Anne Sinclair

France is at the heart of Madonna's life. She is inspired by French culture and its values and has surrounded herself with French artists for many years. To celebrate the 40th anniversary of the Queen of Pop's career, this film revisits the close and unique bond between Madonna and France and features testimonials from close collaborators and French friends who have helped create her unique artistic universe: Maripol, Jean Paul Gaultier, Julien d'Ys, Nicolas Huchard, and Marion Motin. Today's artists such as Florence Foresti, Leïla Slimani, Victor Weinsanto and HollySiz talk about the influence of this emancipating figure, which extends far beyond music.

En los años 70, la actriz Delphine Seyrig y la directora Carole Roussopoulos, ambas feministas militantes, fueron las pioneras del videoactivismo en Francia. Documentaron las manifestaciones de las feministas francesas y utilizaron las nuevas tecnologías para contrarrestar la escasa representación de las mujeres en los medios públicos.

En 1981, Francia eligió un nuevo presidente y soñó con una nueva sociedad. La televisión sufrirá entonces, a lo largo de los años 80, una auténtica revolución. Animadores, productores o directores de retransmisiones cuentan los 10 años que cambiaron la televisión francesa. En 1981 se dio a conocer información, hasta entonces bloqueada con candado. Una mujer llega a los mandos de las 8 p.m. Nacen programas que se han vuelto legendarios, como "RécréA2", "Champs-Elysées", "Droit de respond", "Dimanche Martin", "Le Théâtre de Bouvard", "Les Enfants du rock" o "Cocoricoboy". Pero la revolución lo más llamativo es la llegada de un cuarto canal, Canal, en noviembre de 1984.

In 1932, the writer Paul Nizan published "The New Watchdogs" to denounce the philosophers and writers of his time who, sheltering behind intellectual neutrality, imposed themselves as true watchdogs of the established order. Today the watchdogs are journalists, editors, and media experts who've openly become market evangelists and guardians of the social order. In a sardonic manner, "The New Watchdogs" denounces this press that, claiming to be independent, objective and pluralist, makes out it is a democratic force of opposition. With forcefulness and precision, the film puts its finger on the increasing danger of information produced by the major industrial groups of the Paris Stock Exchange and perverted into merchandise.

"Pas vu, pas pris" starts with a subject filmed 2 years ago ; ordered then forbidden to broadcasting by Canal + : it was "Pas vu à la télé". Bernard Benyamin, Henri de Virieux, Patrick de Carolis, Anne Sinclair, Charles Villeneuve (amongst others) appear before the candid camera of Pierre Carles, for once subjected to an investigation that concerns their profession. After proclaiming that there is no taboo subject on television, they discover a pirate document showing Étienne Moujeotte and François Léotard in a business discussion about the destinies of TF1. Question asked : would they have agreed to broadcast this document and if not, why not ? The investigation itself is objectively searching : anything can be said on TV except one thing, the more or less close collusion of journalists and the political powers. Pierre Carles gives us a sharp reflection on the scope of this "fourth power" that the media have become, and on the compromises of those who are its masters.