Classic

Colour Poems

"Nine linked short films. Memory, chance observation, and the subsuming of one in the other. [...] A poem started in words is continued by the picture, part of another poem is read for the last of the nine. Some images are formed by direct-on-film animation, others are found by the camera." – Margaret Tait

Aerial

"There’s a general theme of the four elements, earth, air, fire and water – in a different order – air, water, earth, fire and then air again, with all the elements intermingled. But just as a sort of song or even a kind of nursery rhyme. Although I don’t understand musical structure – I can’t really follow the structure of piece of music when I’m listening to it – but I think that film- struct...

A Portrait of Ga

"My mother seemed a good subject for a portrait, (she was there), and I thought it offered a chance to do a sort of 'abstract film', in the sense that it didn’t have what you might call 'the grammar of film'. It’s mostly discontinuous shots linked just by subject, in one case by colour, only rarely by movement." – Margaret Tait

Maso and Miso Go Boating

The feminist video collective Les Insoumuses dissects and responds point by point in a humorous way to Bernard Pivot's special program with Françoise Giroud, Secretary of State for the Status of Women. "On December 30th 1975, after watching Bernard Pivot's programme on Antenne 2 entitled \*One more day and the year of the woman, phew! It'll be over\*, we felt the immense need to express our p...

Videoletters

Between February and June 1991, filmmakers Robert Kramer and Stephen Dwoskin exchanged several video letters (four by Kramer, three by Dwoskin) shot in Hi-8. These _Videoletters_ freed them from the formalities that burdened their work and reflections at the time. Through this exchange, they began to learn and observe anew.

We, Children of the 20th Century

_We, Children of the 20th Century_ depicts street children from Saint Petersburg: harmless vagabonds, early smokers, but also burglars and even murderers. The collapse of taboos and established authority has significantly diminished their inhibitions. Even their parents no longer harbor any ambitions for them. In this social void, who will show these children what life should look like?

The Filmmaker's Holiday

A small village in the Aude region, its inhabitants, their joys, their sufferings and the camera of the filmmaker on vacation capturing these intermittent moments which, in the memory we keep, resemble happiness so strongly.

Finding Vivian Maier

The incredible story of an unknown woman who posthumously became one of the greatest photographers of the 20th century. Born to a French mother in New York before moving to Chicago, Vivian Maier took more than 100,000 photos throughout her life, but kept them hidden. It wasn’t until 2007 that John Maloof came across her work, which he has been showcasing ever since. Maier’s photos are now exhib...

The Long Holiday

Octobre 1998, Johan van der Keuken apprend que son cancer de la prostate ne lui laisse que quelques années à vivre. Caméra à l’épaule, il part en compagnie de sa femme pour un dernier voyage, dont il fera son dernier film. De Noël 1998 à l’été 1999, il sillonne les pistes du Mali, les contreforts himalayens du Bhoutan, les aéroports américains... Partout, des êtres dans leur quotidien : le ritu...

Paris, un jour d'hiver

Guy Gilles takes his camera around Paris on a winter's day. He follows passers-by, children playing in the snow, the gaze of people behind their windows, and plays with the fog and winter's bare trees.

The River Schooners

Pierre Perrault's third feature film on Île aux Coudres, Les Voitures d'eau tackles the problem of the builders and navigators of wooden schooners, in an age of iron ships, international competition and monopolies. Men of the sea, as skilful in deed as in word, the captains of the river's last schooners are experiencing the end of an artisanal era in which their sons can no longer find a place....

Le règne du jour

Four years after filming _Pour la suite du monde_, Pierre Perrault invites Alexis Tremblay, the renowned storyteller, and his wife Marie, central figures in the first film, to embark on a pilgrimage to France tracing the path of their ancestors.