yet nonetheless connected. But the jolting of the faces has a reflex brutality, as if they were activated by a mechanical force.

Based on a poem by Leconte de Lisle.

"A very skillfully controlled semi-fiction, expressing itself through special effects and inlays." said Belloir in Cahiers du cinema. A four-screen version exists as well.

Film based on the lyrical tragedy of the same name by Jean Cocteau and Francis Poulenc, directed by Alain Françon at the Théâtre du Châtelet.

After a series of rapes in broad daylight in 1985, a demonstration takes place in September. Leaflets accuse the "immigrant criminal underworld." Immigrants and Muslims are blamed. Eight feminists: Claire Atherton (editing), Claire Auzias, Marie-Jo Dhavernas, Catherine Deudon, Anne Faisandier (camera), Liliane Kandel, Nadja Ringart and Ioana Wieder want to testify and fight sexism wherever they come from and whoever the authors are. They decide to realize a documentary. They meet Souad Benani and Malika Bennabi, activists of the group Les Nanas Beurs, then Fatima and Rosa, activists of SOS Racisme. Then three anti-racist activists : Harlem Désir, Adil Jazouli, Sami Nair to discuss it.

Extract from the program "Juste une image" produced by Thierry Garrel and directed by Philippe Grandrieux.

At night, a city. Through the burst-crackle of typewriter and television, we are drawn towards uncertain landscapes; We find ourselves "travelers of the interval", at the fracture of two worlds, in the universe of the double-- To fall through the gaps into depths of the canals of Amsterdam.

Hors Titre I (Off-Title I) is a hermetic movie deliberately mysterious. Figure interpreted by Stuart Sherman shines in the first part of the film by his anonymity. The man drowned in the crowd, activity, all this urban life that is foreign to him. It expresses nothing, does nothing, to the point of appearing to blur the image. In the second part, it works. Always very mysteriously. The viewer built himself a sense of all these actions cut by the film. Whatever it is, its activity is internalized: slide analysis, reading, writing. The outlines of this figure then draw, and blend back into the urban landscape, this time in the open. The character became somebody through a symbolic initiation: nighter? read de Sade? photographic activity? maybe three at a time, perhaps in a dream. The key is in becoming.

Study of the feeding and of the daily life of the Massa and of the Moussey people who live in the North of Cameroon. These populations are made of hunters, breeders, and farmers. Their diet undergoes many seasonal variations.

A horde of monsters killing poor travelers in a snowy landscape.

In 1979, krautrock group Embryo toured Iran, Afghanistan and India by bus, while performing with local musicians and documenting their trip.

A César award nominated short documentary.

Storm in Brittany. Destruction of a pheasant farm. Reflections between father and son on the future.

The conclusion to the adventures of Charlerine Dupas.

Short film by Claude Copin.

For the documentary series Les Ascensions Célèbres, Denis Ducroz has created this historical reconstruction of the first ascent of the Meije, exploring etymology, physical geography, and the history of the emergence of mountaineering in the Oisans massif. The first ascent of the Grand Pic was made on August 16, 1877, by Emmanuel Boileau de Castelnau with Pierre Gaspard and son; the rope party moved along the Promontoire ridge on the south face to the Glacier Carré, where Jean-Baptiste Rodier, the second porter, separated from the three climbers who managed to overcome ice and granite to open the famous "normal route" to the summit.

This film, made from the rhythms of the flow of colored fluids, reminds us of magmatic outpouring as well as continental drift. We witness the formation and unfolding of a world whose impulses seem unpredictable because they are made up of chain reactions - what scientists call "sensitivity to initial conditions", which is the basis of chaos theory. The film is built in three parts that follow a montage plan by color, successively: black - red - blue - yellow - white. The choice of primary colors, which conditions a large part of the work of Frederic Grandpré.