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1-33 of 33
- This film proposes the allegory of a social drift with all the power of romantic fascination that it can evoke. It is about a meeting between two young people formatted by a culture of success with two men embodying a nihilistic and dematerialized vision of the society. This work approaches this tiny border, which exists, between the hero and the failure, of this difficulty identifying our own referents. Are these two men messiahs either two poor wandering guys? Is this descent of the river closer to a descent in the hells either to an initiatory journey? The film is built on a narrative deconstruction process, it create a tension in its first part, cheek with in the second and proposes an extremely divested end, based on the deconstruction of a pictorial image. This scene is inspired by the vision of the picture of Evariste Luminais, "Les Enervés de Jumièges" exhibited in the Musée des Beaux-Arts in Rouen (Normandy). Just like this drift, this slow death in the sun is even the heights of the passive suicide. The hero of the film, the one who will be led to the sacrifice, evokes certain passages from "The Accursed Share" of Georges Bataille, particularly those who make references to the human sacrifices, to the beauty, the luxury and the potlatch.
- A young woman, Antonia, returns to her island of birth, Corsica, after one of her relatives has disappeared at sea. She is torn back and forth between her old love Ettore and the dumb Alexander. The quest for Antonia's place in the masculine environment of armed nationalism is an excuse for all kinds of peregrinations in the spectacular landscape of Cap Corse - a landscape that itself becomes a leading character.
- Unable to pay her rent anymore, Françoise locks herself into her Parisian apartment with her two children. We follow the last 46 days of the desperate family's life.
- A masked man conscientiously licks a seated woman, who is dressed in rags and may just be a big doll. But he doesn't seem to notice she's not real, and continues to be concentrated on licking her whole body from the bottom up.
- A recollection of almost 40 years of career. A giant image-jukebox, from early 70s autoportrait to films for Alain Bashung / Elli Medeiros, private karaokes to "video sculptures" applied to John Travolta or Maria Callas, and much much more.
- An old German composer is invited in Roma by the King to compose for him eight Notturni. But the memories of tragic events he used to live there, in the very place he is now coming back, make him unable to write anything.
- In the solitude of his apartment, Rousseau reads shorts excerpts from Racine's Bérénice, images of separation; he films in a café, musicians in the street, a dance, domestic intimacy, in a self-portrait that reflects the contradiction between desires and time. "For a long time I have wanted to try and see if I could create a drama with the simplicity of action which the Ancients so favoured. There are those who believe that this very simplicity is a sign of a lack of inventiveness. They do not consider that, on the contrary, all invention is to create something out of nothing." (Racine, preface to Bérénice, 1670.)
- In the garden of a villa overlooking the Mediterranean, a man working on the Arabic translation of Oscar Wilde's trial. Under the light of a summer night and throughout the following nights, the various protagonists of the trial come to him. It embodies the turns and revives the aesthetic and political stakes of this fight. This verbal battle then appears as the last work - precious and ferocious - of the English dandy.
- Catherine-Élise Müller is thirty-two when she meets Theodore Flournoy who attends the sessions of spiritualism she gives in Geneva in 1894.