Raymond Depardon

Documentary that follows the movement of the collage makers throughout France.

Cada año en Francia 92.000 personas son ingresadas en centros psiquiátricos sin su consentimiento. Según la ley, el hospital tiene 12 días para llevar a cada paciente ante un juez. Sobre la base de los historiales médicos y las recomendaciones de un doctor, hay que tomar una decisión crucial: si el paciente debe irse o debe quedarse. Son doce días después de los cuales una vida puede cambiar para siempre. El prestigioso director y fotógrafo Raymond Depardon, que ha tenido acceso por primera vez a esas audiencias, recoge estos extraordinarios encuentros entre la justicia y la psiquiatría.

Cada año en Francia 92.000 personas son ingresadas en centros psiquiátricos sin su consentimiento. Según la ley, el hospital tiene 12 días para llevar a cada paciente ante un juez. Sobre la base de los historiales médicos y las recomendaciones de un doctor, hay que tomar una decisión crucial: si el paciente debe irse o debe quedarse. Son doce días después de los cuales una vida puede cambiar para siempre. El prestigioso director y fotógrafo Raymond Depardon, que ha tenido acceso por primera vez a esas audiencias, recoge estos extraordinarios encuentros entre la justicia y la psiquiatría.

Raymond Depardon sets out to meet French people to listen to them tell their tales. From Charleville-Mézières to Nice, Sète to Cherbourg, he invites people encountered in the street to continue their conversation in front of Depardon's camera and us, unfettered from any constraints.

On the 8th floor of the Fondation Cartier in Paris, Raymond Depardon's film features a minute of silence with eight artists and scientists: David Lynch, Patti Smith, William Eggleston, Takeshi Kitano, Ron Mueck, Jean Michel Alberola, Agnès Varda and Misha Gromov.

In lights and colors, Raymond Depardon photographs according to his desires. He retraces his steps, wanders around the places he loves or discovers: Buenos Aires, Paris, Los Angeles, Honolulu, the Mediterranean, Faya-Largeau, Modra and his peasant friends's homes. A portrait in the atmosphere of a free man.

A journal, a voyage through time. He photographs France, she rediscovers the unseen footage he has so carefully kept: his first steps behind the camera, his TV reports from around the world, snatches of their memories and of our history.

A journal, a voyage through time. He photographs France, she rediscovers the unseen footage he has so carefully kept: his first steps behind the camera, his TV reports from around the world, snatches of their memories and of our history.

The film allows mathematicians involved in the creation of the exhibition to express themselves in their own words and includes Sir Michael Atiyah, Jean-Pierre Bourguignon, Carolina Canales González and Giancarlo Lucchini, Alain Connes, Nicole El Karoui, Misha Gromov, Cédric Villani and Don Zagier.

Carrying on Luc Moullets unfinished screenplay about the theft of la pénélope, a camera created by Aaton and capable of recording equally well in 35 mm and digitally, LA ROUGE ET LA NOIRE is a film in kaleidoscope form. The portrait of Aatons founder, Jean-Pierre Beauviala creator, inter alia, of the time-code and the light cameras used by the New Wave (in particular the bush camera specially designed for Jean Rouch) is centered around the basic plot introduced by two women thieves who talk as voice-overs, and whose identities will only be revealed at the end.

For ten years, Raymond Depardon has followed the lives of farmer living in the mountain ranges. He allows us to enter their farms with astounding naturalness. This moving film speaks, with great serenity, of our roots and of the future of the people who work on the land. This the last part of Depardon's triptych "Profils paysans" about what it is like to be a farmer today in an isolated highland area in France. "La vie moderne" examines what has become of the persons he has followed for ten years, while featuring younger people who try to farm or raise cattle or poultry, come hell or high water.

For ten years, Raymond Depardon has followed the lives of farmer living in the mountain ranges. He allows us to enter their farms with astounding naturalness. This moving film speaks, with great serenity, of our roots and of the future of the people who work on the land. This the last part of Depardon's triptych "Profils paysans" about what it is like to be a farmer today in an isolated highland area in France. "La vie moderne" examines what has become of the persons he has followed for ten years, while featuring younger people who try to farm or raise cattle or poultry, come hell or high water.

Documentary Short

Documentary Short

Reunión de 33 cortometrajes de unos tres minutos cada uno realizados por 35 directores con motivo del 60 aniversario del Festival de Cannes.

A small crowd attends a makeshift movie theatre.

The Garet farm is for sale. Brothers Jean and Raymond Depardon chat about the past and the future of the farm.

The Garet farm is for sale. Brothers Jean and Raymond Depardon chat about the past and the future of the farm.

Second documentary of a trilogy produced on the long term (together with Profils paysans: l'approche (2001) and Profils paysans: La vie moderne (2008)), showing the simple lives of farmers in contemporary Southern France.

The proceedings of a Paris courtroom are the grist for this documentary. Drawn from over 200 appearances before the same female judge, the director chooses a dozen or so varied misdemeanor and civil hearings to highlight the subtle details of human behavior. In the process he draws attention to issues of guilt, innocence, policing and ethnicity in France.

Loosely based on Diégo Brosset’s novel, set in the Sahara at the beginning of the twentieth century. A man of the desert is adopted by some hunters and becomes a highly respected guide while trying to escape colonization.

Loosely based on Diégo Brosset’s novel, set in the Sahara at the beginning of the twentieth century. A man of the desert is adopted by some hunters and becomes a highly respected guide while trying to escape colonization.

Loosely based on Diégo Brosset’s novel, set in the Sahara at the beginning of the twentieth century. A man of the desert is adopted by some hunters and becomes a highly respected guide while trying to escape colonization.

Loosely based on Diégo Brosset’s novel, set in the Sahara at the beginning of the twentieth century. A man of the desert is adopted by some hunters and becomes a highly respected guide while trying to escape colonization.

Following the 1974 French presidential campaign with Valery Gicard d'Estaing

Following the 1974 French presidential campaign with Valery Gicard d'Estaing

The first of a documentary serie about rural France

Muriel Leferle is 22-years-old, a convicted felon, HIV-positive, and can talk her way out of nearly anything. Filmmaker Raymond Depardon first encountered Leferle while shooting his documentary Delits Flagrants/Caught In The Act, about criminals dealing with the judicial system, and eventually decided her story was too good to limit to the 20 minutes of screen time she won in that picture. Muriel Leferle tells her hair-raising life story in greater scope than in the earlier film (both the truth and the version she gives to the judge); despite an unrepentant attitude about her life of crime, Leferle comes off as oddly likable, with street smarts and spunk to spare.

Utilizing a combination of professional actors and man-on-the-street interviews, French director Raymond Depardon has created a film about filmmaking that centers on a rather discriminating director's search for the perfect leading lady. The main problem is that the helmer (Luc Delahaye) doesn't really know what his next film will be about, let alone what kind of woman should be his star. Looking for inspiration, the director and his casting agent (Sylvie Peyre) visit the Saint Lazare train station in Paris and shoot some footage of passengers entering and exiting the trains. Later he encounters a few actresses, but rather than asking about their professional experiences, the director focuses on their personal lives. After several fruitless interviews, the director confesses to the casting agent that he really wants to utilize a non-professional actress.

Using a rostrum camera, Raymond Depardon films a long series of photos, from the narrow streets of Paris to the endless desert, accompanied by original sounds of the city. A Cartier Foundation initiative for the contemporary arts.

Miscellaneous images of African life.

Miscellaneous images of African life.

Miscellaneous images of African life.

Cuarenta directores internacionales aceptaron la idea de hacer un cortometraje utilizando el cinematógrafo original inventado por los hermanos Lumière y trabajando en condiciones similares a las de 1895. Además, debían cumplir tres condiciones: la película no debía superar los 52 segundos, no podía tener más de tres tomas, y la sincronización del sonido no estaba permitida.

Anthology of short films about the French city of Nice, by various directors. A homage to Jean Vigo and his "À propos de Nice" from 1930.

In the context of the World Aids Day on the 1st December 1994, the French Ministry of Defence commissioned the producer Raymond DEPARDON to make a film to show to all new French military recruits called up for their national service, in which they gave their 'personal' views on the AIDS (Sida) problem. Each year about 240.000 young men are called to do their military service in the French Armed Forces. They remain in bases both in France and in French overseas territories, the film will be projected throughout these multiple installations. The 'on camera" interviews by Depardon were authorised without any form of restriction by the military authorities, selecting a scattering of young men from all walks of life who will spend 10 months under the flag. They were each free to give their own personal opinions related to the Aids problem, without any form of censorship.

This documentary is a collection of footage of 14 suspects being 'interviewed' by the deputy public prosecutors.

Raymond Depardon had photographed the city of Beirut before it was destroyed and rebuilt. He films a long take of his photographs, like a circular panorama, producing a videoclip for the song "Face à la mer" by french rock band Les Negresses Vertes.

En 1991, la ONG Amnistía Internacional encargó 30 cortometrajes a 30 realizadores franceses, para montar un film colectivo que denunciara casos concretos de violación de los derechos humanos por razones políticas.

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.

Short film of Raymond Depardon

Basada en un suceso real, narra el secuestro de una etnólogo francesa en el Chad y su cautiverio en el desierto africano.

Basada en un suceso real, narra el secuestro de una etnólogo francesa en el Chad y su cautiverio en el desierto africano.

A documentary filmed in the psychiatric ward of the Motel Dieu at a large hospital in Paris. The patients arrive on their own, or with considerable help from the police, but all of them are in need of medical attention.

It is slow, succinct and absolutely riveting. With his photojournalist's eye, and simple but inspired camera work, Depardon plunges us into both the sounds and silences of a day and a night in the city.

It is slow, succinct and absolutely riveting. With his photojournalist's eye, and simple but inspired camera work, Depardon plunges us into both the sounds and silences of a day and a night in the city.

It is slow, succinct and absolutely riveting. With his photojournalist's eye, and simple but inspired camera work, Depardon plunges us into both the sounds and silences of a day and a night in the city.

A man invites a woman to share his room in a hostel and gradually falls in love with her.

A man invites a woman to share his room in a hostel and gradually falls in love with her.

A man invites a woman to share his room in a hostel and gradually falls in love with her.

This documentary is an autobiography based on director Depardon's voice, his face and pictures from his childhood which are all mixed together on screen and contrasted with selected pictures he shot between 1957 and 1977 and now comments on.

This documentary follows the daily life of a section of the police station of the fifth "arrondissement" (district) of Paris.

A fortuitous meeting, late one afternoon, in the garden of the Tuileries, of one or two cameras, a tape recorder, and three cameramen/directors, Raymond Depardon, Jean Rouch, and Philippe Costantini.

This documentary is about the life of a Venetian psychiatric hospital. The relationships between the doctors, the patients and their families are followed.

El co-fundador de la agencia de prensa Gamma, Raymond Depardon, rodó este documental sobre los fotógrafos de prensa en París. Siguió y filmo a los fotógrafos durante el mes de octubre de 1980.

El co-fundador de la agencia de prensa Gamma, Raymond Depardon, rodó este documental sobre los fotógrafos de prensa en París. Siguió y filmo a los fotógrafos durante el mes de octubre de 1980.

El co-fundador de la agencia de prensa Gamma, Raymond Depardon, rodó este documental sobre los fotógrafos de prensa en París. Siguió y filmo a los fotógrafos durante el mes de octubre de 1980.

On the eve of the publication of the zero issue of the daily newspaper "Le Matin de Paris", we dive into the heart of an editorial staff in turmoil, directed by Claude Perdriel.

The documentary is about the ceremony dedicated by American people to John Lennon after his murder. The 10 minutes of silence in New York's Central Park allows a deep observation of the particularly immobile people.

The documentary is about the ceremony dedicated by American people to John Lennon after his murder. The 10 minutes of silence in New York's Central Park allows a deep observation of the particularly immobile people.

This documentary draws a sensitive, unsensational portrait of the desert and the people who inhabit it, the Toubous.

This documentary draws a sensitive, unsensational portrait of the desert and the people who inhabit it, the Toubous.

This documentary draws a sensitive, unsensational portrait of the desert and the people who inhabit it, the Toubous.

For his directing debut Ian Palach, Raymond Depardon, photographer and co-founder of photo agencies Gamma and Magnum, travelled to Prague in 1968. There, on 25 January, the Czechoslovak student Jan Palach was to be buried. A few days before, this young man had doused himself with gasoline and set himself on fire, in protest of the Russian occupation of Czechoslovakia and the purging of the members of the Prague Spring movement. Palach's political self-sacrifice does not remain without consequence for long. Although the government did its utmost to discourage the Czechoslovaks, 800,000 mourners gathered to form a long, impressive cortege as forceful evidence that Palach was not alone in his protest.