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A documentary about Breton identity and the Breton language from the 19th century to the 70s and the 60s and 70s struggle for cultural preservation in Brittany.

A tormented (but forbidden) history, a culture reduced to provincial folklore, economic difficulties, social conflicts, military and tourist vocations: such is the assessment that we have been able to make of this country. Luckily there were a few of them showing their anger.

Pierre Dubreuil dreams of a young lady whom he names Amandine and whom he imagines to be the ideal woman. But his fantasy adventures will make him meet a young man in a strange castle. When he wakes up in a hospital room after an appendicitis attack, another surprise awaits him

In Charente, in Mansle, it's la frairie, the local festival. We attend the preparations and the celebration itself.

Jules is an outcast because he does not express himself like the others and his gestures are bizarre to say the least: he's had cerebral palsy from birth. But when you get to know him, you discover a magnificent man.

In the 18th century, in Paris, the young Jacques Ménétier and his mentor, the Abbé Jérôme Coignard were hired by Mr. d'Astarac who carried out alchemical experiments and believed Jacques was destined for a fabulous destiny. An experiment that goes wrong and the kidnapping of the beautiful Jahel put an end to the ambitions of the master and his student.

The swimmer is presented as a simple, genderless and isolated identity making new appearances natural, but which nevertheless contain a contradiction: swimming as a way of survival. The pictorial potential has been linked above all to a graphic preoccupation, and the sound illustration represents an important support to the basic idea.

Le Chant des signes by Yves-André Delubac makes an image reappear and multiply from the very word, but with difficulty and after long black shots. This short film, which makes maximum use of the black screen, could pass for an experimental film, but it is not experimental in the sense that we give it. It is a "theoretical and rhetorical work" on the difficult birth of an image that extracts itself from the black. Nothing to do with Kubelka or Frampton. It's a film that comes directly from what one could read in Cinéthique or Cahiers at the time. This appearance of the image is like a Caesarean section from the text.

Lucien Bull is an important, if almost unknown, figure in the history of cinema. Assistant to Etienne-Jules Marey, he is one of the pioneers of the seventh art and animation. In the film Bull recalls his collaboration with Marey and describes the birth of cinema as he experienced it in the time of Lumière.

The film taken as a support subject and a privileged place for a pictorial intervention. A work producing a discourse.

An adjustment to the camera enables the film to run through it at half-frame when shooting, so in the end there are always three faces automatically superimposed: A+B+C= 1/24.

In 1975, as a Bicentennial special, one thousand American history buffs put on period uniforms and re-enacted the 1775 march of General Benedict Arnold's troops into Québec. This short film takes a page of our history which has, perhaps, not yet been completely written.

A parody of feminist criticism on found footage covered by humoristic chisellings, signs or hasty figurative elements. Sometimes, chisellings are fine, and sometimes they are treated in large shots (razor tears, acid, cutting the film itself, wide spraying, thick stamps). A bedsheet is used as the final screen from which various women's evocations are represented.

A film with no dialogue, depicts the story of four youngsters living in communion with nature, an idyllic life that is drastically changed when a U.S. satellite crashes in the area and attracts the attention of journalists and TV crews that come to destroy the peace of the place.

Augé Cutting

It is a single image, produced by direct bonding on a transparent support of different adhesive products: this mono-image becomes film at the projection.

This work documents the installation project Situation Plastic III, presented as part of Octobre in Bordeaux, a festival organized by the city of Bordeaux, France. The installation unfolded in three stages on the outskirts of Bordeaux, where the sea and a lake meet. In the first stage, the installed objects remained underwater for one month. In the second, they floated on the surface of the water for a day. In the third, they were released and allowed to rise into the sky. Situation Plastic III can thus be understood as a collaboration between the installed objects, nature, and the participants. The event was filmed with a 16mm camera.

Kim's first moving-image work, made between 1971 and 1973 with an 8mm movie camera.

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A film by Paul-Armand Gette.

A film by Paul-Armand Gette.

Dominique Belloir and Rainer Werbitz experimenting with the use of the video synthesizer which, by various processing, explores the fascination of an apparently harmless game, pinball-- The artificial quickly becomes pulsating, violent and sexualized in a frenzy.

Originally showcased in the "Cinema Differente" section of Kinomata retrospective, Yannick Arnault’s Orbe is a mesmerizing experimental study of visual perception and light. The film delves into the interplay of reflections, where the "real" is constantly deferred and modified, gaining a life of its own through the surfaces it inhabits. Arnault explores the fluidity of appearance, bridging the gap between external reality and an inner, more abstract truth. By liberating the object from traditional narrative constraints, Orbe creates a unique sensory experience that challenges how we see and interpret the world around us—a quintessential example of 1970s avant-garde filmmaking.