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Étienne de Crécy @ L'Ososphère 2026

Étienne de Crécy is a pioneering figure of French Touch. Over 30 years, he's released major albums and remixed for Kraftwerk, Air, Moby, and Lil'Louis. His 1997 cult album Super Discount embodied the elegance and boldness of French electronic music. From punk bassist to sound engineer, Crécy has always embraced experimentation across projects and collaborations. A passionate DJ known for intense live performances, he electrified audiences at the 2026 Ososphère event, where Strasbourg train station became a monumental dancefloor. Lights, tension, energy: his set captivated the crowd. Filmed February 13, 2026, at Strasbourg station, France.

Étienne de Crécy @ L'Ososphère 2026

NR 2026
The Muscles Are Tense

At a demonstration in Berlin against the genocide in Gaza and the German arms supplies contributing to it, protestors are violently arrested, wrestled to the ground, sprayed with pepper spray and captured on camera. This essay pauses those overwhelming moments and isolates what is happening in order to examine it. Drawing from Fanon and Butler, among others, it offers a pointed interrogation of double standards, the state’s monopoly on violence and protesting under constant surveillance.

The Muscles Are Tense

NR 2026
L'oratore

Felice is a twenty-year-old boy from a working-class neighborhood. He buys a grand piano with money from a loan shark and with the help of Noemi, a young girl of the same age he met in the library, he plays in the squares of Campania for passers-by and tourists. The security guard Enzo, after an argument, destroys his piano into many pieces. Chased by loan sharks, he finds himself in the back of a church. He is given a jacket and tie and is sent to the altar in front of the dead man's relatives. He begins to make a speech in commemoration of a deceased person he doesn't even know, but the words flow spontaneously, cleanly, moving and exciting. After that speech he will become the funeral boy, the orator.

L'oratore

3.0 2026
Il tempo negato

Why and how do we look at animals? Is it possible to use archive materials as if they were the involuntary testimony of a gaze? Archiving is, in some ways, the act of collecting gestures. Through the editing of fragments of documentaries, newsreels, and promotional videos, the film aims to make visible the complexity and stratification of a relationship that the more we consider natural and given, the more it reveals itself to be the product of economic and political—and therefore cultural—processes analogous to the human world.

Il tempo negato

NR 2026