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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.
An aspect of the life of international truck drivers. The drivers' evenings and meals in all-night petrol stations and their waking up in the morning before setting off on the motorway again. An "impressionist" documentary made of successive touches, without any voice-over. The dialogues and atmospheres alone reconstruct this very particular atmosphere.
How far can a group of young people accept the otherness of a marginal person they are trying to welcome among them ? We won't know a lot of things about him. He will depart just as mysteriously as he had come, leaving behind him wall paintings of stunning quality and that sentence painted on a garage door : "Music soothes the savage breast." His brief stay has disrupted that young microcosm. It gave those young people an opportunity to reveal their personality to each other. Some appear as intolerant, others as cowardly and some as braver than the rest. We are tempted to consider this film as a documentary fable. Indeed, it has that eternal quality that is found in all founding narratives, since it raises a question that is as old as humanity : difference.
Shows a part of Hans Boerwinkel creation assisted by his wife Ans. They lived with their children in Meppel, Netherlands.
The story of Paul's life culminates in a sign, after he leaves his monastery...
Appearance is of great importance to the Bororo, to the Wadaabe in particular. After the rainy season, the Wadaabe hold a gerewole at the home of a rich herdsman. This is a contest of beauty, dancing and elegance for the young men, who dance for four days and nights on end.
Anthropological tourism in New Guinea. Ten days of immersion in Irian Jaya.
What does the people in the street think of nuclear physics today? These men and women do not walk far from the imposing Cité des Sciences et de l'Industrie (Porte de la Villette, Paris). They have more nuanced ideas than one might imagine, just like those of scientists. This rapprochement between everyone is beneficial.
A lateral tracking shot is repeated. By reversing the reel during the shooting of the second strip of double 8mm film, movement is identical to the first shot and the two opposite tracking shots are combined on the screen, which gives the film the appearance of a cylindrical unwinding. Blown up to 16mm.
All the images in this film, dedicated to painting, are strewn with blows and incisions in the colored matter. Between attraction and repulsion, a fight is engaged at the accelerated rhythm of a drum solo.
I spent six months in Guinea - Conakry - between February and July 1986; shooting alone in Super8, I filmed elements of people’s lives and fragments of my own. (Françoise Prenant)
After The Indian Spielberg, Joëlle and Catherine meet up at the top of « L’Aiguille du Midi ». They take a series of photos. Six months later, in Lille, one of these pictures is thrown at the ground and shot randomly as Joëlle is walking by. These pictures, shot again frame by frame, generate the film : with a repetitive music background, we can see glimpses of storytelling, a story that is setting up, with constant feedback of « L’Aiguille du Midi ».
A Super 8 work made in New York after Nam June Paik invited Kim Soungui to the city.
Walk, Don't Walk captures landscapes encountered across various regions during a journey through Asia. Having left Asia and been living in Europe, Kim Soun-Gui responds to the transformations of Asia with acute visual and mental sensitivity. Like a diary, she records places such as Kiyomizu-dera in Kyoto, the National Palace Museum in Taiwan, Jongno and Seoul Station in Korea.
MAÏS is the portrait of three generations in a family of stockbreeders and graziers. The film shows how the experience of this family, who live in a small village in Aisne, is deeply rooted into the rhythm of the seasons, cattle life and machines. They are destined for farming just like the medieval « villain » was destined to work for his lord. Country life has obviously changed, everybody agrees on that. It has even become a cliché. Mechanization, television, shopping malls and entertainment have left their imprint on the way people live. This film tries to look deeper into that, not so much through the words of the people we meet, but through its viewpoint. A somehow oblique viewpoint, in order to seize what can’t be captured straightforwardly. A viewpoint that strongly draws inspiration from the art of framing.
SABATIER. A director of the company gave his name to that coalmine, which is located near Raismes, a few miles away from Valenciennes, in the eastern part of the coal field of the Nord-Pas de Calais region. The mine was closed about ten years ago. What is left of it today ? Some fairly spoiled buildings, when you look at them closely, on which nature patiently grows back. If you care to enter the bank of the mine, you may visit several buildings, from the guard’s house, which is overgrown with ivy, to the sieve, changing-room (called « hangmen’s room ») and showers. But the most fascinating part is the large and bright mill, with its mining machines, control levers and dials. Everything is still there. When you come out, you get an urge to run around the pithead frames as if they were the Eiffel Tower or the towers of Notre-Dame. You steps resonate on the rusty metal staircase, and you end up high above the surrounding setting : the forest of Raismes-Saint-Amand is very close.
This documentary evokes the question of death through different interviews filmed in nature or on the contrary in very socially and culturally marked places, such as a café, an abbey, a cathedral
A personal and metaphoric view of the apartheid conflict: the poet and writer Rakasha Ratshitanga, the narrator of the film, guides the viewer from his village in the south of the country to Johannesburg, revealing the political, economic and cultural origins of the tensions and sufferings which are tearing his country apart.
The film Zatrap, shot in Black & White, in 16 MM, and in Creole/French, pinpoints the problems of a departmentalized Martinique, which no longer produces anything and depends on containers to feed its population. A Martinique that was preparing to "give" its daughters and sons to the mother country, metropolitan France, to work for the PTT (post office), the RATP (metro) and the AP (hospitals). At the time, Césaire called this transfer “genocide by substitution”, because at the same time as these young people were going into exile, other inhabitants from France were settling in Martinique.
A film by Yves Rollin
A film by Yves Rollin
An experiment from the video lab of Hervé Huitric and Monique Nahas.
A César award nominated short documentary.
Short film by Noël Drouzy.
Short film by Bertholier Rozenblum
A walk within a place which possesses its own rhythm, in the heart of the city: the garden. A dream amongst the trees, children, birds and strollers. Like mental images of the dreamer, fishermen watch over these scenes. A line links them to the mysterious world where fish evolve. This video was filmed in October 1984, at the Saint-Mandé Park, and contains images taken at the Trocadero Aquarium.
A fantasy using hand movements, involuntary gestures, attitudes and habits. With the absence of words, these movements become choreographies. A musical passage alerts them and guides them like a punctuation, or carries them towards unexpected fictions. At times calm, curious, anxious or very nervous, a parrot appears among the various monologues and dialogues which form and come undone...
Computer animated game of chess.
The famous sunken city should reappear, but we must wait for the day when all warfare will have ceased for a hundred years.
Short film by Jean-Michel Alberola.
The viewer has the impression of walking through the streets of Paris during the French Revolution. We discover certain parts of scenes and incidents, which we wouldn't find out until later were going to change the course of our history.
A young Algerian immigrant, working as a Kitchen Porter in a restaurant, dreams of becoming a Taxi driver in Paris.
Caught in the infernal trap that a mother prepares for her son, will Cora, a diabolical beauty whose strong personality dominates her torturers, be able to carry out the plan she has developed to save her own life?
Slide projections, film clips and film extracts form this showcase of the capital, its monuments, its history, its celebrities and its curiosities.
Through the unique story of a trans woman, this documentary shows what the experience of trans-identity could have been like in the 1970s.
Héloïse in her home waits for husband Abelard and accomplishes many household chores while humming love songs. Fragments of bodies and gestures like the fragmentation of certain women's lives; joy of young brides and self-forgetfulness.
This film is composed of images collected then scratched, colored, scratched, etc. which have no direct or indirect relation with the sound column. As in almost all Lettrist films, sound comes first over image. 16mm / color / sound
Two sketches on the decomposition of the light spectrum, the relationship between light and the screen and its projection frame.
A simple overview in one take.