Joseph Morder

Valentin is a young gay painter who lives in the imaginary world of his paintings. When he finds his grandmother Nina, a Polish Jewish émigré whith whom he feels very close, he confesses his lack of inspiration and loneliness. During these few days together in a psychedelic Paris, Valentin expresses more and more the need to know the past Nina always tried to hide …

Madrid, a stroll in the Spanish capital with Joseph Morder followed by the snowstorm that paralyzed the Paris region on December 8, 2010.

Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).

Joseph Morder begins to film his life with a cell phone and thus begins to realize some life-changing experiences in attempts to discover a new film language

Joseph Morder begins to film his life with a cell phone and thus begins to realize some life-changing experiences in attempts to discover a new film language

William’s great surprise, his cousin Clovis, whom he did not see again since around thirty years, arrives from New York to visit him. Reunion between both men creates one thousand memories: always so collusive, they become fast inseparable, living again, the space of moment, their young years… Only Elizabeth, wife of William, who has just lost her father, does not share their cheerfulness.

William’s great surprise, his cousin Clovis, whom he did not see again since around thirty years, arrives from New York to visit him. Reunion between both men creates one thousand memories: always so collusive, they become fast inseparable, living again, the space of moment, their young years… Only Elizabeth, wife of William, who has just lost her father, does not share their cheerfulness.

William’s great surprise, his cousin Clovis, whom he did not see again since around thirty years, arrives from New York to visit him. Reunion between both men creates one thousand memories: always so collusive, they become fast inseparable, living again, the space of moment, their young years… Only Elizabeth, wife of William, who has just lost her father, does not share their cheerfulness.

Joseph Morder returns to Guayaquil, Ecuador, 40 years later, returns to be José and meets his past.

15 years through Le Bois de Vincennes - The "before" and "after" 1999 storm destructions.

A film about an ongoing cinematic adventure that began in 1978: a vast anthology of personality portraits called Cinématons, dealing with people in the arts. Historical, ethnological, sociological and psychological, this anthology is a living record of the artistic community of the last 20th century which attempts to answer these questions: Why film everyone? Why choose cultural personalities? How do the subjects look at their image? How much exhibitionism and narcissism is involved in being filmed?

Amours décolorées is a cinematographic poem to the glory of Mariola San Martin, model, stylist, dancer and Spanish photographer.

An ongoing collection of single static shot, mute, showing a view of the cinema facades where Cinematons have been screened.

To attain knowledge, man and woman had to be willing to give up their innocence," says Boris Lehman. Life Lesson is a poetic and philosophic reflection on the theme of paradise lost. Some fifty persons illustrate the planet's convulsions and the world's vacillations. Trying to communicate, to commune with the invisible, they cry out, sing out, give out messages, each in their own way, in their own state of solitude. These are like multiple echoes that resemble waves in the water or stars in the sky. " Behind these images and sounds that have been stifled by today's society, Lehman hunts for noises, cries, songs, messages that go astray. He says that if we look at the invisible we may hear the words. He invites us to look beyond the appearances of social life and to vibrate in tune with life's polyphony that is all around us."

Guillaume, thirty years old, a man of images who never goes out without a filming device, decides one morning to take a voyage to Rouen empty-handed.

Guillaume, thirty years old, a man of images who never goes out without a filming device, decides one morning to take a voyage to Rouen empty-handed.

Guillaume, thirty years old, a man of images who never goes out without a filming device, decides one morning to take a voyage to Rouen empty-handed.

A young man tired of writing and rewriting a screenplay decides to begin a Super 8mm film diary. He films his parents and those close to him and determines to tell the about his homosexuality.

Mark, director de cine, envía una carta filmada desde Berlín a Sandra, una pintora que vive en París. En esta película, Mark habla de su encuentro con Sandra. Detrás de la lente de la cámara muestra sus viajes a Roma juntos y su viaje a Berlín, ambos en busca de sus orígenes judíos.

Mark, director de cine, envía una carta filmada desde Berlín a Sandra, una pintora que vive en París. En esta película, Mark habla de su encuentro con Sandra. Detrás de la lente de la cámara muestra sus viajes a Roma juntos y su viaje a Berlín, ambos en busca de sus orígenes judíos.

Mark, director de cine, envía una carta filmada desde Berlín a Sandra, una pintora que vive en París. En esta película, Mark habla de su encuentro con Sandra. Detrás de la lente de la cámara muestra sus viajes a Roma juntos y su viaje a Berlín, ambos en busca de sus orígenes judíos.

Mark, director de cine, envía una carta filmada desde Berlín a Sandra, una pintora que vive en París. En esta película, Mark habla de su encuentro con Sandra. Detrás de la lente de la cámara muestra sus viajes a Roma juntos y su viaje a Berlín, ambos en busca de sus orígenes judíos.

Mark, director de cine, envía una carta filmada desde Berlín a Sandra, una pintora que vive en París. En esta película, Mark habla de su encuentro con Sandra. Detrás de la lente de la cámara muestra sus viajes a Roma juntos y su viaje a Berlín, ambos en busca de sus orígenes judíos.

Poetic sci-fi film as an homage to Cinema, Cocteau, Goodis and to American B-series of the 1940s. Constructed exclusively on photograms in black and white and freely inspired on Jean-Luc Godard's Alphaville.

The veneer of the story is a tale of chance love: two French expatriates strike up a chance romance when they meet on a ship headed back to South America.

The veneer of the story is a tale of chance love: two French expatriates strike up a chance romance when they meet on a ship headed back to South America.

The veneer of the story is a tale of chance love: two French expatriates strike up a chance romance when they meet on a ship headed back to South America.

The veneer of the story is a tale of chance love: two French expatriates strike up a chance romance when they meet on a ship headed back to South America.

The veneer of the story is a tale of chance love: two French expatriates strike up a chance romance when they meet on a ship headed back to South America.

In this avant-garde exercise in self-reflection, director Joseph Morder reminisces about his youth in Guayaquil, Ecuador, where his Jewish parents settled after they left Poland. The heat of August in Paris brings forth memories and at the same time the adult Morder is involved in a love affair. There are no scenes from Ecuador here, and none of the images in the film are used to carry the narration; instead they vaguely illustrate what Morder happens to be saying at the moment.

In this avant-garde exercise in self-reflection, director Joseph Morder reminisces about his youth in Guayaquil, Ecuador, where his Jewish parents settled after they left Poland. The heat of August in Paris brings forth memories and at the same time the adult Morder is involved in a love affair. There are no scenes from Ecuador here, and none of the images in the film are used to carry the narration; instead they vaguely illustrate what Morder happens to be saying at the moment.

In this avant-garde exercise in self-reflection, director Joseph Morder reminisces about his youth in Guayaquil, Ecuador, where his Jewish parents settled after they left Poland. The heat of August in Paris brings forth memories and at the same time the adult Morder is involved in a love affair. There are no scenes from Ecuador here, and none of the images in the film are used to carry the narration; instead they vaguely illustrate what Morder happens to be saying at the moment.

In this avant-garde exercise in self-reflection, director Joseph Morder reminisces about his youth in Guayaquil, Ecuador, where his Jewish parents settled after they left Poland. The heat of August in Paris brings forth memories and at the same time the adult Morder is involved in a love affair. There are no scenes from Ecuador here, and none of the images in the film are used to carry the narration; instead they vaguely illustrate what Morder happens to be saying at the moment.

In this avant-garde exercise in self-reflection, director Joseph Morder reminisces about his youth in Guayaquil, Ecuador, where his Jewish parents settled after they left Poland. The heat of August in Paris brings forth memories and at the same time the adult Morder is involved in a love affair. There are no scenes from Ecuador here, and none of the images in the film are used to carry the narration; instead they vaguely illustrate what Morder happens to be saying at the moment.

Portrait de groupe is a film series of filmed portraits that shows all kinds of groups gathered under family pretexts, friendly or professional, in a single fixed, wide shot (style: family photo) and silent of 3 minutes and 20 seconds.

The shooting diary of a film shot in France and in the United States. Using photos of Paris and of New York City, excerpts of his former films, statements by friends of his and shooting sequences of the film itself, tormented filmmaker Marcel Hanoun has made a heterogeneous and unclassifiable film about the difficulty of filming.

Reel 33 of Gérard Courant’s on-going Cinematon series.

On 30 October 1967, Joseph Morder began a unique experiment in France: a diary filmed on Super 8. Les Nuages américains (journal filmé neuf) is one of the episodes of the filmed diary that Joseph allowed himself to show to the public. The story of this film is that of a trip the filmmaker made to the United States in 1982. But like all of Joseph Morder's diaries, it is first and foremost a poetic interior journey, a journey into the author's stream of consciousness...

On 30 October 1967, Joseph Morder began a unique experiment in France: a diary filmed on Super 8. Les Nuages américains (journal filmé neuf) is one of the episodes of the filmed diary that Joseph allowed himself to show to the public. The story of this film is that of a trip the filmmaker made to the United States in 1982. But like all of Joseph Morder's diaries, it is first and foremost a poetic interior journey, a journey into the author's stream of consciousness...

On 30 October 1967, Joseph Morder began a unique experiment in France: a diary filmed on Super 8. Les Nuages américains (journal filmé neuf) is one of the episodes of the filmed diary that Joseph allowed himself to show to the public. The story of this film is that of a trip the filmmaker made to the United States in 1982. But like all of Joseph Morder's diaries, it is first and foremost a poetic interior journey, a journey into the author's stream of consciousness...

On 30 October 1967, Joseph Morder began a unique experiment in France: a diary filmed on Super 8. Les Nuages américains (journal filmé neuf) is one of the episodes of the filmed diary that Joseph allowed himself to show to the public. The story of this film is that of a trip the filmmaker made to the United States in 1982. But like all of Joseph Morder's diaries, it is first and foremost a poetic interior journey, a journey into the author's stream of consciousness...

On 30 October 1967, Joseph Morder began a unique experiment in France: a diary filmed on Super 8. Les Nuages américains (journal filmé neuf) is one of the episodes of the filmed diary that Joseph allowed himself to show to the public. The story of this film is that of a trip the filmmaker made to the United States in 1982. But like all of Joseph Morder's diaries, it is first and foremost a poetic interior journey, a journey into the author's stream of consciousness...

Using home movies of his family and of street views, the director traces his childhood in South America, his origins as a Polish Jew, and his relationship with his mother in a film version of a personal journal.

Joseph Morder sur Radio Ark en Ciel is the sound recording of this meeting in which the filmmaker talks about his films and his famous Film Diary and about the Morlock Academy which he founded in 1980.

Lucien Lumière has just bought a camera. He wants to experiment. In a square, he discovers a young woman sitting on a bench and decides to film her...

Lucien Lumière has just bought a camera. He wants to experiment. In a square, he discovers a young woman sitting on a bench and decides to film her...

Lucien Lumière has just bought a camera. He wants to experiment. In a square, he discovers a young woman sitting on a bench and decides to film her...

Reel 8 of Gérard Courant's on-going Cinematon series.

Reel 3 of Gérard Courant's on-going Cinematon series.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.