Director of Photography
Kentucky. For decades, Brian Ritchie's family has been living in the heart of the Appalachians. But the mines have been shut down, with nothing to replace them. Caught between a mythical past and an indiscernible future, Brian is one of the last witnesses of a vanishing world, that inspires his poetry.
Writer
Kentucky. For decades, Brian Ritchie's family has been living in the heart of the Appalachians. But the mines have been shut down, with nothing to replace them. Caught between a mythical past and an indiscernible future, Brian is one of the last witnesses of a vanishing world, that inspires his poetry.
Director
Kentucky. For decades, Brian Ritchie's family has been living in the heart of the Appalachians. But the mines have been shut down, with nothing to replace them. Caught between a mythical past and an indiscernible future, Brian is one of the last witnesses of a vanishing world, that inspires his poetry.
Producer
About roughly 130 men are imprisoned in the Detention Center of Casabianda, Corsica. Most of them were convicted of child abuse. The inmates spend their last few years of imprisonment working the fields of this wide agricultural domain.
Producer
Ten years after the Grande-Synthe racist homicide, we trace the murderer's footsteps. The sound design weaves in a voiceover linking architecture to discourse, past the news item itself.
Cinematography
Ten years after the Grande-Synthe racist homicide, we trace the murderer's footsteps. The sound design weaves in a voiceover linking architecture to discourse, past the news item itself.
Screenplay
Ten years after the Grande-Synthe racist homicide, we trace the murderer's footsteps. The sound design weaves in a voiceover linking architecture to discourse, past the news item itself.
Director
Ten years after the Grande-Synthe racist homicide, we trace the murderer's footsteps. The sound design weaves in a voiceover linking architecture to discourse, past the news item itself.
Director
Executive Producer
Scratches. Cross-outs. Stripes. Arnaud is tirelessly attacking ancient masters' painting reproductions with the tip of his pen. His free and living interlaces highlight shapes and figures.
