Alain Bergala

Jean-Luc Godard is cinema, its quintessence. Just turned 91, he has made more than 140 films. We hate him as much as we worship him. Where does his aura come from? From legendary films of course, but also from Godard himself. He is a public figure as much as a man shrouded in mystery. Everything and its opposite, he has taken all possible paths. It is not easy to seize such a legendary, enigmatic giant. Godard’s itinerary follows one direction only: a constant renewal of his art. He sees the creative act as a necessary act of criticism and deconstruction.” I always start from the negative. I am a positive man who starts from the negative”. The artist reinvents himself tirelessly, and inevitably destroys himself. This portrait wants to take us beyond the clichés of a myth that has sometimes become caricatural, to meet a man more sentimental than it seems, a man inhabited, sometimes surpassed, by his art. Because yes, Godard is human. Not just a machine who thinks and creates images.

To give creativity free reign, in the space of fifty minutes: this is the strength of the documentary series Cinémas mythiques. This episode gives the critic Alain Bergala complete freedom to commemorate the original Éden de La Ciotat cinema. The oldest continuously operating cinema in the world first opened as a theatre in 1889, but the very same year it also hosted its first commercial film screening, comprised of nineteen Lumière “views”. Threatened with closure in the 1980s, the cinema was reopened in 2013 after a restoration project. This luminous documentary accompanies Jean-Pierre and Luc Dardenne over the course of a few days in October 2021 as they walk through the Teatro Éden, the shipyard and the Palais Lumière built by Antoine Lumière, the father of Auguste and Louis. And it does not forget the legendary station from L’Arrivée d’un train en gare de La Ciotat.

A “Cinéma, de notre temps” series episode directed by french film critic Alain Bergala and filmmaker Jean-Pierre Limosin, originally aired 18 March 2018.

An all-access tour behind the scenes at France’s premiere film school, La Fémis. Showing us how successful candidates get to follow in the footsteps of such luminaries as Louis Malle, François Ozon and Alain Resnais, all of whom attended this prestigious institution. Stumbling over their words, the often-nervous candidates seem vulnerable when confronted with the veterans of the industry, who have the difficult task of discovering true talent among all these eager young people.

For Pasolini, Rome is neither just a simple setting or a place to live. Rome had a physical, carnal and passionate existence for the man and the poet.

Actresses' hairstyle in movies always carries a strong aesthetic statement associated with erotic, social, and historical meanings. In a bold and unexpected way, the film revisits this ultimate symbol of femininity in international cinema.

Actresses' hairstyle in movies always carries a strong aesthetic statement associated with erotic, social, and historical meanings. In a bold and unexpected way, the film revisits this ultimate symbol of femininity in international cinema.

El director de El espiritu de la colmena, bajo la mirada atenta de Alain Bergala, evoca el cine americano de su infancia, la impresión que le produjo a sus 13 años la visión de Ladrón de bicicletas de Vittorio de Sica, el descubrimiento de la Nouvelle Vague, con Los cuatrocientos golpes de Truffaut, la primera película que le hizo desear escribir sobre cine, o À bout de soufflé de Godard. Bergala hace deambular a Erice -DV en mano- entre Madrid y París recordando aquellas escenas primordiales en su formación como cineasta y recuperando lugares más vivos que nunca en su memoria de cinéfilo. Paris-Madrid, allers-retours conjuga genealogía y elegía, bucea en las raíces de la obra de un cineasta y destila una irremediable melancolía sobre el tiempo.

Fourty-six years since the release of Le mépris, Jean-Luc Godard watches the film again to comment on it and its tumultuous production. Featuring interviews with: Jacques Rozier, Alain Bergala, Michel Piccoli, Charles Bitsch.

In a survey of Agnès Varda's work in short films, the director has a conversation with Anne Huet and Alain Berlaga.

This documentary is featured on the two-disc Chaplin Collection DVD for "The Kid" (1921), released in 2004.

Through an interview with Kiarostami in the Aran Islands and interviews with film critics and scholars at Cannes, the director examines Kiarostami's themes and methods. The director also profiles Kiarostami as a poet and a photographer.

An almost blind writer moves to a hidden property in an Alpine village with a female friend, Renata. The two play sado-masochistic games including long recitals of elaborate texts. A neighbor, Serge, gets interested in the mysterious couple.

An almost blind writer moves to a hidden property in an Alpine village with a female friend, Renata. The two play sado-masochistic games including long recitals of elaborate texts. A neighbor, Serge, gets interested in the mysterious couple.

Emmanuel, 37, lives in Paris with his wife, Irene, and his daughter Anne, 14 years old. He accidentally discovers that Irene is receiving mail in the remaining mail. She refuses to follow Emmanuel to Italy where he has to write a biography of Filippo Lippi. Distraught, Emmanuel decided to leave immediately for Florence.

Emmanuel, 37, lives in Paris with his wife, Irene, and his daughter Anne, 14 years old. He accidentally discovers that Irene is receiving mail in the remaining mail. She refuses to follow Emmanuel to Italy where he has to write a biography of Filippo Lippi. Distraught, Emmanuel decided to leave immediately for Florence.

Reel 36 of Gérard Courant’s on-going Cinematon series.

After committing a hit and run, a man insinuates himself into the lives of the victim's family.

After committing a hit and run, a man insinuates himself into the lives of the victim's family.