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28 June 1984. A day in the life of Yvette Roudy, Minister for the Women Rights. She goes to Franche-Comté. We mostly will eard of professional formation for women. Since the 1983 law about professional equality, Yvette Roudy insists on going in all these regions. She wants to check if her politic is well taken into account and wishes to accelerate this process.

"Pixilation applied to dance, on the theme of tango." -PB

A woman questions men. She tries to make them talk about themselves, some answer, others don't. In counterpoint: hunting, dancing, motorcycle riding. "I have always wanted to know more about men, to hear about their country, about "what it's like to be a man". Curiosity of a little girl, no doubt. But also a woman's desire, a desire to get closer and closer, until the impossible fusion. Juliette du côté des hommes is the film of this curiosity, of this desire. Men who please me tell me their story, tell me about their desires. And I, who listen to them and watch them, tell with these words and these images, my desire for them. Between a marathon and bikers, a hunting party and a card game, a waltz that sails and a tango that sways, there is masculinity that passes. There is - for me - the Other." (Claudine Bories)

At fifty, Helle and Louis thought they were done with the couple when they met. When this great love suddenly comes to threaten everything. They are afraid of this new happiness, that of being together.

Filmed in Beirut in the Spring of 1984, in many ways a letter about warfront.

Documentary about women screen directors from 1900 to 1960, produced with the support of archival photographs and uotations selected from the following dictionaries of the cinema: Dictionnaire du cinéma by Jean Talard, published by Robert Laffont and Dictionnaire des cinéastes by Georges Sadoul, published by Seuil. Carole Roussopoulos uses pictures and quotes from Movie Dictionaries in this tribute to women filmmakers from 1900 to 1960.

Short film by Stéphane Deplus.

A film consisting of four parts, which attempts to reduce the illusionist space that cinema inherits from the perspective devices of classical painting to the two sole dimensions of the screen, through means specific to the filmic medium. The motif of the window serves as serialized material, since it is by imagining itself like a window (Alberti, Dürer) that the Quattrocento painting was able to construct its perspective and illusionist space. Production : Visual Arts Insttute of Orléans.

This film was shot in summer 1979. The repeated ritual of Tutuguri that Tranquilino the saweame sang and danced six times in a short, strictly accurate duration. Secret words from which only emerge vowels, dance that builds a sacred space between the four cardinal points of a cross, a black and pagan sign. A native solar rite, prior to the Spanish conquest. The assembly here builds in a single plane the two poles of real time and an expanded space-time, from dual material: Tutuguri and Carreras.

First staged in Krakow and the Gdansk shipyards in 1980, where Poland’s Solidarity movement was born, and here performed at the Théâtre des Bouffes du Nord in Paris, Wielopole, Wielopole by the theater company Cricot 2 merges themes of Christ’s Passion and fascism with the Polish director Tadeuz Kantor’s own childhood memories.

The filmmakers find the Abruzzo National Park to be the most suitable place in Europe to film the wild fox, one of the most elusive and fearful animals in the forest, with its proverbial cunning that allows it to escape all the traps set by man. For five months, the documentary filmmaker and his assistants live in these forests, observing the landscape and its inhabitants: deer, bears, wolves, wild boars, and roe deer. They manage to gain the trust of a female fox, accompanying her, waiting for her, losing her, and finding her again.

The film presents a series of portraits of women working in traditional male jobs in the transport industry: the SNCF, the RATP, Air France and Air Inter, and at Paris airports. Each woman talks about her professional choice, her training, what responsibilities she holds, where she fits within the company, and her work relationships. They all underline the need to be organised to manage personal and professional lives, and the growing number of women who choose these jobs. They are on the whole positive and their views often inspiring.

Short film by Gérard Samson.

Filmed in 1983, during the presentation of Peter Weiss' play at the Fred Barry theater at UQAM. This document exposes us to a play dealing with the Shoah, and its intention to present the medium of video as a specific language.

Filmed between 1980 and 1983, Tärava is considered the founding work of documentary cinema in Tahitian and embodies the link between the Polynesian and his ancestral land. To the rhythm of songs, hïmene tärava, the film takes us to discover our mountains and our valleys, and the story of the birth of the tärava. Filmed by Henri Hiro, Angelo Oliver and Harris Aunoa, Tärava looks back on the period during which missionaries settled in Polynesia. They never ceased to prohibit traditional songs and dances because they expressed in their eyes the perversions and lust of these pagan peoples. Drums and flutes, the basic instruments of Polynesian music, were thus banned. Only choral singing was permitted.

Claudine, Monique, Emmanuelle and Anne talk about incest rape, which they suffered during their childhood. They meet through the “Rape-Women-Information” help line. They remember how helpless they felt, and how they tried to make their father or grandfather stop. They talk about the signals they made and words they spoke in the hope of getting help from those around them.

"In the 1990 text on his film Autoportrait au dispositif (1981), Lebrat wrote that all his films are in fact self-portraits, including those that are abstract colour films, and the Rothko's painting are the most beautiful examples of self-portraiture in twentieth century art. lebrat notes that the impetus behind self-portraiture comes out of his desire to create another image of his body, which does not necessarily have to be its representation but can suggest another satte of being, for example the infinite and transcendent state aims at overcoming the problem of corps morcelé and mortal flesh." Izabella Pruska-Oldenhof

Documentary about a quarterly French language magazine published starting 1982 by a lesbian collective in Montreal, Quebec made of Louise Turcotte, Danielle Charest, Genette Bergeron and Ariane Brunet.

A French military training film depicting a battle against mutants created by a meteorite.

These experiments for Baes’s stop motion film ‘46 bis, rue de Belleville’ are an art work in its own right. The stop motion technique he uses belongs to the realm of animation. He never handles the camera in an obvious way, but shoots frame per frame in order to come up with a dreamlike staccato effect. With ‘Test’ Pascal Baes sets up his trademark: a low-tech edition of the time-lapse photography, applied to choreography.

Marion Hänsel was cast for this story of a man's job interview for an important position in a company that doesn't go the way he expected.

SELF-PORTRAIT Nº 2 (RÉVEIL) is the second self-portrait where the Super 8 camera was held at an arm's length. As in the first self-portrait, this resulted in extreme close-ups, in this case of me as I get out of bed. As in the first one, the scene is intercut with images of various administrative documents: identity cards, school IDs, a blood type card... that are in my name - the only colorful elements in this rather grainy black and white film.

"L'Aspect rose de la chose" was shot in Grenoble in 1980. It is one of the few openly political films on homosexuality in France. By offering a collective description of members of the G.L.H. (Homosexual Liberation Group) the films raises issues such as being in a relationship, ghettos, sisterhood, militancy, working-class gays and lesbians, or growing old. It also shows what Grenoble was like back then, and how it tried to approach tolerance, borderlines and the struggle for identity.

In her approach as a close observer of certain creators in the Letterist Movement, which has revealed CREATION as the central value of a new philosophical system, and as a witness of the multiform creations of an important creator of this movement, and his efforts to help building a richer and happier world, in order to leave a trace upon the world of silence imposed on contemporary artists, the author has selected here lively, peaceful scenes showing a happy life. This is a chiseling letterist film, in which image during the accelerated montage, disynchronising image and sound, has been itself chiseled by drawing on the views, abstract, symbolic figures which reinforce its meaning.

Following the movie : "Au Lieu". A cinematic reading of the metaphor between the city of Rome and the unconscious, in which Freud introduces Civilization and Its Discontents. "A dream of a place, a stone and of présence. A photographic pilgrimage from the abandoned stairs of the vineyard of Guebwiller until Rome, Eternal City ..." A self-portrait by photographer Luc Meichler.

The commentary, in their language, of my bestiary filmed by three young women: Eloisa: Brazilian; Giovanna: Italian and Nelcy: Colombian.

"Film combining short sequences shot with the camera by myself and short ones created on underexposed materials manipulated with the artist's tools or coming from reels shot by my father. It's a "suite" of visual experiments cut with an overexposed self-portrait." -CF

The primary characteristic of Vermeer’s work is the assimilation of his perspective to a photographic vision. Everything suggests that he made use of the camera obscura to establish the main outlines and perspectives of his paintings, but the use of this precursor to the photographic camera is only one aspect of Vermeer’s art.

Experimental film in the now submerged valley with Catherine Ferlandin and Corinne Lépine. Lake Guerlédan dry.

Erika Blanc self-reflectively narrates her descent into Italian genre cinema while she hyperbolically playacts in the woods.

Computer animated short from the perspective of a frog.

Two 12-year-old children, second-generation Algerians, decide to secretly travel to the sun, the sea... Algeria. They find themselves stranded at the port of Le Havre.

Do You Accept the Charges? focuses on Quebec filmmaker Robert Morin. We are presented with extracts of Morin's work and personal interviews given over a two-year period. We gain insight into his ability to tell a story, his irony and his approach to documentary. A fascinating look at the artist's philosophy, both on and off the set.

An amusing portrait of Homo urbanus in the early 1980s, on the steps of Notre Dame Cathedral in Paris.

Sitting alone on his 69th birthday, Krapp reflects upon the last 30 years of his life as he listens to an old tape recording of himself he made on his 39th Birthday.

Shows a part of Hans Boerwinkel creation assisted by his wife Ans. They lived with their children in Meppel, Netherlands.

Short film.

A two-way mirror. Water and fire. Water extinguishes fire, and fire boils away water. There are many difficulties preventing them from understanding one another.

A short film by Ahmed Zir.

Pierre is a dwarf, as are his parents, who are celebrating their 25th wedding anniversary. He has difficulty sharing their joy because he is single and lonely and dreams of a normal life.

A drawing teacher instructs 10 and 15-year-olds to create a Picasso portrait, revealing the surprising juxtaposition of the resulting drawings and the comments from the young artists.

In this short piece, fledgling editors, reporters, and illustrators describe their work on Point Virgule, a newspaper by and for young people, including publishing articles on racism.

A film by Yves Rollin

The famous sunken city should reappear, but we must wait for the day when all warfare will have ceased for a hundred years.

The filmmaker returns to the subject of Picasso, who he had first filmed in a documentary short made in 1950,then using material from studio archives and shooting stock provided by Cinematheque curator Henri Langlois.