Director
"Les Malheurs d'Émile Cohl" shows the ravages of time on the copy of the film "Les Chapeaux des belles dames" which Émile Cohl shot in 1909. Slowing down the most damaged parts of the film from the father of the animation, Gérard Courant has succeeded in creating an object with abstract shapes and, paradoxically, in giving another life to Cohl's work." --Courant
Cinematography
One of Courant's many "Carnets filmés", filmed on November 7, 2021 in the botanical garden of l'Arquebuse in Dijon. The film is a slow exploration of this space, created in 1833 and rich in around 3,500 species of botanical plants.
Director
One of Courant's many "Carnets filmés", filmed on November 7, 2021 in the botanical garden of l'Arquebuse in Dijon. The film is a slow exploration of this space, created in 1833 and rich in around 3,500 species of botanical plants.
Director
"Villagium" is a film made from a stationary one-and-a-half-hour shot, which shows the storm and the rain in the street, by the church in the village of Priay, Ain.
Director
"Pons" is a film made of a single fixed-sequence shot, lasting half an hour, which shows the Ain river and the Priay bridge spanning it.
Director
Filmed with a telephoto lens, from the heights of the village of Priay, the four pressurized water reactors at the Bugey nuclear power plant in Saint-Vulbas. The village and its bell tower in the foreground was where, as a child, Antoine de Saint-Exupéry spent his holidays.
Director
"Every Good Friday, since 1980, I film the ceremonial of the Stations of the Cross of the Passion of Christ in Burzet, in an isolated village in the Ardèche, where the inhabitants, for seven centuries, dress up to celebrate and perpetuate this religious rite. Due to the Covid-19 pandemic, Burzet's 2021 Passion of Christ Ceremonial has been canceled. To compensate for this cancellation, I tried an experiment..." Says Alain Paucard of the film: "Courant reworks the images, passing from realism to a sort of expressionism which, enlarging the line, warms it."
Producer
"Le Fantôme des Arcades" is the story of a series of appearances of a ghost, performed by Christian Clément, who haunts the Corcelles-les-Monts plateau in the Dijon region. The ghost appears several times in front of a mushroom picker, played by Daniel Petit, terrified by these multiple appearances.
Director
"Le Fantôme des Arcades" is the story of a series of appearances of a ghost, performed by Christian Clément, who haunts the Corcelles-les-Monts plateau in the Dijon region. The ghost appears several times in front of a mushroom picker, played by Daniel Petit, terrified by these multiple appearances.
Director
The film shows this place where the author was a resident from January 4, 1966 to July 31, 1967.
Sound
During a shoot with an Eagle K4 camera, a failure caused freeze-ups with abstract shapes.
Editor
During a shoot with an Eagle K4 camera, a failure caused freeze-ups with abstract shapes.
Cinematography
During a shoot with an Eagle K4 camera, a failure caused freeze-ups with abstract shapes.
Director
During a shoot with an Eagle K4 camera, a failure caused freeze-ups with abstract shapes.
"Autour de Vent-Pire" is a documentary recounting the shooting of "Vent-Pire", the vampire film that Gérard Courant shot on November 12, 1970 at the Porte du Diable in the Pasques forest in Plombières-lès-Dijon.
Director of Photography
"Autour de Vent-Pire" is a documentary recounting the shooting of "Vent-Pire", the vampire film that Gérard Courant shot on November 12, 1970 at the Porte du Diable in the Pasques forest in Plombières-lès-Dijon.
Director
"Autour de Vent-Pire" is a documentary recounting the shooting of "Vent-Pire", the vampire film that Gérard Courant shot on November 12, 1970 at the Porte du Diable in the Pasques forest in Plombières-lès-Dijon.
Script
"Ave, Patrick Topaloff !" is a film that parodies an advertisement for Bahlsen candy bars sold in theaters during intermission. The protagonist of this advertising parody, which we hear in the soundtrack of the film, is singer and radio man Patrick Topaloff.
Director
"Ave, Patrick Topaloff !" is a film that parodies an advertisement for Bahlsen candy bars sold in theaters during intermission. The protagonist of this advertising parody, which we hear in the soundtrack of the film, is singer and radio man Patrick Topaloff.
Director
"(Daniel) Petit Lu" is a film which celebrates Petit Beurre by the Nantes company LU. The title of the film is a pun between the actor - Daniel Petit - and the famous Petits Beurre. In "(Daniel) Petit Lu", Daniel Petit devours small butter in a biscuit choreography and to the tunes of advertising songs from the 1950s extolling the taste qualities of Petits Beurre LU.
Producer
"Rêveries d'un escaladeur solitaire" is a tribute to "Goupi Mains Rouges", the film Jacques Becker shot in 1943 during the Occupation. The main character of "Rêveries d'un escaladeur solitaire" which takes over the role of Tonkin from Becker's film, played by Robert Le Vigan, is perched on top of a tree. Out of the picture and shouting his hatred of society, he contemplates and insults the members of the Goupi family, sitting at the foot of the tree, who implore him to come down from his observation post.
Director
"Rêveries d'un escaladeur solitaire" is a tribute to "Goupi Mains Rouges", the film Jacques Becker shot in 1943 during the Occupation. The main character of "Rêveries d'un escaladeur solitaire" which takes over the role of Tonkin from Becker's film, played by Robert Le Vigan, is perched on top of a tree. Out of the picture and shouting his hatred of society, he contemplates and insults the members of the Goupi family, sitting at the foot of the tree, who implore him to come down from his observation post.
Special Effects
Editor
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Original Concept
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Sound
A film poem by Gérard Courant to the glory of nine women submerged in the waters of the Mediterranean Sea.
Cinematography
A film poem by Gérard Courant to the glory of nine women submerged in the waters of the Mediterranean Sea.
Editor
A film poem by Gérard Courant to the glory of nine women submerged in the waters of the Mediterranean Sea.
Producer
A film poem by Gérard Courant to the glory of nine women submerged in the waters of the Mediterranean Sea.
Director
A film poem by Gérard Courant to the glory of nine women submerged in the waters of the Mediterranean Sea.
Director
A film poem by Gérard Courant.
Producer
"L'Hôtel-Dieu de Lyon" is, in a subjective camera and in a single sequence shot of about twenty minutes, an exploration of the former Hôtel-Dieu hospital in Lyon. Located on the western edge of the Rhône and near Place Bellecour, the Hôtel-Dieu was rehabilitated and converted in 2018 into a luxury hotel and shopping malls. The film runs through all the inner courtyards of this huge building. The film is dedicated to François Rabelais who, from 1532, was a doctor at the Hôtel-Dieu in Lyon.
Editor
"L'Hôtel-Dieu de Lyon" is, in a subjective camera and in a single sequence shot of about twenty minutes, an exploration of the former Hôtel-Dieu hospital in Lyon. Located on the western edge of the Rhône and near Place Bellecour, the Hôtel-Dieu was rehabilitated and converted in 2018 into a luxury hotel and shopping malls. The film runs through all the inner courtyards of this huge building. The film is dedicated to François Rabelais who, from 1532, was a doctor at the Hôtel-Dieu in Lyon.
Cinematography
"L'Hôtel-Dieu de Lyon" is, in a subjective camera and in a single sequence shot of about twenty minutes, an exploration of the former Hôtel-Dieu hospital in Lyon. Located on the western edge of the Rhône and near Place Bellecour, the Hôtel-Dieu was rehabilitated and converted in 2018 into a luxury hotel and shopping malls. The film runs through all the inner courtyards of this huge building. The film is dedicated to François Rabelais who, from 1532, was a doctor at the Hôtel-Dieu in Lyon.
Director
"L'Hôtel-Dieu de Lyon" is, in a subjective camera and in a single sequence shot of about twenty minutes, an exploration of the former Hôtel-Dieu hospital in Lyon. Located on the western edge of the Rhône and near Place Bellecour, the Hôtel-Dieu was rehabilitated and converted in 2018 into a luxury hotel and shopping malls. The film runs through all the inner courtyards of this huge building. The film is dedicated to François Rabelais who, from 1532, was a doctor at the Hôtel-Dieu in Lyon.
Special Effects
The action of "Le Jour où la Terre s'éveilla" begins 4 billion 540 million years ago ... at the time of the formation of planet Earth. This formation lasted 20 million years. The film lasts 12 hours and is composed of 1,080,000 images. Each image of the film corresponds to 20 years of the life of the Earth. Every second of the film corresponds to 500 years of the life of the Earth.
Sound
The action of "Le Jour où la Terre s'éveilla" begins 4 billion 540 million years ago ... at the time of the formation of planet Earth. This formation lasted 20 million years. The film lasts 12 hours and is composed of 1,080,000 images. Each image of the film corresponds to 20 years of the life of the Earth. Every second of the film corresponds to 500 years of the life of the Earth.
Producer
The action of "Le Jour où la Terre s'éveilla" begins 4 billion 540 million years ago ... at the time of the formation of planet Earth. This formation lasted 20 million years. The film lasts 12 hours and is composed of 1,080,000 images. Each image of the film corresponds to 20 years of the life of the Earth. Every second of the film corresponds to 500 years of the life of the Earth.
Editor
The action of "Le Jour où la Terre s'éveilla" begins 4 billion 540 million years ago ... at the time of the formation of planet Earth. This formation lasted 20 million years. The film lasts 12 hours and is composed of 1,080,000 images. Each image of the film corresponds to 20 years of the life of the Earth. Every second of the film corresponds to 500 years of the life of the Earth.
Cinematography
The action of "Le Jour où la Terre s'éveilla" begins 4 billion 540 million years ago ... at the time of the formation of planet Earth. This formation lasted 20 million years. The film lasts 12 hours and is composed of 1,080,000 images. Each image of the film corresponds to 20 years of the life of the Earth. Every second of the film corresponds to 500 years of the life of the Earth.
Director
The action of "Le Jour où la Terre s'éveilla" begins 4 billion 540 million years ago ... at the time of the formation of planet Earth. This formation lasted 20 million years. The film lasts 12 hours and is composed of 1,080,000 images. Each image of the film corresponds to 20 years of the life of the Earth. Every second of the film corresponds to 500 years of the life of the Earth.
Producer
Placed under the auspices of the philosopher Gaston Bachelard whose maxim "The human being has the fate of flowing water", is quoted in the epistle of the film, La Femme qui pleure dans les nuages is a film-poem by Gerard Courant to the glory of nine women engulfed in Alpine and Pyrenean torrents.
Cinematography
Placed under the auspices of the philosopher Gaston Bachelard whose maxim "The human being has the fate of flowing water", is quoted in the epistle of the film, La Femme qui pleure dans les nuages is a film-poem by Gerard Courant to the glory of nine women engulfed in Alpine and Pyrenean torrents.
Editor
Placed under the auspices of the philosopher Gaston Bachelard whose maxim "The human being has the fate of flowing water", is quoted in the epistle of the film, La Femme qui pleure dans les nuages is a film-poem by Gerard Courant to the glory of nine women engulfed in Alpine and Pyrenean torrents.
Sound
Placed under the auspices of the philosopher Gaston Bachelard whose maxim "The human being has the fate of flowing water", is quoted in the epistle of the film, La Femme qui pleure dans les nuages is a film-poem by Gerard Courant to the glory of nine women engulfed in Alpine and Pyrenean torrents.
Director
Placed under the auspices of the philosopher Gaston Bachelard whose maxim "The human being has the fate of flowing water", is quoted in the epistle of the film, La Femme qui pleure dans les nuages is a film-poem by Gerard Courant to the glory of nine women engulfed in Alpine and Pyrenean torrents.
Director
Hitch x 4 is a filmed portrait of Alfred Hitchcock which, in a screen divided into four equal parts, brings together Gérard Courant's special Cinematon of the master of suspense made on 14 May 1972 with three variations of the same Cinematon.
Director
Mais qui a tué Alfred Hitchcock? is a variation of Alfred Hitchcock's Cinématon hors collection directed by Gérard Courant on 14 May 1972 in Cannes (France), of which he has transformed the image frame.
Producer
"Le Départ de la 3ème étape Lagnieu-Oyonnax du Tour de l'Ain 2017" is an episode of the Carnets filmés by Gérard Courant that the filmmaker shot in Lagnieu, in the starting village of the Tour de l’Ain cyclist, where around a hundred professional riders come together from all over the world.
Cinematography
"Le Départ de la 3ème étape Lagnieu-Oyonnax du Tour de l'Ain 2017" is an episode of the Carnets filmés by Gérard Courant that the filmmaker shot in Lagnieu, in the starting village of the Tour de l’Ain cyclist, where around a hundred professional riders come together from all over the world.
Editor
"Le Départ de la 3ème étape Lagnieu-Oyonnax du Tour de l'Ain 2017" is an episode of the Carnets filmés by Gérard Courant that the filmmaker shot in Lagnieu, in the starting village of the Tour de l’Ain cyclist, where around a hundred professional riders come together from all over the world.
Director
"Le Départ de la 3ème étape Lagnieu-Oyonnax du Tour de l'Ain 2017" is an episode of the Carnets filmés by Gérard Courant that the filmmaker shot in Lagnieu, in the starting village of the Tour de l’Ain cyclist, where around a hundred professional riders come together from all over the world.
Sound
"Le Départ de la 2ème étape Ambérieu-en-Bugey-Saint-Vulbas du Tour de l’Ain 2017" is an episode of "Carnets filmés" by Gérard Courant that the filmmaker shot in Ambérieu-en-Bugey in the departure village of the Tour de l'Ain cyclist where around a hundred professional runners from all over the world meet.
Producer
"Le Départ de la 2ème étape Ambérieu-en-Bugey-Saint-Vulbas du Tour de l’Ain 2017" is an episode of "Carnets filmés" by Gérard Courant that the filmmaker shot in Ambérieu-en-Bugey in the departure village of the Tour de l'Ain cyclist where around a hundred professional runners from all over the world meet.
Cinematography
"Le Départ de la 2ème étape Ambérieu-en-Bugey-Saint-Vulbas du Tour de l’Ain 2017" is an episode of "Carnets filmés" by Gérard Courant that the filmmaker shot in Ambérieu-en-Bugey in the departure village of the Tour de l'Ain cyclist where around a hundred professional runners from all over the world meet.
Editor
"Le Départ de la 2ème étape Ambérieu-en-Bugey-Saint-Vulbas du Tour de l’Ain 2017" is an episode of "Carnets filmés" by Gérard Courant that the filmmaker shot in Ambérieu-en-Bugey in the departure village of the Tour de l'Ain cyclist where around a hundred professional runners from all over the world meet.
Director
"Le Départ de la 2ème étape Ambérieu-en-Bugey-Saint-Vulbas du Tour de l’Ain 2017" is an episode of "Carnets filmés" by Gérard Courant that the filmmaker shot in Ambérieu-en-Bugey in the departure village of the Tour de l'Ain cyclist where around a hundred professional runners from all over the world meet.
Cinematography
À travers l'univers à la Cinemateca Portuguesa de Lisbonne (June 22, 2017) is an episode of Gérard Courant's Filmed Notebooks shot during the retrospective of his films at the Cinemateca Portuguesa in Lisbon. In this episode of the Filmed Notebooks, António Rodrigues, programmer of the Cinemateca Portuguesa and Gérard Courant present to the public the session of Through the Universe.
Producer
À travers l'univers à la Cinemateca Portuguesa de Lisbonne (June 22, 2017) is an episode of Gérard Courant's Filmed Notebooks shot during the retrospective of his films at the Cinemateca Portuguesa in Lisbon. In this episode of the Filmed Notebooks, António Rodrigues, programmer of the Cinemateca Portuguesa and Gérard Courant present to the public the session of Through the Universe.
Editor
À travers l'univers à la Cinemateca Portuguesa de Lisbonne (June 22, 2017) is an episode of Gérard Courant's Filmed Notebooks shot during the retrospective of his films at the Cinemateca Portuguesa in Lisbon. In this episode of the Filmed Notebooks, António Rodrigues, programmer of the Cinemateca Portuguesa and Gérard Courant present to the public the session of Through the Universe.
Director
À travers l'univers à la Cinemateca Portuguesa de Lisbonne (June 22, 2017) is an episode of Gérard Courant's Filmed Notebooks shot during the retrospective of his films at the Cinemateca Portuguesa in Lisbon. In this episode of the Filmed Notebooks, António Rodrigues, programmer of the Cinemateca Portuguesa and Gérard Courant present to the public the session of Through the Universe.
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Compression The Birds de Alfred Hitchcock is the reduction of The Birds, Alfred Hitchcock's 1963 masterpiece with Tippi Hedren and Rod Taylor, from a 2-hour film to a 5-minute film. The film is "compressed" in the manner of a work by Arman or César. But unlike the work of these artists who compressed everyday objects, Alfred Hitchcock's Compression of The Birds compresses an artistic object!
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On 6 December 2013, a public exhibition dedicated to her memory, Bernadette Lafont l'exposition hommage, was held in Paris. Actors Stéphane Audran, Guillaume Gouix and Alexandra Stewart read some extracts of Bernard Bastide's new biography Bernadette Lafont, une vie de cinéma, including some original letters written by Bernadette. The event was filmed by Gérard Courant and aired as an episode of Carnets filmés, In Memoriam Bernadette Lafont.
Sound
On 6 December 2013, a public exhibition dedicated to her memory, Bernadette Lafont l'exposition hommage, was held in Paris. Actors Stéphane Audran, Guillaume Gouix and Alexandra Stewart read some extracts of Bernard Bastide's new biography Bernadette Lafont, une vie de cinéma, including some original letters written by Bernadette. The event was filmed by Gérard Courant and aired as an episode of Carnets filmés, In Memoriam Bernadette Lafont.
Cinematography
On 6 December 2013, a public exhibition dedicated to her memory, Bernadette Lafont l'exposition hommage, was held in Paris. Actors Stéphane Audran, Guillaume Gouix and Alexandra Stewart read some extracts of Bernard Bastide's new biography Bernadette Lafont, une vie de cinéma, including some original letters written by Bernadette. The event was filmed by Gérard Courant and aired as an episode of Carnets filmés, In Memoriam Bernadette Lafont.
Idea
On 6 December 2013, a public exhibition dedicated to her memory, Bernadette Lafont l'exposition hommage, was held in Paris. Actors Stéphane Audran, Guillaume Gouix and Alexandra Stewart read some extracts of Bernard Bastide's new biography Bernadette Lafont, une vie de cinéma, including some original letters written by Bernadette. The event was filmed by Gérard Courant and aired as an episode of Carnets filmés, In Memoriam Bernadette Lafont.
Producer
On 6 December 2013, a public exhibition dedicated to her memory, Bernadette Lafont l'exposition hommage, was held in Paris. Actors Stéphane Audran, Guillaume Gouix and Alexandra Stewart read some extracts of Bernard Bastide's new biography Bernadette Lafont, une vie de cinéma, including some original letters written by Bernadette. The event was filmed by Gérard Courant and aired as an episode of Carnets filmés, In Memoriam Bernadette Lafont.
Director
On 6 December 2013, a public exhibition dedicated to her memory, Bernadette Lafont l'exposition hommage, was held in Paris. Actors Stéphane Audran, Guillaume Gouix and Alexandra Stewart read some extracts of Bernard Bastide's new biography Bernadette Lafont, une vie de cinéma, including some original letters written by Bernadette. The event was filmed by Gérard Courant and aired as an episode of Carnets filmés, In Memoriam Bernadette Lafont.
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The 195 streets in alphabetical order of La Croix-Rousse a famous district in Lyon.
Editor
The 195 streets in alphabetical order of La Croix-Rousse a famous district in Lyon.
Sound
The 195 streets in alphabetical order of La Croix-Rousse a famous district in Lyon.
Cinematography
The 195 streets in alphabetical order of La Croix-Rousse a famous district in Lyon.
Idea
The 195 streets in alphabetical order of La Croix-Rousse a famous district in Lyon.
Director
The 195 streets in alphabetical order of La Croix-Rousse a famous district in Lyon.
Director
A fusion of two Cinématons to celebrate the day of experimental cinema in Samawah, Iraq.
Director of Photography
"Jean-Marie Straub and Danièle Huillet" is the overlay of two Cinematons by Gérard Courant with Jean-Marie Straub and Danièle Huillet: "Jean-Marie Straub, Cinématon number 342" and "Danièle Huillet, Cinematon number 343," filmed on May 27, 1984.
Director
"Jean-Marie Straub and Danièle Huillet" is the overlay of two Cinematons by Gérard Courant with Jean-Marie Straub and Danièle Huillet: "Jean-Marie Straub, Cinématon number 342" and "Danièle Huillet, Cinematon number 343," filmed on May 27, 1984.
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Himself (voice)
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In 2004 and 2005, I made a filmed inventory of the streets and squares of Saint-Marcellin, in the Dauphiné. This movie is called: Across the Universe. In this film, each street and square was filmed in a single sequence shot and each of the plaques for these streets and squares is placed at the beginning of each street and square. In order to offer a maximum of views of the city, here is Les Chutes de Saint-Marcellin, an appendix to Across the Universe which is made up of shots that were not retained for this film but which deserve to be kept and shown.
Cinematography
In 2004 and 2005, I made a filmed inventory of the streets and squares of Saint-Marcellin, in the Dauphiné. This movie is called: Across the Universe. In this film, each street and square was filmed in a single sequence shot and each of the plaques for these streets and squares is placed at the beginning of each street and square. In order to offer a maximum of views of the city, here is Les Chutes de Saint-Marcellin, an appendix to Across the Universe which is made up of shots that were not retained for this film but which deserve to be kept and shown.
Editor
In 2004 and 2005, I made a filmed inventory of the streets and squares of Saint-Marcellin, in the Dauphiné. This movie is called: Across the Universe. In this film, each street and square was filmed in a single sequence shot and each of the plaques for these streets and squares is placed at the beginning of each street and square. In order to offer a maximum of views of the city, here is Les Chutes de Saint-Marcellin, an appendix to Across the Universe which is made up of shots that were not retained for this film but which deserve to be kept and shown.
Director
In 2004 and 2005, I made a filmed inventory of the streets and squares of Saint-Marcellin, in the Dauphiné. This movie is called: Across the Universe. In this film, each street and square was filmed in a single sequence shot and each of the plaques for these streets and squares is placed at the beginning of each street and square. In order to offer a maximum of views of the city, here is Les Chutes de Saint-Marcellin, an appendix to Across the Universe which is made up of shots that were not retained for this film but which deserve to be kept and shown.
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This distinctly personal journey into the artistic possibilities of independent film is not to be missed. Jonas Mekas, Jean-Pierre Gorin, Robert Kramer and many other visionaries and mavericks of the silver screen – as well as a book seller, a critic and a psychoanalyst – discuss what cinema has meant to them, what it is and what it could be and, implicitly, how it has changed over the 18 years in which this film was shot. Director Boris Lehman leads the charge, drawing in moments of absurdist humour and inventive camera work; he keeps things raw and spontaneous. His encounters with the now much-missed Jean Rouch and Stephen Dwoskin are particularly touching and stand testament to their personal playfulness and candour. An engaging, absorbing, epic odyssey of a movie.
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Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Editor
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Sound
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Producer
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Director
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
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"L'Artifice et le factice" is the episode that covers the period from January 1, 1988 to December 31, 1988 of my filmed Notebooks.
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"L'Artifice et le factice" is the episode that covers the period from January 1, 1988 to December 31, 1988 of my filmed Notebooks.
Editor
"L'Artifice et le factice" is the episode that covers the period from January 1, 1988 to December 31, 1988 of my filmed Notebooks.
Idea
"L'Artifice et le factice" is the episode that covers the period from January 1, 1988 to December 31, 1988 of my filmed Notebooks.
Producer
"L'Artifice et le factice" is the episode that covers the period from January 1, 1988 to December 31, 1988 of my filmed Notebooks.
Director
"L'Artifice et le factice" is the episode that covers the period from January 1, 1988 to December 31, 1988 of my filmed Notebooks.
Self
"L'Artifice et le factice" is the episode that covers the period from January 1, 1988 to December 31, 1988 of my filmed Notebooks.
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The films of Marilyn Monroe, sped up by Gerard Courant.
Director
The films of Marilyn Monroe, sped up by Gerard Courant.
Sound
Madrid, a stroll in the Spanish capital with Joseph Morder followed by the snowstorm that paralyzed the Paris region on December 8, 2010.
Editor
Madrid, a stroll in the Spanish capital with Joseph Morder followed by the snowstorm that paralyzed the Paris region on December 8, 2010.
Cinematography
Madrid, a stroll in the Spanish capital with Joseph Morder followed by the snowstorm that paralyzed the Paris region on December 8, 2010.
Idea
Madrid, a stroll in the Spanish capital with Joseph Morder followed by the snowstorm that paralyzed the Paris region on December 8, 2010.
Producer
Madrid, a stroll in the Spanish capital with Joseph Morder followed by the snowstorm that paralyzed the Paris region on December 8, 2010.
Director
Madrid, a stroll in the Spanish capital with Joseph Morder followed by the snowstorm that paralyzed the Paris region on December 8, 2010.
Producer
A simple, modest and faithful record of some moments at the Lucca Film Festival in October 2010, with songs and speeches by Abel Ferrara: trace of the co-presence of two of the greatest contemporary filmmakers, dissident and true sons of Cesare Zavattini’s revolutionary spirit.
Editor
A simple, modest and faithful record of some moments at the Lucca Film Festival in October 2010, with songs and speeches by Abel Ferrara: trace of the co-presence of two of the greatest contemporary filmmakers, dissident and true sons of Cesare Zavattini’s revolutionary spirit.
Sound
A simple, modest and faithful record of some moments at the Lucca Film Festival in October 2010, with songs and speeches by Abel Ferrara: trace of the co-presence of two of the greatest contemporary filmmakers, dissident and true sons of Cesare Zavattini’s revolutionary spirit.
Cinematography
A simple, modest and faithful record of some moments at the Lucca Film Festival in October 2010, with songs and speeches by Abel Ferrara: trace of the co-presence of two of the greatest contemporary filmmakers, dissident and true sons of Cesare Zavattini’s revolutionary spirit.
Idea
A simple, modest and faithful record of some moments at the Lucca Film Festival in October 2010, with songs and speeches by Abel Ferrara: trace of the co-presence of two of the greatest contemporary filmmakers, dissident and true sons of Cesare Zavattini’s revolutionary spirit.
Director
A simple, modest and faithful record of some moments at the Lucca Film Festival in October 2010, with songs and speeches by Abel Ferrara: trace of the co-presence of two of the greatest contemporary filmmakers, dissident and true sons of Cesare Zavattini’s revolutionary spirit.
Cinematography
Gérard Courant's "Filmed Diary" of December 14, 2011, produced in Dubai (United Arab Emirates). Between December 7 and 15, 2011, Gérard Courant was invited by the Dubai International Film Festival, in the United Arab Emirates. It was an opportunity for him to film many "Cinematons" of personalities from the Arab world and to continue his "Film Notebooks" from which he brought back 7 episodes.
Producer
Gérard Courant's "Filmed Diary" of December 14, 2011, produced in Dubai (United Arab Emirates). Between December 7 and 15, 2011, Gérard Courant was invited by the Dubai International Film Festival, in the United Arab Emirates. It was an opportunity for him to film many "Cinematons" of personalities from the Arab world and to continue his "Film Notebooks" from which he brought back 7 episodes.
Writer
Gérard Courant's "Filmed Diary" of December 14, 2011, produced in Dubai (United Arab Emirates). Between December 7 and 15, 2011, Gérard Courant was invited by the Dubai International Film Festival, in the United Arab Emirates. It was an opportunity for him to film many "Cinematons" of personalities from the Arab world and to continue his "Film Notebooks" from which he brought back 7 episodes.
Director
Gérard Courant's "Filmed Diary" of December 14, 2011, produced in Dubai (United Arab Emirates). Between December 7 and 15, 2011, Gérard Courant was invited by the Dubai International Film Festival, in the United Arab Emirates. It was an opportunity for him to film many "Cinematons" of personalities from the Arab world and to continue his "Film Notebooks" from which he brought back 7 episodes.
Sound
Cinematography
Idea
Producer
Director
Sound
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Editor
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Cinematography
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Idea
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Producer
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Director
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Editor
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Sound
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Cinematography
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Idea
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Producer
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Director
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Editor
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Sound
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Cinematography
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Idea
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Producer
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Director
A cinematographic logbook around the mythical island of Alicudi in Sicily.
A cinematographic logbook around the mythical island of Alicudi in Sicily.
Sound
Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).
Editor
Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).
Cinematography
Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).
Idea
Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).
Producer
Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).
Director
Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).
Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).
Cinematography
Editor
Sound
Producer
Idea
Director
Sound
Snowfalls: their rhythm has been reworked creating a hypnotic effect.
Editor
Snowfalls: their rhythm has been reworked creating a hypnotic effect.
Cinematography
Snowfalls: their rhythm has been reworked creating a hypnotic effect.
Idea
Snowfalls: their rhythm has been reworked creating a hypnotic effect.
Producer
Snowfalls: their rhythm has been reworked creating a hypnotic effect.
Director
Snowfalls: their rhythm has been reworked creating a hypnotic effect.
Producer
Sound
Cinematography
Idea
Director
Special Effects
"On the occasion of the premiere of Nel Regno di Napoli in Cannes in 1978, Werner Schroeter gave me an audio interview about this film and about his work in general. Our meeting took place on the terrace of the Hotel Majestic, in the midst of excitement of the Cannes festival life, a few days after the screening of Nel Regno di Napoli and in the presence of the photographer Jean-Claude Moireau. Vivre à Naples et mourir is the audio capture of that informal meeting that happened on 20 May 1978 and which is, as per director's wish, more like a casual conversation than an interview in the strict sense of the term (a set of questions and answers).
Sound
"On the occasion of the premiere of Nel Regno di Napoli in Cannes in 1978, Werner Schroeter gave me an audio interview about this film and about his work in general. Our meeting took place on the terrace of the Hotel Majestic, in the midst of excitement of the Cannes festival life, a few days after the screening of Nel Regno di Napoli and in the presence of the photographer Jean-Claude Moireau. Vivre à Naples et mourir is the audio capture of that informal meeting that happened on 20 May 1978 and which is, as per director's wish, more like a casual conversation than an interview in the strict sense of the term (a set of questions and answers).
Producer
"On the occasion of the premiere of Nel Regno di Napoli in Cannes in 1978, Werner Schroeter gave me an audio interview about this film and about his work in general. Our meeting took place on the terrace of the Hotel Majestic, in the midst of excitement of the Cannes festival life, a few days after the screening of Nel Regno di Napoli and in the presence of the photographer Jean-Claude Moireau. Vivre à Naples et mourir is the audio capture of that informal meeting that happened on 20 May 1978 and which is, as per director's wish, more like a casual conversation than an interview in the strict sense of the term (a set of questions and answers).
Himself
"On the occasion of the premiere of Nel Regno di Napoli in Cannes in 1978, Werner Schroeter gave me an audio interview about this film and about his work in general. Our meeting took place on the terrace of the Hotel Majestic, in the midst of excitement of the Cannes festival life, a few days after the screening of Nel Regno di Napoli and in the presence of the photographer Jean-Claude Moireau. Vivre à Naples et mourir is the audio capture of that informal meeting that happened on 20 May 1978 and which is, as per director's wish, more like a casual conversation than an interview in the strict sense of the term (a set of questions and answers).
Director
"On the occasion of the premiere of Nel Regno di Napoli in Cannes in 1978, Werner Schroeter gave me an audio interview about this film and about his work in general. Our meeting took place on the terrace of the Hotel Majestic, in the midst of excitement of the Cannes festival life, a few days after the screening of Nel Regno di Napoli and in the presence of the photographer Jean-Claude Moireau. Vivre à Naples et mourir is the audio capture of that informal meeting that happened on 20 May 1978 and which is, as per director's wish, more like a casual conversation than an interview in the strict sense of the term (a set of questions and answers).
Editor
Sound
Cinematography
Idea
Producer
Director
Editor
Travelling through kms of concrete and urbanisation before reaching the ocean.
Sound
Travelling through kms of concrete and urbanisation before reaching the ocean.
Cinematography
Travelling through kms of concrete and urbanisation before reaching the ocean.
Producer
Travelling through kms of concrete and urbanisation before reaching the ocean.
Director
Travelling through kms of concrete and urbanisation before reaching the ocean.
Idea
BB X 20 is the compression of 20 films starring Brigitte Bardot, released between 1952 and 1970. Every film is reduced to 25 times the original length, resulting in approximately 4 minutes. BB X 20 is an absolutely complete compression: this anthology devoted to Brigitte Bardot doesn’t miss a single shot of the original films ! The work, presented in chronological order beginning with 1952, the year she first appeared on screen, slowly reveal the creation and transformation of Brigitte Bardot into an icon.
Producer
BB X 20 is the compression of 20 films starring Brigitte Bardot, released between 1952 and 1970. Every film is reduced to 25 times the original length, resulting in approximately 4 minutes. BB X 20 is an absolutely complete compression: this anthology devoted to Brigitte Bardot doesn’t miss a single shot of the original films ! The work, presented in chronological order beginning with 1952, the year she first appeared on screen, slowly reveal the creation and transformation of Brigitte Bardot into an icon.
Editor
BB X 20 is the compression of 20 films starring Brigitte Bardot, released between 1952 and 1970. Every film is reduced to 25 times the original length, resulting in approximately 4 minutes. BB X 20 is an absolutely complete compression: this anthology devoted to Brigitte Bardot doesn’t miss a single shot of the original films ! The work, presented in chronological order beginning with 1952, the year she first appeared on screen, slowly reveal the creation and transformation of Brigitte Bardot into an icon.
Director
BB X 20 is the compression of 20 films starring Brigitte Bardot, released between 1952 and 1970. Every film is reduced to 25 times the original length, resulting in approximately 4 minutes. BB X 20 is an absolutely complete compression: this anthology devoted to Brigitte Bardot doesn’t miss a single shot of the original films ! The work, presented in chronological order beginning with 1952, the year she first appeared on screen, slowly reveal the creation and transformation of Brigitte Bardot into an icon.
Cinematography
A wandering in the various districts of Dresden a martyrdom city of the Second World War.
Sound
A wandering in the various districts of Dresden a martyrdom city of the Second World War.
Editor
A wandering in the various districts of Dresden a martyrdom city of the Second World War.
Producer
A wandering in the various districts of Dresden a martyrdom city of the Second World War.
Director
A wandering in the various districts of Dresden a martyrdom city of the Second World War.
Sound
Editor
Producer
Director
Producer
On the occasion of the 7th meetings of Digne, Pour un autre cinéma, organized by Pierre Queyrel and which presented a retrospective of Philippe Garrel's cinematographic work, this film is the sound recording of the discussion that the filmmaker made with the audience after the screening of his films Marie pour mémoire, Athanor, Voyage au jardin des morts and Le Bleu des origines.
Special Effects
On the occasion of the 7th meetings of Digne, Pour un autre cinéma, organized by Pierre Queyrel and which presented a retrospective of Philippe Garrel's cinematographic work, this film is the sound recording of the discussion that the filmmaker made with the audience after the screening of his films Marie pour mémoire, Athanor, Voyage au jardin des morts and Le Bleu des origines.
Editor
On the occasion of the 7th meetings of Digne, Pour un autre cinéma, organized by Pierre Queyrel and which presented a retrospective of Philippe Garrel's cinematographic work, this film is the sound recording of the discussion that the filmmaker made with the audience after the screening of his films Marie pour mémoire, Athanor, Voyage au jardin des morts and Le Bleu des origines.
Director
On the occasion of the 7th meetings of Digne, Pour un autre cinéma, organized by Pierre Queyrel and which presented a retrospective of Philippe Garrel's cinematographic work, this film is the sound recording of the discussion that the filmmaker made with the audience after the screening of his films Marie pour mémoire, Athanor, Voyage au jardin des morts and Le Bleu des origines.
Producer
Courant registered Garrel’s dialogues in order to produce his first urgent film, the first of his essays inquiring the state of current cinema. As a synthesis for the 20th century, Garrel invoked his relationship with Freud, Henri Langlois, Orson Welles, Marx, The Rolling Stones, Godard, Warhol, Picasso and Bergman and draw a territory in that different kind of cinema also inhabited by Courant’s art. Four years later –as a sequel, and a first example of Courant’s series– there was another meeting with Garrel, where again the filmmaker adds names related to his sensitivity, such as Murnau, Von Stroheim, the Lumière brothers, Abel Gance, Polanski, Rivette; the writers André Breton and Gabriele d’Annunzio; and the actresses Anna Karina, Nico, Zouzou and Maria Schneider –three stars of his films. (Diego Trerotola)
Special Effects
Courant registered Garrel’s dialogues in order to produce his first urgent film, the first of his essays inquiring the state of current cinema. As a synthesis for the 20th century, Garrel invoked his relationship with Freud, Henri Langlois, Orson Welles, Marx, The Rolling Stones, Godard, Warhol, Picasso and Bergman and draw a territory in that different kind of cinema also inhabited by Courant’s art. Four years later –as a sequel, and a first example of Courant’s series– there was another meeting with Garrel, where again the filmmaker adds names related to his sensitivity, such as Murnau, Von Stroheim, the Lumière brothers, Abel Gance, Polanski, Rivette; the writers André Breton and Gabriele d’Annunzio; and the actresses Anna Karina, Nico, Zouzou and Maria Schneider –three stars of his films. (Diego Trerotola)
Editor
Courant registered Garrel’s dialogues in order to produce his first urgent film, the first of his essays inquiring the state of current cinema. As a synthesis for the 20th century, Garrel invoked his relationship with Freud, Henri Langlois, Orson Welles, Marx, The Rolling Stones, Godard, Warhol, Picasso and Bergman and draw a territory in that different kind of cinema also inhabited by Courant’s art. Four years later –as a sequel, and a first example of Courant’s series– there was another meeting with Garrel, where again the filmmaker adds names related to his sensitivity, such as Murnau, Von Stroheim, the Lumière brothers, Abel Gance, Polanski, Rivette; the writers André Breton and Gabriele d’Annunzio; and the actresses Anna Karina, Nico, Zouzou and Maria Schneider –three stars of his films. (Diego Trerotola)
Idea
Courant registered Garrel’s dialogues in order to produce his first urgent film, the first of his essays inquiring the state of current cinema. As a synthesis for the 20th century, Garrel invoked his relationship with Freud, Henri Langlois, Orson Welles, Marx, The Rolling Stones, Godard, Warhol, Picasso and Bergman and draw a territory in that different kind of cinema also inhabited by Courant’s art. Four years later –as a sequel, and a first example of Courant’s series– there was another meeting with Garrel, where again the filmmaker adds names related to his sensitivity, such as Murnau, Von Stroheim, the Lumière brothers, Abel Gance, Polanski, Rivette; the writers André Breton and Gabriele d’Annunzio; and the actresses Anna Karina, Nico, Zouzou and Maria Schneider –three stars of his films. (Diego Trerotola)
Director
Courant registered Garrel’s dialogues in order to produce his first urgent film, the first of his essays inquiring the state of current cinema. As a synthesis for the 20th century, Garrel invoked his relationship with Freud, Henri Langlois, Orson Welles, Marx, The Rolling Stones, Godard, Warhol, Picasso and Bergman and draw a territory in that different kind of cinema also inhabited by Courant’s art. Four years later –as a sequel, and a first example of Courant’s series– there was another meeting with Garrel, where again the filmmaker adds names related to his sensitivity, such as Murnau, Von Stroheim, the Lumière brothers, Abel Gance, Polanski, Rivette; the writers André Breton and Gabriele d’Annunzio; and the actresses Anna Karina, Nico, Zouzou and Maria Schneider –three stars of his films. (Diego Trerotola)
Editor
Sound
Cinematography
Idea
Producer
Director
Editor
Idea
Producer
Director
Sound
Cinematography
Idea
Producer
Director
Scenario Writer
Sound
Editor
Cinematography
Producer
Director
Sound
Editor
Cinematography
Producer
Director
Editor
Writer
Sound
Producer
Director
Sound
A journey through Bourgogne and Dijon where he lived for 15 years.
Editor
A journey through Bourgogne and Dijon where he lived for 15 years.
Cinematography
A journey through Bourgogne and Dijon where he lived for 15 years.
Producer
A journey through Bourgogne and Dijon where he lived for 15 years.
Director
A journey through Bourgogne and Dijon where he lived for 15 years.
Sound
From and back to the Place d'Arcy in Dijon, we travel through the city of his childhood.
Editor
From and back to the Place d'Arcy in Dijon, we travel through the city of his childhood.
Cinematography
From and back to the Place d'Arcy in Dijon, we travel through the city of his childhood.
Producer
From and back to the Place d'Arcy in Dijon, we travel through the city of his childhood.
Idea
From and back to the Place d'Arcy in Dijon, we travel through the city of his childhood.
Director
From and back to the Place d'Arcy in Dijon, we travel through the city of his childhood.
Editor
Sound
Cinematography
Producer
Director
Producer
Promenade through the district of Bercy in the East of the city of Paris.
Editor
Promenade through the district of Bercy in the East of the city of Paris.
Sound
Promenade through the district of Bercy in the East of the city of Paris.
Cinematography
Promenade through the district of Bercy in the East of the city of Paris.
Director
Promenade through the district of Bercy in the East of the city of Paris.
Producer
"Compression de À travers l'univers" is the reduction of my film À travers l'univers from 1 hour to 18 minutes into a 4-minute movie. The film is "compressed" like a work by Arman or Caesar. But unlike the work of these artists who compressed usual objects, this self-compression reduces a purely artistic object. The tour de force and the bet of Compression de À travers l'universe was to make a total compression: in this film, there is no lack of a single shot of the original film!
Cinematography
"Compression de À travers l'univers" is the reduction of my film À travers l'univers from 1 hour to 18 minutes into a 4-minute movie. The film is "compressed" like a work by Arman or Caesar. But unlike the work of these artists who compressed usual objects, this self-compression reduces a purely artistic object. The tour de force and the bet of Compression de À travers l'universe was to make a total compression: in this film, there is no lack of a single shot of the original film!
Editor
"Compression de À travers l'univers" is the reduction of my film À travers l'univers from 1 hour to 18 minutes into a 4-minute movie. The film is "compressed" like a work by Arman or Caesar. But unlike the work of these artists who compressed usual objects, this self-compression reduces a purely artistic object. The tour de force and the bet of Compression de À travers l'universe was to make a total compression: in this film, there is no lack of a single shot of the original film!
Director
"Compression de À travers l'univers" is the reduction of my film À travers l'univers from 1 hour to 18 minutes into a 4-minute movie. The film is "compressed" like a work by Arman or Caesar. But unlike the work of these artists who compressed usual objects, this self-compression reduces a purely artistic object. The tour de force and the bet of Compression de À travers l'universe was to make a total compression: in this film, there is no lack of a single shot of the original film!
Sound
Writer
Director
Scenario Writer
Director
Editor
Cinematography
Sound
Producer
Writer
Director
Self (archive footage)
Cinematography
"A Debate Across the Universe" is, on the one hand, the capture of the debate which followed the world premiere screening of my film "Across the Universe", presented as part of the "Ethnology and Cinema" in Grenoble, at the Les Méliès cinema in Saint-Marcellin and, on the other hand, the criticism of this debate and additional information relating to the staging of "Across the Universe".
Producer
"A Debate Across the Universe" is, on the one hand, the capture of the debate which followed the world premiere screening of my film "Across the Universe", presented as part of the "Ethnology and Cinema" in Grenoble, at the Les Méliès cinema in Saint-Marcellin and, on the other hand, the criticism of this debate and additional information relating to the staging of "Across the Universe".
Editor
"A Debate Across the Universe" is, on the one hand, the capture of the debate which followed the world premiere screening of my film "Across the Universe", presented as part of the "Ethnology and Cinema" in Grenoble, at the Les Méliès cinema in Saint-Marcellin and, on the other hand, the criticism of this debate and additional information relating to the staging of "Across the Universe".
Director
"A Debate Across the Universe" is, on the one hand, the capture of the debate which followed the world premiere screening of my film "Across the Universe", presented as part of the "Ethnology and Cinema" in Grenoble, at the Les Méliès cinema in Saint-Marcellin and, on the other hand, the criticism of this debate and additional information relating to the staging of "Across the Universe".
Himself
"A Debate Across the Universe" is, on the one hand, the capture of the debate which followed the world premiere screening of my film "Across the Universe", presented as part of the "Ethnology and Cinema" in Grenoble, at the Les Méliès cinema in Saint-Marcellin and, on the other hand, the criticism of this debate and additional information relating to the staging of "Across the Universe".
Editor
Through the Universe is the third section of my cinematic series Mes Villes d’Habitation (My Dwelling Towns). The film represents the autopsy of Saint-Marcellin, a small village in the Isère Region where I spent my childhood during the 50s. Through the Universe displays, in alphabetical order, all the 127 streets and 17 public squares of the town (updated to the period of the shooting, in 2004-2005), all shot following the same rules: in a 20-second-long wide, static, single shot. Every vista is preceded by the sign indicating the name of the street or plaza.
Director
Through the Universe is the third section of my cinematic series Mes Villes d’Habitation (My Dwelling Towns). The film represents the autopsy of Saint-Marcellin, a small village in the Isère Region where I spent my childhood during the 50s. Through the Universe displays, in alphabetical order, all the 127 streets and 17 public squares of the town (updated to the period of the shooting, in 2004-2005), all shot following the same rules: in a 20-second-long wide, static, single shot. Every vista is preceded by the sign indicating the name of the street or plaza.
Director
Himself
Trying to describe oneself is a movie about representation. How it is possible, through film, to describe oneself and describe others. With the camera as mirror and third eye. At first, a collage-like combination of letter-writing, investigation and journey, something between documentary and feature film. Finally, a portrait of Boris Lehman from 1989 to 1995, part II of BABEL.
Editor
Cinematography
Producer
Director
Cinematography
On Good Friday in Burzet, a small town in Ardeche, the locals gather to remember Jesus's Crucifixion through solemn pageantry. Between 1980 and 2003, Courant filmed this community's annual reenactment of the Via Crucis 24 times.
Director
On Good Friday in Burzet, a small town in Ardeche, the locals gather to remember Jesus's Crucifixion through solemn pageantry. Between 1980 and 2003, Courant filmed this community's annual reenactment of the Via Crucis 24 times.
Himself
Les Deux Lucy is a short documentary portrait of the shooting of Raphaël Bassan's film Lucy en miroir. It's the opportunity for us to look at one of our contemporary filmmakers and important film critics of what we call in French cinémas differents, meaning a different way of making films. Our making of offers the opportunity to follow, step by step, the making of this short film with scenes shot on the set, and to listen to comments by the filmmaker about his work.
Jonathan (voice)
The fortuitous meeting of two women to the identical first name, Lucy, who formerly loved the same man, Jonathan, induced, in this film, of the polysemous variations on the memory, art, and the difficult relationship between creation and emotional life. Dehumanized by an exclusive artistic practice, the man lost his reference marks little by little. "Lucy en miroir" wants to be, also, a shifted and transverse second reading of "The Contempt" ("Le Mépris") of Godard, by a step more plastic than analytical or conclusive.
Director
Director
Cinematography
15 years through Le Bois de Vincennes - The "before" and "after" 1999 storm destructions.
Sound
15 years through Le Bois de Vincennes - The "before" and "after" 1999 storm destructions.
Writer
15 years through Le Bois de Vincennes - The "before" and "after" 1999 storm destructions.
Director
15 years through Le Bois de Vincennes - The "before" and "after" 1999 storm destructions.
15 years through Le Bois de Vincennes - The "before" and "after" 1999 storm destructions.
Director
Quand reverrai-je mon petit village is an episode of the Carnets filmés, which was filmed entirely in France and follows Route d'argent, which was filmed entirely in Ca
Cinematography
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?
Scenario Writer
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?
Director
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?
Self
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?
Director
Route d'argent is a journey through three Atlantic Canadian provinces: Nova Scotia, New Brunswick and Prince Edward Island. The film takes in Moncton, New Brunswick; Halifax, Nova Scotia; Victoria, Prince Edward Island; Bouctouche, New Brunswick; and, at length, Caraquet, New Brunswick. We visit the Public Gardens in Halifax, Hopewell Rocks Provincial Park and its famous "Flowerpots", the Pays de la Sagouine Tourist Park in Bouctouche and the Village Historique Acadien in Caraquet.
Producer
Encore Cinématé ! is a fake Cinématon by Gérard Courant, the author and designer of this famous film series. It is not part of the anthology and is therefore out of collection. However, he has all the characteristics of an official Cinématon but the filmmaker, who had just lent himself to the cinematon game a year earlier, on the occasion of the 2000th portrait of his collection, did not want to overload his fetish series with new portraits of him. He preferred not to integrate it while ensuring that this portrait has a real existence, that it is visible and that it is a film in its own right.
Editor
Encore Cinématé ! is a fake Cinématon by Gérard Courant, the author and designer of this famous film series. It is not part of the anthology and is therefore out of collection. However, he has all the characteristics of an official Cinématon but the filmmaker, who had just lent himself to the cinematon game a year earlier, on the occasion of the 2000th portrait of his collection, did not want to overload his fetish series with new portraits of him. He preferred not to integrate it while ensuring that this portrait has a real existence, that it is visible and that it is a film in its own right.
Cinematography
Encore Cinématé ! is a fake Cinématon by Gérard Courant, the author and designer of this famous film series. It is not part of the anthology and is therefore out of collection. However, he has all the characteristics of an official Cinématon but the filmmaker, who had just lent himself to the cinematon game a year earlier, on the occasion of the 2000th portrait of his collection, did not want to overload his fetish series with new portraits of him. He preferred not to integrate it while ensuring that this portrait has a real existence, that it is visible and that it is a film in its own right.
Director
Encore Cinématé ! is a fake Cinématon by Gérard Courant, the author and designer of this famous film series. It is not part of the anthology and is therefore out of collection. However, he has all the characteristics of an official Cinématon but the filmmaker, who had just lent himself to the cinematon game a year earlier, on the occasion of the 2000th portrait of his collection, did not want to overload his fetish series with new portraits of him. He preferred not to integrate it while ensuring that this portrait has a real existence, that it is visible and that it is a film in its own right.
Himself
Encore Cinématé ! is a fake Cinématon by Gérard Courant, the author and designer of this famous film series. It is not part of the anthology and is therefore out of collection. However, he has all the characteristics of an official Cinématon but the filmmaker, who had just lent himself to the cinematon game a year earlier, on the occasion of the 2000th portrait of his collection, did not want to overload his fetish series with new portraits of him. He preferred not to integrate it while ensuring that this portrait has a real existence, that it is visible and that it is a film in its own right.
Director
Lucia Sanchez, "Cinématon" n° 2014 shows the behind-the-scenes and filming of actress Lucia Sanchez's Cinematon.
Director
Florence Loiret-Caille, Cinématon n°2013 shows the aftermath and the filming of actress Florence Loiret-Caille's Cinématon on the site of her birth (where she had never returned!).
Director
Almost all of this episode of the Carnets filmés, with the evocative title, Tout est Brisé is devoted to the misdeeds of the storm of 26 December 1999 on the Bois de Vincennes, whose forest extends at the foot of my building. For several months, I was the cinematographic witness of this disaster which brought down more than half of the 130,000 trees in the Bois.
Cinematography
A documentary about Luc Moullet and the mountainous locations featured in his films.
Scenario Writer
A documentary about Luc Moullet and the mountainous locations featured in his films.
Director
A documentary about Luc Moullet and the mountainous locations featured in his films.
Director
Iliana Lolic fait l'éloge de Luc Moullet is part of the Carnets filmés that Gérard Courant has been making since the 1970s. The film is a meeting, filmed on 20 August 2000 in Paris, with the actress Iliana Lolic. In this film by Gérard Courant, Iliana Lolic, an actress in Le Fantôme de Longstaff (1996) and Au champ d'honneur (1998) by Luc Moullet, talks about her cinematic experience with this unclassifiable filmmaker.
Director
Marie-Christine Questerbert narrates Luc Moullet is part of the Carnets filmés that Gérard Courant has been making since the 1970s. The film is a meeting, filmed on 20 August 2000 in Paris, with Marie-Christine Questerbert, film critic, director and actress, mainly in the films of Luc Moullet. In this film by Gérard Courant, Marie-Christine Questerbert, the main actress in Une aventure de Billy le Kid (1970) and Anatomie d'un rapport (1975, co-directed with Antonietta Pizzorno) by Luc Moullet, talks about her cinematic experiences with this extraordinary director.
Cinematography
Editor
Producer
Director
Idea
An ongoing series of window views from hotel rooms where Courant has stayed.
Producer
An ongoing series of window views from hotel rooms where Courant has stayed.
Cinematography
An ongoing series of window views from hotel rooms where Courant has stayed.
Editor
An ongoing series of window views from hotel rooms where Courant has stayed.
Director
An ongoing series of window views from hotel rooms where Courant has stayed.
Scenario Writer
Director
Director
There are certain recurring themes: travel, desolate landscapes (especially in the Vivarais region), love of the cinema, the pleasure of wandering through towns, the side effects of my filming (in this episode, the Diary of Joseph M). We also encounter the same obsessions and concerns: the influence of the seasons, the fascination of faces, the taste for colours, the importance of the memory of places and people.
Himself
30 years after their artistic revolution, members of the Zanzibar group meet in 1999 in Saint-Sulpice Square in Paris (France) in front of Gérard Courant's camera.
Producer
30 years after their artistic revolution, members of the Zanzibar group meet in 1999 in Saint-Sulpice Square in Paris (France) in front of Gérard Courant's camera.
Editor
30 years after their artistic revolution, members of the Zanzibar group meet in 1999 in Saint-Sulpice Square in Paris (France) in front of Gérard Courant's camera.
Cinematography
30 years after their artistic revolution, members of the Zanzibar group meet in 1999 in Saint-Sulpice Square in Paris (France) in front of Gérard Courant's camera.
Director
30 years after their artistic revolution, members of the Zanzibar group meet in 1999 in Saint-Sulpice Square in Paris (France) in front of Gérard Courant's camera.
Director
This new episode of the Notebooks is entitled The New Desert (4 March 1998 to 26 November 1998). These are years of cinematographic maturity in a world that is searching for its bearings and has not found its bearings following the collapse and disappearance of the USSR and its communist satellites. It was a period of indecision and uncertainty. Are we happy? Is one unhappy? Nobody really knows. I travel, film, watch the events that come before my camera. I travel, film, watch the events that come before my camera. But I only retain the most insignificant or the most unusual, those that do not make history but are my history. My eye lingers on what others don't look at, on the banality of things, on what television and mainstream cinema ignore.
Director
Across the city, a Canadian megalopolis, Gérard Courant's images, blurred and faded, write the sound of Kraftwerck. Synthetic, techno... it illustrates movement, speed, rhythm. From the woods on the outskirts to the large, wide avenues, passers-by see the big cars go by. Night follows day, in the big city, pedestrians are anonymous.
Voyage au centre du monde is, following an invitation from the new Belgrade town hall and the government of the Republika Serbska, the film brought back by Gérard Courant from his trip with a group of writers in Yugoslavia and Bosnia and Herzegovina.
Sound
Voyage au centre du monde is, following an invitation from the new Belgrade town hall and the government of the Republika Serbska, the film brought back by Gérard Courant from his trip with a group of writers in Yugoslavia and Bosnia and Herzegovina.
Editor
Voyage au centre du monde is, following an invitation from the new Belgrade town hall and the government of the Republika Serbska, the film brought back by Gérard Courant from his trip with a group of writers in Yugoslavia and Bosnia and Herzegovina.
Cinematography
Voyage au centre du monde is, following an invitation from the new Belgrade town hall and the government of the Republika Serbska, the film brought back by Gérard Courant from his trip with a group of writers in Yugoslavia and Bosnia and Herzegovina.
Idea
Voyage au centre du monde is, following an invitation from the new Belgrade town hall and the government of the Republika Serbska, the film brought back by Gérard Courant from his trip with a group of writers in Yugoslavia and Bosnia and Herzegovina.
Producer
Voyage au centre du monde is, following an invitation from the new Belgrade town hall and the government of the Republika Serbska, the film brought back by Gérard Courant from his trip with a group of writers in Yugoslavia and Bosnia and Herzegovina.
Director
Voyage au centre du monde is, following an invitation from the new Belgrade town hall and the government of the Republika Serbska, the film brought back by Gérard Courant from his trip with a group of writers in Yugoslavia and Bosnia and Herzegovina.
Editor
Amours décolorées is a cinematographic poem to the glory of Mariola San Martin, model, stylist, dancer and Spanish photographer.
Scenario Writer
Amours décolorées is a cinematographic poem to the glory of Mariola San Martin, model, stylist, dancer and Spanish photographer.
Cinematography
Amours décolorées is a cinematographic poem to the glory of Mariola San Martin, model, stylist, dancer and Spanish photographer.
Director
Amours décolorées is a cinematographic poem to the glory of Mariola San Martin, model, stylist, dancer and Spanish photographer.
Amours décolorées is a cinematographic poem to the glory of Mariola San Martin, model, stylist, dancer and Spanish photographer.
Editor
An ongoing collection of single static shot, mute, showing a view of the cinema facades where Cinematons have been screened.
Cinematography
An ongoing collection of single static shot, mute, showing a view of the cinema facades where Cinematons have been screened.
Idea
An ongoing collection of single static shot, mute, showing a view of the cinema facades where Cinematons have been screened.
Producer
An ongoing collection of single static shot, mute, showing a view of the cinema facades where Cinematons have been screened.
Director
An ongoing collection of single static shot, mute, showing a view of the cinema facades where Cinematons have been screened.
Producer
Director
Director
Mongibello is an episode of Gérard Courant's Filmed Notebooks shot in Châteauroux, Paris, Taormina, Saint-Maurice, in the Vivarais region, in Burzet, Villefranche-sur-Saône, Deauville and Moncton, in New Brunswick, Canada.
Scenario Writer
Director
Self
Director
Under the expert eye of Gérard Courant's camera, Janine Anquetil, the widow of cycling champion Jacques Anquetil, five-time winner of the Tour de France (between 1957 and 1964), recounts her husband's career, which was full of exceptional events.
Director
Filmed on the Longchamp cycling circuit in Paris, the writer Olivier Dazat, author of the books Seigneurs et forçats du vélo (published by Calmann-Lévy) and Panache (published by Le Dilettante), shares his thoughts on the champions Fausto Coppi, Hugo Koblet, Jacques Anquetil, Raymond Poulidor, Luis Ocaña and Eddy Merckx.
Cinematography
Coude à coude is an episode of Gérard Courant's Filmed Carnets that follows Velo Love (July 1 to 3, 1996), in which journalist and screenwriter Alain Riou proposed to the filmmaker to accompany him by bike on the course of the mountain stage of the Tour de France, Chambéry-Les Arcs.
Editor
Coude à coude is an episode of Gérard Courant's Filmed Carnets that follows Velo Love (July 1 to 3, 1996), in which journalist and screenwriter Alain Riou proposed to the filmmaker to accompany him by bike on the course of the mountain stage of the Tour de France, Chambéry-Les Arcs.
Director
Coude à coude is an episode of Gérard Courant's Filmed Carnets that follows Velo Love (July 1 to 3, 1996), in which journalist and screenwriter Alain Riou proposed to the filmmaker to accompany him by bike on the course of the mountain stage of the Tour de France, Chambéry-Les Arcs.
Himself
Coude à coude is an episode of Gérard Courant's Filmed Carnets that follows Velo Love (July 1 to 3, 1996), in which journalist and screenwriter Alain Riou proposed to the filmmaker to accompany him by bike on the course of the mountain stage of the Tour de France, Chambéry-Les Arcs.
Director
On the occasion of the shooting of his film Chambéry-Les Arcs, entirely devoted to his passion for cycling, Gérard Courant met the writer and journalist Pierre Vavasseur, the scriptwriter and journalist Alain Riou and the filmmaker Luc Moullet with whom he shares this passion. Pierre Vavasseur, from Le Parisien, invited Gérard Courant to follow a mountain stage of the Tour de France and Alain Riou, who is used to the great passes of the Alps, suggested that the filmmaker cycle with him on the same stage a few days before the riders.
Director
Following on from Le Passé retrouvé, we find the same litanies that were the charm of the previous episodes: travel, the love of cinema, my filming and the passion for cycling. The same concerns are present: the fascination of faces, the cult of friendship and the importance of places.
Cinematography
Editor
Producer
Director
Producer
Director
Director
Le Passager Solitaire is a new drift through my favourite regions: Bugey, Vivarais, Burgundy but also Moscow, Kiev and... Saint-Maurice, in the Paris suburbs where I live.
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.
Producer
"Ponts routiers de la Seine à Paris" is a film series that shows, in a single fixed, wide and silent plan all the bridges (and bridges) that span the Seine in Paris. (Rail bridges and motorway bridges on the ring road are excluded). The bridges are filmed in order, from upstream to downstream. The camera is placed on the left bank and films towards the right bank.
Cinematography
"Ponts routiers de la Seine à Paris" is a film series that shows, in a single fixed, wide and silent plan all the bridges (and bridges) that span the Seine in Paris. (Rail bridges and motorway bridges on the ring road are excluded). The bridges are filmed in order, from upstream to downstream. The camera is placed on the left bank and films towards the right bank.
Editor
"Ponts routiers de la Seine à Paris" is a film series that shows, in a single fixed, wide and silent plan all the bridges (and bridges) that span the Seine in Paris. (Rail bridges and motorway bridges on the ring road are excluded). The bridges are filmed in order, from upstream to downstream. The camera is placed on the left bank and films towards the right bank.
Director
"Ponts routiers de la Seine à Paris" is a film series that shows, in a single fixed, wide and silent plan all the bridges (and bridges) that span the Seine in Paris. (Rail bridges and motorway bridges on the ring road are excluded). The bridges are filmed in order, from upstream to downstream. The camera is placed on the left bank and films towards the right bank.
Le maso
A bicycle race is held every year in a pass of the Alps called Parpaillon. With the energy of a skillful cyclist perhaps as a great tribute to François, the mailman played by Tati in The Big Day, Moullet makes a comedy by pedaling at a pace that allows him to reinvent the possibilities of film gags. La Cabale des oursins is a guided tour to the northern France, transformed into a Geography lesson in the pataphysical style of an Alfred Jarry disciple.
Producer
A travelling journal of 100 movements from 1978 to 1992.
Cinematography
A travelling journal of 100 movements from 1978 to 1992.
Editor
A travelling journal of 100 movements from 1978 to 1992.
Idea
A travelling journal of 100 movements from 1978 to 1992.
Director
A travelling journal of 100 movements from 1978 to 1992.
Producer
Director
Director
La Terre des Vivants, is serenity in the midst of an increasingly fast-moving world. This new part of the Filmed Diaries is spread over only six months (from 1 January 1992 to 30 June 1992). In response to this agitation, The Land of the Living is nothing but calm and contemplation. These are slow journeys on Swiss soil (Geneva, Lausanne, La Chaux de Fonds, Bienne), in the Morvan, the Bugey, Cherbourg, the Southern Alps. And Paris seen from its very bowels: by slow boat travels on the Seine.
Editor
Series of areas that are dear to him(Morvan, Bugey, les Aples, Vivarais,…etc.). Shots taken while driving from his car, holding the camera with his right hand without looking through the viewfinder while I driving withf his left hand.
Cinematography
Series of areas that are dear to him(Morvan, Bugey, les Aples, Vivarais,…etc.). Shots taken while driving from his car, holding the camera with his right hand without looking through the viewfinder while I driving withf his left hand.
Producer
Series of areas that are dear to him(Morvan, Bugey, les Aples, Vivarais,…etc.). Shots taken while driving from his car, holding the camera with his right hand without looking through the viewfinder while I driving withf his left hand.
Director
Series of areas that are dear to him(Morvan, Bugey, les Aples, Vivarais,…etc.). Shots taken while driving from his car, holding the camera with his right hand without looking through the viewfinder while I driving withf his left hand.
Director
Every Good Friday, the inhabitants of Burzet, in Ardèche, repeat the Way of the Cross of the Passion of Christ. In 1992, the filmmaker Jean-Pierre Bozon filmed this ceremony at length and met the main characters in this seven-century-old Way of the Cross. Gérard Courant collected and edited the rushes from this filming and made five films. The third, Gaston Hilaire, the former centurion of Burzet, is an encounter with Gaston Hilaire, the former centurion of the Passion of Burzet.
Director
Every Good Friday, the inhabitants of Burzet, in Ardèche, repeat the Way of the Cross of the Passion of Christ. In 1992, the filmmaker Jean-Pierre Bozon filmed this ceremony at length and met the main characters in this seven-century-old Way of the Cross. Gérard Courant collected and edited the rushes from this filming and made five films. The first, Régis Audigier, le Christ de Burzet, is an encounter with Régis Audigier, farmer and interpreter of the Christ of the Passion of Burzet.
Director
Every Good Friday, the inhabitants of Burzet, in Ardèche, repeat the Way of the Cross of the Passion of Christ. In 1992, the filmmaker Jean-Pierre Bozon filmed this ceremony at length and met the main characters in this seven-century-old Way of the Cross. Gérard Courant collected and edited the rushes from this filming and made five films. The fourth, Bernard de Chanaleilles, le Simon de Cyrène de Burzet, is an encounter with Bernard de Chanaleilles, interpreter of Simon de Cyrène in the Burzet Passion.
Director
Every Good Friday, the inhabitants of Burzet, in Ardèche, repeat the Way of the Cross of the Passion of Christ. In 1992, the filmmaker Jean-Pierre Bozon filmed this ceremony at length and met the main characters in this seven-century-old Way of the Cross. Gérard Courant collected and edited the rushes from this filming and made five films. The second, Solange and Jean Mounier, Véronique et le Centurion de Burzet, is a meeting with Solange and Jean Mounier, interpreters of Véronique and the centurion of the Passion of Burzet.
Director
Le Nouvel Hiver is a slightly disillusioned reflection on the state of the world (the fall of the Berlin Wall, the end of the USSR, the Gulf War), the events of which are the thread of this year's Notebooks (1 January 1991 to 31 December 1991). Of course, these Notebooks are far from this sinister current events because life is elsewhere, in creation and in a quest for the absolute. And then, Le Nouvel Hiver takes us into surprising encounters (with Ken Loach, Brigitte Lahaie) and transports us to places I can't live without (the Ardèche in the North).
Sound
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Editor
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Cinematography
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Producer
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Director
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Sound
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Editor
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Cinematography
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Producer
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Director
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Sound
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Producer
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Editor
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Cinematography
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Director
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Sound
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Editor
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Cinematography
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Producer
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Director
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Producer
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Editor
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Cinematography
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Director
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Cinematography
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Editor
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Producer
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Director
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Producer
Sound
Editor
Cinematography
Director
Cinematography
Cinécabot is a series of one shot portraits between a person and his/her dog(s) interacting together as they please.
Idea
Cinécabot is a series of one shot portraits between a person and his/her dog(s) interacting together as they please.
Producer
Cinécabot is a series of one shot portraits between a person and his/her dog(s) interacting together as they please.
Director
Cinécabot is a series of one shot portraits between a person and his/her dog(s) interacting together as they please.
Editor
A series of portraits filmed in one shot between a person and his/her cat(s) person, free to do what they want.
Cinematography
A series of portraits filmed in one shot between a person and his/her cat(s) person, free to do what they want.
Producer
A series of portraits filmed in one shot between a person and his/her cat(s) person, free to do what they want.
Idea
A series of portraits filmed in one shot between a person and his/her cat(s) person, free to do what they want.
Director
A series of portraits filmed in one shot between a person and his/her cat(s) person, free to do what they want.
Producer
Director
Director
Director
Histoires ordinaires is a filmed diary that covers the year 1990.
Director
Double Jeu is a filmed Notebook which covers the year 1989.
Inspired by the detention of Jean-Paul Kauffmann and Michel Seurat in Lebanon, hostages and improbable currency for terrorists...
Director
Director
Director
Director
Et si on jouait? is the first episode of my Filmed Notebooks shot on video, whereas all the others were shot on film for nearly fifteen years.
Producer
Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.
Sound
Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.
Cinematography
Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.
Editor
Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.
Director
Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.
Himself
Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.
Sound
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.
Editor
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.
Cinematography
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.
Writer
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.
Director
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.
Producer
Trio is a cinematic series of filmed portraits that shows, in a single large, fixed and silent shot of 3 minutes and 20 seconds, three people free to do what they want.
Editor
Trio is a cinematic series of filmed portraits that shows, in a single large, fixed and silent shot of 3 minutes and 20 seconds, three people free to do what they want.
Cinematography
Trio is a cinematic series of filmed portraits that shows, in a single large, fixed and silent shot of 3 minutes and 20 seconds, three people free to do what they want.
Idea
Trio is a cinematic series of filmed portraits that shows, in a single large, fixed and silent shot of 3 minutes and 20 seconds, three people free to do what they want.
Director
Trio is a cinematic series of filmed portraits that shows, in a single large, fixed and silent shot of 3 minutes and 20 seconds, three people free to do what they want.
Producer
Editor
Cinematography
Idea
Director
L'inspecteur
Two young girls meet, Reinette from the countryside and Mirabelle from Paris, and decide to take a flat together in Paris where they attend University. Four successive stories about their daily lives illustrate the very different views, characters and relation to the world of these two friends.
Director
I give a methodical account of my film work: the creation of new series (Lire, Trio, Avec Mariola), the shooting of a new feature film (Amours décolorées which will take ten years to edit) with Mariola San Martin.
Sound
Lire is a cinematographic series of filmed portraits that shows, in a single large fixed and sound sequence shot of 3 minutes 20 seconds, a writer reading the beginning of his last published book.
Producer
Lire is a cinematographic series of filmed portraits that shows, in a single large fixed and sound sequence shot of 3 minutes 20 seconds, a writer reading the beginning of his last published book.
Editor
Lire is a cinematographic series of filmed portraits that shows, in a single large fixed and sound sequence shot of 3 minutes 20 seconds, a writer reading the beginning of his last published book.
Cinematography
Lire is a cinematographic series of filmed portraits that shows, in a single large fixed and sound sequence shot of 3 minutes 20 seconds, a writer reading the beginning of his last published book.
Idea
Lire is a cinematographic series of filmed portraits that shows, in a single large fixed and sound sequence shot of 3 minutes 20 seconds, a writer reading the beginning of his last published book.
Director
Lire is a cinematographic series of filmed portraits that shows, in a single large fixed and sound sequence shot of 3 minutes 20 seconds, a writer reading the beginning of his last published book.
Director
Editor
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Cinematography
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Producer
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Director
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
A diverse group of guests gather in a small hotel in Paris to contemplate the state of their lives in this pretentious drama. Joseph Goldman (Fernando Rey) is a washed-up Hollywood actor making a living in the dinner-theater circuit. Accompanied by his wife Sarah (Carole Regnier), Goldman meets Frederique (Berangere Bonvoisin), who is hiding from her former lover. French financier Arthur (Fabrice Luchini) hopes to get into the film industry and bends the ear of a British director (Michael Medwin). The talkative film has little action, and none of the characters evoke much interest or resolve their dilemma.
Director
Un jour l'hiver finira is an episode of Gérard Courant's filmed notebooks which is mainly devoted to the recording of three programmes on Radio France Berry Sud. In the first, on 17 March 1986, Gérard Patrigeon invited Pierre Laudijois and Dominique Marchès to talk about the retrospective of Gérard Courant's films that would take place a few days later. In the second, on 21 March 1986, Gérard Patrigeon invited the same two as well as Gérard Courant to discuss the screenings. In the third, Christian Daumas invited Pierre Laudijois, Dominique Laudijois, Gérard Courant, the child Martin Laudijois and the artist Philippe Vacher to make a positive assessment of this retrospective. In this programme the announcement is made of the organisation of a future independent film festival.
Producer
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.
Editor
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.
Cinematography
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.
Idea
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.
Director
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.
Producer
Couple is a cinematic series of portrait films, which show two persons, who free to do what they wish, in a fixed camera shot of 3:20 minutes.
Editor
Couple is a cinematic series of portrait films, which show two persons, who free to do what they wish, in a fixed camera shot of 3:20 minutes.
Cinematography
Couple is a cinematic series of portrait films, which show two persons, who free to do what they wish, in a fixed camera shot of 3:20 minutes.
Idea
Couple is a cinematic series of portrait films, which show two persons, who free to do what they wish, in a fixed camera shot of 3:20 minutes.
Director
Couple is a cinematic series of portrait films, which show two persons, who free to do what they wish, in a fixed camera shot of 3:20 minutes.
Inspecteur
The story about gladiators against a German background. One of them, Ettore, has become a star of the underworld. He ends up breaking down, caught in a role he can no longer fulfill. His last betrayal is to spill the beans to the press. –São Paulo International Film Festival
Director
Producer
Gérard Courant films the routes of his voyage in Greece with a Super8 camera. Reflections, waves, ports and landscapes are edited at a dizzying pace; in their midst, portraits appear of a very beautiful woman, along with images of the director who turns the camera on himself, showing his face reddened by the sun.
Sound
Gérard Courant films the routes of his voyage in Greece with a Super8 camera. Reflections, waves, ports and landscapes are edited at a dizzying pace; in their midst, portraits appear of a very beautiful woman, along with images of the director who turns the camera on himself, showing his face reddened by the sun.
Editor
Gérard Courant films the routes of his voyage in Greece with a Super8 camera. Reflections, waves, ports and landscapes are edited at a dizzying pace; in their midst, portraits appear of a very beautiful woman, along with images of the director who turns the camera on himself, showing his face reddened by the sun.
Director of Photography
Gérard Courant films the routes of his voyage in Greece with a Super8 camera. Reflections, waves, ports and landscapes are edited at a dizzying pace; in their midst, portraits appear of a very beautiful woman, along with images of the director who turns the camera on himself, showing his face reddened by the sun.
Director
Gérard Courant films the routes of his voyage in Greece with a Super8 camera. Reflections, waves, ports and landscapes are edited at a dizzying pace; in their midst, portraits appear of a very beautiful woman, along with images of the director who turns the camera on himself, showing his face reddened by the sun.
Gérard Courant films the routes of his voyage in Greece with a Super8 camera. Reflections, waves, ports and landscapes are edited at a dizzying pace; in their midst, portraits appear of a very beautiful woman, along with images of the director who turns the camera on himself, showing his face reddened by the sun.
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.
Director
Even if trips (Burzet, the Lac du Bourget, Geneva, Dijon, Normandy) punctuate La Marche du temps (1 April 1984 to 31 December 1984), this episode settles for a long time in Paris and its region.
Director
Reel 40 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 39 of Gérard Courant’s on-going Cinematon series.
Director
Reel 39 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 38 of Gérard Courant’s on-going Cinematon series.
Director
Reel 38 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 37 of Gérard Courant’s on-going Cinematon series.
Director
Reel 37 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 36 of Gérard Courant’s on-going Cinematon series.
Director
Reel 36 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 35 of Gérard Courant’s on-going Cinematon series.
Director
Reel 35 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 34 of Gérard Courant’s on-going Cinematon series.
Director
Reel 34 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 33 of Gérard Courant’s on-going Cinematon series.
Director
Reel 33 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 32 of Gérard Courant’s on-going Cinematon series.
Director
Reel 32 of Gérard Courant’s on-going Cinematon series.
Producer
An ongoing series of static shots of train stations around the world.
Editor
An ongoing series of static shots of train stations around the world.
Cinematography
An ongoing series of static shots of train stations around the world.
Idea
An ongoing series of static shots of train stations around the world.
Director
An ongoing series of static shots of train stations around the world.
Producer
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Editor
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Cinematography
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Director
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Producer
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Editor
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Cinematography
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Director
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Producer
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Editor
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Cinematography
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Director
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Sound
A Ciné-poem – An impressionist ballad in the early 80’s.
Editor
A Ciné-poem – An impressionist ballad in the early 80’s.
Cinematography
A Ciné-poem – An impressionist ballad in the early 80’s.
Producer
A Ciné-poem – An impressionist ballad in the early 80’s.
Director
A Ciné-poem – An impressionist ballad in the early 80’s.
A Ciné-poem – An impressionist ballad in the early 80’s.
Editor
Cinematography
Producer
Director
Director
An auspicious day to fill as Paris wakes up under a thick layer of snow; Dévotion is wandering to the Palais de Chaillot through a paralyzed Paris.
Cinematography
A song of love to the city of Genoa. The film wanders the streets of the city center and explore the beautiful cemetery and then climb the hills which offer an amazing view over the old town crossed by a highway and port.
Sound
A song of love to the city of Genoa. The film wanders the streets of the city center and explore the beautiful cemetery and then climb the hills which offer an amazing view over the old town crossed by a highway and port.
Editor
A song of love to the city of Genoa. The film wanders the streets of the city center and explore the beautiful cemetery and then climb the hills which offer an amazing view over the old town crossed by a highway and port.
Producer
A song of love to the city of Genoa. The film wanders the streets of the city center and explore the beautiful cemetery and then climb the hills which offer an amazing view over the old town crossed by a highway and port.
Director
A song of love to the city of Genoa. The film wanders the streets of the city center and explore the beautiful cemetery and then climb the hills which offer an amazing view over the old town crossed by a highway and port.
A song of love to the city of Genoa. The film wanders the streets of the city center and explore the beautiful cemetery and then climb the hills which offer an amazing view over the old town crossed by a highway and port.
Sound
Producer
Editor
Cinematography
Director
Director
"During the invitation to a film festival in Thessaloniki, Greece, where I presented the Cinématon and my feature film Blue Heart (which won a prize), I filmed the daily life of the city. The seafront, the university and the city where I was staying."
Producer
Reel 31 of Gérard Courant’s on-going Cinematon series.
Director
Reel 31 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 30 of Gérard Courant’s on-going Cinematon series.
Director
Reel 30 of Gérard Courant’s on-going Cinematon series.
Director
Les Vivants et les morts begins with a long sequence in both Berlin, mainly West Berlin, where I stay the whole month of January, thanks to a grant from the Goethe Institute. Then, most of this episode is a daily observation of Paris and the Butte Montmartre seen from my flat in Montparnasse.
Director
Filmed in parallel with the retrospective of Gérard Courant's films at the Studio Molière organised by the French Institute in Vienna. La Valse de Vienne is a cinematic stroll through the city of Vienna and an exploration of its historic centre. The film takes place at length around the Hofburg Palace.
Director
Die Reise nach Wien was filmed in parallel with the retrospective of Gérard Courant's films at the Studio Molière organised by the French Institute in Vienna. Die Reise nach Wien is a cinematic tour of the city of Vienna. The film takes place at length in front of the Wiener Staatsoper (Vienna State Opera).
Director
Le Monde Impatient is an episode of the Filmed Diaries that takes place in New York on the occasion of my second visit to the city. It's a long wander through Manhattan, the Bronx and Queens. The end of this episode of Filmed Notebooks takes me to my favourite French regions: the Vivarais, the Velay and Saint-Marcellin, at the foot of the Vercors, where I lived as a child in the 1950s.
Director
L'Arbre de la Vie is, first of all, a summer trip to the island of Sifnos, Greece, then, in Paris, the film shows the preparations for the shooting of my new film, The Adventures of Eddie Turley, with Philip Dubuquoy, Françoise Michaud, Joël Barbouth, Joseph Morder and Gérard Tallet.
Director
Esquisses Helléniques pour "A propos de la Grèce" is a filmed diary which is a summer journey through the Greece of Athens and the islands. This film served as a preparation for the feature film, A propos de la Grèce.
Director
Études préparatoires pour "À propos de la Grèce" is a filmed diary that is a summer journey through the Greek islands. This film served as a preparation for the feature film, À propos de la Grèce.
Director
Le Voyageur sans Ombre is a sort of antechamber to Aventures d'Eddie Turley. We can follow step by step the progress of the filming with Philip Dubuquoy, Françoise Michaud and Joseph Morder during their travels in the South of France (Marseille, Aix-en-Provence, Prades) and in Paris.
Director
Le Naufragé et le Prisonnier continue's my frenetic quest for travel and filming. This episode of the Filmed Notebooks is the continuation of the previous one (Printemps météore) with the filming of the Adventures of Eddie Turley, whose protagonists are Philip Dubuquoy and Françoise Michaud.
Producer
Reel 29 of Gérard Courant’s on-going Cinematon series.
Director
Reel 29 of Gérard Courant’s on-going Cinematon series.
Director
Printemps Météore continues to travel, meet people and shoot. Berlin again, Burzet (in the Ardèche), the Chartreuse massif and, above all, the beginning of a new feature film (The Adventures of Eddie Turley) with Philip Dubuquoy, who was one of my first Cinématons in 1978 (No. 13)
Producer
Reel 28 of Gérard Courant’s on-going Cinematon series.
Director
Reel 28 of Gérard Courant’s on-going Cinematon series.
Director
The film is a cinematic stroll through the city of Genoa and an exploration of the alleys in the city centre. It also shows the palaces, churches and basilicas, and then takes a long look at the cimitero monumentale di Staglieno, before climbing to the heights of Genoa, which offer an astonishing panorama of the city and its immense port, crossed by the Strada sopraelevata.
Producer
Reel 27 of Gérard Courant’s on-going Cinematon series.
Director
Reel 27 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 26 of Gérard Courant’s on-going Cinematon series.
Director
Reel 26 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 25 of Gérard Courant’s on-going Cinematon series.
Director
Reel 25 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 24 of Gérard Courant’s on-going Cinematon series.
Director
Reel 24 of Gérard Courant’s on-going Cinematon series.
Director
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.
Producer
Reel 23 of Gérard Courant’s on-going Cinematon series.
Director
Reel 23 of Gérard Courant’s on-going Cinematon series.
Director
Portrait of "cinéaste" Ruiz, seemingly at his typewriter, in Courant's ongoing "Cinématon" series.
Director
Jean Seberg, Philippe Garrel et Les Hautes solitudes is composed of excerpts from four of my films about Philippe Garrel which concern his silent masterpiece Les Hautes solitudes (1974) and its protagonist, the icon of the New Wave, Jean Seberg.
Producer
Reel 22 of Gérard Courant’s on-going Cinematon series.
Director
Reel 22 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 21 of Gérard Courant’s on-going Cinematon series.
Director
Reel 21 of Gérard Courant’s on-going Cinematon series.
Producer
Reel 18 of Gérard Courant's on-going Cinematon series.
Director
Reel 18 of Gérard Courant's on-going Cinematon series.
Producer
Reel 17 of Gérard Courant's on-going Cinematon series.
Director
Reel 17 of Gérard Courant's on-going Cinematon series.
Producer
Reel 16 of Gérard Courant's on-going Cinematon series.
Director
Reel 16 of Gérard Courant's on-going Cinematon series.
Producer
Reel 20 of Gérard Courant's on-going Cinematon series.
Director
Reel 20 of Gérard Courant's on-going Cinematon series.
Director
Director
Producer
Reel 19 of Gérard Courant's on-going Cinematon series.
Director
Reel 19 of Gérard Courant's on-going Cinematon series.
Editor
Two New York women, Kristin and Doreen, live a black and white life, but in color of Gene Tierney, a star of 40’ Hollywood melodrama, while listening to the old songs of Marilyn Monroe. They go from one extreme to the other (from dream to reality, from day to night, from black and white to color), and so travel symbolically through this timelessness. Kristin disappears and Doreen is lost is the big city. Her meetings with Marcel, a filmmaker, then David, a sculptor, accomplish nothing, and she is destroyed by daylight. But her Memory of Gene Tierney triumphs over night and death, and Cinema can continue.
Cinematography
Two New York women, Kristin and Doreen, live a black and white life, but in color of Gene Tierney, a star of 40’ Hollywood melodrama, while listening to the old songs of Marilyn Monroe. They go from one extreme to the other (from dream to reality, from day to night, from black and white to color), and so travel symbolically through this timelessness. Kristin disappears and Doreen is lost is the big city. Her meetings with Marcel, a filmmaker, then David, a sculptor, accomplish nothing, and she is destroyed by daylight. But her Memory of Gene Tierney triumphs over night and death, and Cinema can continue.
Scenario Writer
Two New York women, Kristin and Doreen, live a black and white life, but in color of Gene Tierney, a star of 40’ Hollywood melodrama, while listening to the old songs of Marilyn Monroe. They go from one extreme to the other (from dream to reality, from day to night, from black and white to color), and so travel symbolically through this timelessness. Kristin disappears and Doreen is lost is the big city. Her meetings with Marcel, a filmmaker, then David, a sculptor, accomplish nothing, and she is destroyed by daylight. But her Memory of Gene Tierney triumphs over night and death, and Cinema can continue.
Director
Two New York women, Kristin and Doreen, live a black and white life, but in color of Gene Tierney, a star of 40’ Hollywood melodrama, while listening to the old songs of Marilyn Monroe. They go from one extreme to the other (from dream to reality, from day to night, from black and white to color), and so travel symbolically through this timelessness. Kristin disappears and Doreen is lost is the big city. Her meetings with Marcel, a filmmaker, then David, a sculptor, accomplish nothing, and she is destroyed by daylight. But her Memory of Gene Tierney triumphs over night and death, and Cinema can continue.
Director
Director
Le Blanc Cassé is a pedestrian drift, camera in hand, which starts on rue Gazan in the 14th arrondissement and ends near the Palais de Chaillot in the 16th arrondissement.
Director
Plus mon Loir gaulois que le Tibre latin is a slow exploration of the snowy city, its surroundings, the banks of the Loire and the village of Chambilly.
Director
Michel Foucault Werner Schroeter, La Conversation is the third of the four film encounters I have had with Werner Schroeter. Unlike the first two, this time a personality from outside the German filmmaker's work joined the meeting. But what a personality! The great philosopher Michel Foucault.
Producer
Reel 15 of Gérard Courant's on-going Cinematon series.
Director
Reel 15 of Gérard Courant's on-going Cinematon series.
Producer
Reel 14 of Gérard Courant's on-going Cinematon series.
Director
Reel 14 of Gérard Courant's on-going Cinematon series.
Producer
Reel 13 of Gérard Courant's on-going Cinematon series.
Director
Reel 13 of Gérard Courant's on-going Cinematon series.
Producer
Reel 12 of Gérard Courant's on-going Cinematon series.
Director
Reel 12 of Gérard Courant's on-going Cinematon series.
Producer
Reel 11 of Gérard Courant's on-going Cinematon series.
Director
Reel 11 of Gérard Courant's on-going Cinematon series.
Director
Khrónos 1981 is an episode of Gérard Courant's Filmed Notebooks shot entirely in Thessaloniki, Greece, in parallel with the filmmaker's presence at the city's Super 8 film festival, where he presented his Cinematon series and his feature film Coeur bleu. Gérard Courant filmed, day by day, the life of the city, the activities on the waterfront, the university and the city centre.
Producer
Editor
Cinematography
Director
Editor
Sound
Producer
Cinematography
Director
Self
Director
On 15 December 1980, Joseph Morder, with the joyful complicity of his Morlock compatriots, created the Morlock Academy in the salons of the Club Pernod on the Champs Élysées in Paris. Three weeks later, Gérard Courant brought together Joseph Morder, Guy Pezzetta and Jean-Claude Réminiac, the three founders of the Morlock movement, to talk about the genesis of the group.
Cinematography
In this new opus of the Carnets filmés we find his pronounced taste for travel (West Berlin, Marseille, the Pyrenees, the Southern Alps) and his life devoted to filming (the feature films Coeur bleu, Vivre est une solution, Spoonful, La Neige tremblait sur les arbres). Also noteworthy in 1980 was the appearance of a ceremony that would be filmed every year: the re-enactment by the villagers of Burzet, in the Ardèche, of the Passion of Christ.
Director
In this new opus of the Carnets filmés we find his pronounced taste for travel (West Berlin, Marseille, the Pyrenees, the Southern Alps) and his life devoted to filming (the feature films Coeur bleu, Vivre est une solution, Spoonful, La Neige tremblait sur les arbres). Also noteworthy in 1980 was the appearance of a ceremony that would be filmed every year: the re-enactment by the villagers of Burzet, in the Ardèche, of the Passion of Christ.
Camera Operator
Surroundings of the Canal Saint-Martin’s in Paris, a popular district where modernization is just about to begin.
Scenario Writer
Surroundings of the Canal Saint-Martin’s in Paris, a popular district where modernization is just about to begin.
Producer
Surroundings of the Canal Saint-Martin’s in Paris, a popular district where modernization is just about to begin.
Editor
Surroundings of the Canal Saint-Martin’s in Paris, a popular district where modernization is just about to begin.
Cinematography
Surroundings of the Canal Saint-Martin’s in Paris, a popular district where modernization is just about to begin.
Director
Surroundings of the Canal Saint-Martin’s in Paris, a popular district where modernization is just about to begin.
Producer
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Editor
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Cinematography
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Director
Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)
Cinematography
"In this journey, Courant's heroine wanders through the clouds and Pyrenees mountains way after the world's destruction [...] Songs by Brigitte Bardot, Marilyn Monroe and Leonard Cohen, scores by Vivaldi, Kraftwerk and Johan Strauss, they all form this eclectic and defying musical atmosphere from which Courant dreams about a point of view that would allow him to find a rhythm in a constantly changing abysmal paradise" -Diego Trerotola
Editor
"In this journey, Courant's heroine wanders through the clouds and Pyrenees mountains way after the world's destruction [...] Songs by Brigitte Bardot, Marilyn Monroe and Leonard Cohen, scores by Vivaldi, Kraftwerk and Johan Strauss, they all form this eclectic and defying musical atmosphere from which Courant dreams about a point of view that would allow him to find a rhythm in a constantly changing abysmal paradise" -Diego Trerotola
Producer
"In this journey, Courant's heroine wanders through the clouds and Pyrenees mountains way after the world's destruction [...] Songs by Brigitte Bardot, Marilyn Monroe and Leonard Cohen, scores by Vivaldi, Kraftwerk and Johan Strauss, they all form this eclectic and defying musical atmosphere from which Courant dreams about a point of view that would allow him to find a rhythm in a constantly changing abysmal paradise" -Diego Trerotola
Writer
"In this journey, Courant's heroine wanders through the clouds and Pyrenees mountains way after the world's destruction [...] Songs by Brigitte Bardot, Marilyn Monroe and Leonard Cohen, scores by Vivaldi, Kraftwerk and Johan Strauss, they all form this eclectic and defying musical atmosphere from which Courant dreams about a point of view that would allow him to find a rhythm in a constantly changing abysmal paradise" -Diego Trerotola
Director
"In this journey, Courant's heroine wanders through the clouds and Pyrenees mountains way after the world's destruction [...] Songs by Brigitte Bardot, Marilyn Monroe and Leonard Cohen, scores by Vivaldi, Kraftwerk and Johan Strauss, they all form this eclectic and defying musical atmosphere from which Courant dreams about a point of view that would allow him to find a rhythm in a constantly changing abysmal paradise" -Diego Trerotola
Director
Dominique Paini's portrait by Gérard Courant (1980 - silent).
Producer
Reel 10 of Gérard Courant's on-going Cinematon series.
Director
Reel 10 of Gérard Courant's on-going Cinematon series.
Producer
Reel 9 of Gérard Courant's on-going Cinematon series.
Director
Reel 9 of Gérard Courant's on-going Cinematon series.
Producer
Reel 8 of Gérard Courant's on-going Cinematon series.
Director
Reel 8 of Gérard Courant's on-going Cinematon series.
Producer
Reel 7 of Gérard Courant's on-going Cinematon series.
Director
Reel 7 of Gérard Courant's on-going Cinematon series.
Himself
Producer
"A journey divided into five segments, moving from chaos to harmony [...] Through the free and lucid eye of his Super 8 camera, Courant's shutter opens and initiates the Eighties with the first part of his tetralogy "Le Jardin des Abymes". Featuring music that ranges from Steve Reich to Vivaldi, from Philip Glass to Santana, the soundtrack, as was highlighted by Lysianne Léchot, creates its own trip: a passage from "the repetition of synthetic music to the harmony of classical." -Diego Trerotola
Writer
"A journey divided into five segments, moving from chaos to harmony [...] Through the free and lucid eye of his Super 8 camera, Courant's shutter opens and initiates the Eighties with the first part of his tetralogy "Le Jardin des Abymes". Featuring music that ranges from Steve Reich to Vivaldi, from Philip Glass to Santana, the soundtrack, as was highlighted by Lysianne Léchot, creates its own trip: a passage from "the repetition of synthetic music to the harmony of classical." -Diego Trerotola
Cinematography
"A journey divided into five segments, moving from chaos to harmony [...] Through the free and lucid eye of his Super 8 camera, Courant's shutter opens and initiates the Eighties with the first part of his tetralogy "Le Jardin des Abymes". Featuring music that ranges from Steve Reich to Vivaldi, from Philip Glass to Santana, the soundtrack, as was highlighted by Lysianne Léchot, creates its own trip: a passage from "the repetition of synthetic music to the harmony of classical." -Diego Trerotola
Editor
"A journey divided into five segments, moving from chaos to harmony [...] Through the free and lucid eye of his Super 8 camera, Courant's shutter opens and initiates the Eighties with the first part of his tetralogy "Le Jardin des Abymes". Featuring music that ranges from Steve Reich to Vivaldi, from Philip Glass to Santana, the soundtrack, as was highlighted by Lysianne Léchot, creates its own trip: a passage from "the repetition of synthetic music to the harmony of classical." -Diego Trerotola
Director
"A journey divided into five segments, moving from chaos to harmony [...] Through the free and lucid eye of his Super 8 camera, Courant's shutter opens and initiates the Eighties with the first part of his tetralogy "Le Jardin des Abymes". Featuring music that ranges from Steve Reich to Vivaldi, from Philip Glass to Santana, the soundtrack, as was highlighted by Lysianne Léchot, creates its own trip: a passage from "the repetition of synthetic music to the harmony of classical." -Diego Trerotola
Writer
Un sanglant symbole is two films: the film of the image and the film of the voice. The film of the image was shot before the film of the voice. The film of the image is the reproduction of 160 photographs (of films, advertisements, news ...) filmed in variable durations (more and more slowly, then more and more quickly). What do we see? Looks. Hand gestures. The film of the voice is not a comment. Neither a voice-over: in no way does this voice have such a status and even less the character of an exhibit for a better understanding of the film. On the contrary, she perverts, disturbs, worries.
Editor
Un sanglant symbole is two films: the film of the image and the film of the voice. The film of the image was shot before the film of the voice. The film of the image is the reproduction of 160 photographs (of films, advertisements, news ...) filmed in variable durations (more and more slowly, then more and more quickly). What do we see? Looks. Hand gestures. The film of the voice is not a comment. Neither a voice-over: in no way does this voice have such a status and even less the character of an exhibit for a better understanding of the film. On the contrary, she perverts, disturbs, worries.
Director
Un sanglant symbole is two films: the film of the image and the film of the voice. The film of the image was shot before the film of the voice. The film of the image is the reproduction of 160 photographs (of films, advertisements, news ...) filmed in variable durations (more and more slowly, then more and more quickly). What do we see? Looks. Hand gestures. The film of the voice is not a comment. Neither a voice-over: in no way does this voice have such a status and even less the character of an exhibit for a better understanding of the film. On the contrary, she perverts, disturbs, worries.
Director
Producer
Reel 6 of Gérard Courant's on-going Cinematon series.
Director
Reel 6 of Gérard Courant's on-going Cinematon series.
Director
Cinematography
Editor
Producer
Director
Editor
Cinematography
Producer
Director
Director
Producer
"This is the story of a search, that of a woman in pursuit of her own identity. This woman, Marie-Noëlle Kauffmann, ventures into the world of representation, meets four characters who, each in their own way, give her a key to cross the five sequences/initiations of the film which are all benchmarks that she must absolutely cross to have an answer to the question: Can cinema help find a lost balance?" -Gerard Courant
Editor
"This is the story of a search, that of a woman in pursuit of her own identity. This woman, Marie-Noëlle Kauffmann, ventures into the world of representation, meets four characters who, each in their own way, give her a key to cross the five sequences/initiations of the film which are all benchmarks that she must absolutely cross to have an answer to the question: Can cinema help find a lost balance?" -Gerard Courant
Scenario Writer
"This is the story of a search, that of a woman in pursuit of her own identity. This woman, Marie-Noëlle Kauffmann, ventures into the world of representation, meets four characters who, each in their own way, give her a key to cross the five sequences/initiations of the film which are all benchmarks that she must absolutely cross to have an answer to the question: Can cinema help find a lost balance?" -Gerard Courant
Cinematography
"This is the story of a search, that of a woman in pursuit of her own identity. This woman, Marie-Noëlle Kauffmann, ventures into the world of representation, meets four characters who, each in their own way, give her a key to cross the five sequences/initiations of the film which are all benchmarks that she must absolutely cross to have an answer to the question: Can cinema help find a lost balance?" -Gerard Courant
Director
"This is the story of a search, that of a woman in pursuit of her own identity. This woman, Marie-Noëlle Kauffmann, ventures into the world of representation, meets four characters who, each in their own way, give her a key to cross the five sequences/initiations of the film which are all benchmarks that she must absolutely cross to have an answer to the question: Can cinema help find a lost balance?" -Gerard Courant
Director
Director
Early portrait of Ossang in Courant's ongoing "Cinématon" series.
Producer
Director
Producer
Editor
Cinematography
Scenario Writer
Director
Producer
Director
Cinematography
Legendary drag performer Ocaña in performance with a cardboard Marilyn on the west side of the Berlin Wall.
Editor
Legendary drag performer Ocaña in performance with a cardboard Marilyn on the west side of the Berlin Wall.
Scenario Writer
Legendary drag performer Ocaña in performance with a cardboard Marilyn on the west side of the Berlin Wall.
Producer
Legendary drag performer Ocaña in performance with a cardboard Marilyn on the west side of the Berlin Wall.
Director
Legendary drag performer Ocaña in performance with a cardboard Marilyn on the west side of the Berlin Wall.
Producer
Reel 5 of Gérard Courant's on-going Cinematon series.
Director
Reel 5 of Gérard Courant's on-going Cinematon series.
Editor
Cinematography
Producer
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Cinematography
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Producer
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Director
La Grande Famille by René Magritte in different sizes superimposed, animates the dove and gives an impression of continuous flight.
Director
Le Cinéma selon Luc Moullet is an audio interview with Luc Moullet recorded on 29 January 1979 by Gérard Courant for the magazine Cinéma 79.
Director
Director
Producer
Reel 4 of Gérard Courant's on-going Cinematon series.
Director
Reel 4 of Gérard Courant's on-going Cinematon series.
Producer
Reel 3 of Gérard Courant's on-going Cinematon series.
Director
Reel 3 of Gérard Courant's on-going Cinematon series.
Producer
Reel 2 of Gérard Courant's on-going Cinematon series.
Director
Reel 2 of Gérard Courant's on-going Cinematon series.
Cinematography
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.
Camera Operator
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.
Idea
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.
Producer
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.
N°0 / N°1000 / N°1001 / N°2000 / N°3000
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.
Director
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.
Director
This is the sound recording of the interview that Michael Snow, filmmaker, sculptor, photographer and visual artist, gave to Gérard Courant for the magazine Art press, published in February 1979, in its number 25. A great connoisseur of the Canadian artist's work and one of the first to pay tribute to him in 1973 in the magazine Zoom, Noël Simsolo accompanied the two filmmakers at the beginning of the discussion.
Producer
Director
Director
Director
Director
Scenario Writer
Producer
Cinematography
Director
Director
Vivre à Naples et Mourir (Entretien avec Werner Schroeter) is the sound recording of this informal meeting, which took place on 20 May 1978 and which, as the filmmaker wished, is closer to a casual conversation than to an interview in the strict sense of the term with its game of questions and answers. In a second phase, I put this soundtrack into images using photos, posters, programmes, extracts from Werner Schroeter's films as well as collages created for the occasion.
Producer
Reel 1 of Gérard Courant's on-going Cinematon series.
Director
Reel 1 of Gérard Courant's on-going Cinematon series.
Director
Producer
Sound
Editor
Writer
Director
Producer
Editor
Writer
Director
Cinematography
Aurore collective is composed of 50 sequences filmed in Dijon and Paris (successive places of residence of the filmmaker), Chalon-sur-Saône, Valence, Cannes, Greece, India, Afghanistan and Pakistan.
Director
Aurore collective is composed of 50 sequences filmed in Dijon and Paris (successive places of residence of the filmmaker), Chalon-sur-Saône, Valence, Cannes, Greece, India, Afghanistan and Pakistan.
Producer
Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"
Cinematography
Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"
Editor
Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"
Writer
Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"
Director
Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"
Producer
One year before starting his famous series "Cinematons", Gerard Courant had made an ancestor to this series: the portrait of Martine Rousset, filmed with a Bolex 16 mm mechanical.
Cinematography
One year before starting his famous series "Cinematons", Gerard Courant had made an ancestor to this series: the portrait of Martine Rousset, filmed with a Bolex 16 mm mechanical.
Editor
One year before starting his famous series "Cinematons", Gerard Courant had made an ancestor to this series: the portrait of Martine Rousset, filmed with a Bolex 16 mm mechanical.
Director
One year before starting his famous series "Cinematons", Gerard Courant had made an ancestor to this series: the portrait of Martine Rousset, filmed with a Bolex 16 mm mechanical.
Director
Director
This film is an audio interview of Louis Skorecki, filmmaker and film critic for Cahiers du cinéma, by Patrice Kirchhofer and Gérard Courant. This interview, later put into images by Gérard Courant, is centred around the feature film Eugénie de Franval, based on Sade's novella, which Louis Skorecki shot in 1974 and which was awarded the prize of "la porte entrouverte" at the festival of young cinema in Toulon in 1975 by the jury composed of Marguerite Duras, Shuji Terayama and Dominique Noguez.
Director
Le Ciné-Club Universitaire de Dijon is the recording of this radio programme - a first for Gérard Courant - which allows him to talk about some of the films that are close to his heart: The Death of Maria Malibran by Werner Schroeter, La Cicatrice intérieure by Philippe Garrel, Hotel Monterey and Jeanne Dielman 23 quai du Commerce 1080 Bruxelles by Chantal Akerman, La Chinoise (The Chinese) by Jean-Luc Godard, Né by Jacques Richard.
Cinematography
1300 meters from the arrival of the 13th stage Carpentras-Orcières Merlette (192 kms), then, in the Col de Sauze, the 14th stage Orcières-Merlette-Briançon (201 kms) of the Tour de France 1972. Filmmaker Gérard Courant photographed Eddy Merckx (yellow jersey), Cyrille Guimard (green jersey), Luis Ocana (white box combination), Lucien Aimar, Lucien Van Impe, Joachim Agostinho (Portugal champion), Felice Gimondi (Italian champion), Raymond Poulidor, Karl-Heinz Kunde, Leif Mortensen, Bernard Thévenet. The stage of Orcières-Merlette was won by Van Impe ahead of Agostinho and Merckx and that of Briançon by Merckx in front of Gimondi and Guimard. This clip is an excerpt from the first episode of Gérard Courant's "Carnets filmés" entitled "Aurore collective".
Editor
1300 meters from the arrival of the 13th stage Carpentras-Orcières Merlette (192 kms), then, in the Col de Sauze, the 14th stage Orcières-Merlette-Briançon (201 kms) of the Tour de France 1972. Filmmaker Gérard Courant photographed Eddy Merckx (yellow jersey), Cyrille Guimard (green jersey), Luis Ocana (white box combination), Lucien Aimar, Lucien Van Impe, Joachim Agostinho (Portugal champion), Felice Gimondi (Italian champion), Raymond Poulidor, Karl-Heinz Kunde, Leif Mortensen, Bernard Thévenet. The stage of Orcières-Merlette was won by Van Impe ahead of Agostinho and Merckx and that of Briançon by Merckx in front of Gimondi and Guimard. This clip is an excerpt from the first episode of Gérard Courant's "Carnets filmés" entitled "Aurore collective".
Director
1300 meters from the arrival of the 13th stage Carpentras-Orcières Merlette (192 kms), then, in the Col de Sauze, the 14th stage Orcières-Merlette-Briançon (201 kms) of the Tour de France 1972. Filmmaker Gérard Courant photographed Eddy Merckx (yellow jersey), Cyrille Guimard (green jersey), Luis Ocana (white box combination), Lucien Aimar, Lucien Van Impe, Joachim Agostinho (Portugal champion), Felice Gimondi (Italian champion), Raymond Poulidor, Karl-Heinz Kunde, Leif Mortensen, Bernard Thévenet. The stage of Orcières-Merlette was won by Van Impe ahead of Agostinho and Merckx and that of Briançon by Merckx in front of Gimondi and Guimard. This clip is an excerpt from the first episode of Gérard Courant's "Carnets filmés" entitled "Aurore collective".
Cinematography
A few moments after the arrival of the first stage of the Critérium du Dauphiné 1970, Roanne-Chalon-sur-Saône (224 kilometers) which has just been won by the Belgian Daniel Van Rijckeghem ahead of the Dutch Jan Janssen (2nd) and Marinus Wagtmans (3rd). Filmmaker Gérard Courant photographed Raymond Delisle (yellow jersey), Luis Ocaña (final winner), Gilbert Bellone, Lucien Aimar, Roger de Vlaeminck (Belgian champion), Jan Janssen (green jersey), Harm Ottenbros (world champion), Jean Dumont, Marinus Wagtmans, Raymond Poulidor, Georges Chappe on the song "Poets" by Léo Ferré.
Producer
A few moments after the arrival of the first stage of the Critérium du Dauphiné 1970, Roanne-Chalon-sur-Saône (224 kilometers) which has just been won by the Belgian Daniel Van Rijckeghem ahead of the Dutch Jan Janssen (2nd) and Marinus Wagtmans (3rd). Filmmaker Gérard Courant photographed Raymond Delisle (yellow jersey), Luis Ocaña (final winner), Gilbert Bellone, Lucien Aimar, Roger de Vlaeminck (Belgian champion), Jan Janssen (green jersey), Harm Ottenbros (world champion), Jean Dumont, Marinus Wagtmans, Raymond Poulidor, Georges Chappe on the song "Poets" by Léo Ferré.
Editor
A few moments after the arrival of the first stage of the Critérium du Dauphiné 1970, Roanne-Chalon-sur-Saône (224 kilometers) which has just been won by the Belgian Daniel Van Rijckeghem ahead of the Dutch Jan Janssen (2nd) and Marinus Wagtmans (3rd). Filmmaker Gérard Courant photographed Raymond Delisle (yellow jersey), Luis Ocaña (final winner), Gilbert Bellone, Lucien Aimar, Roger de Vlaeminck (Belgian champion), Jan Janssen (green jersey), Harm Ottenbros (world champion), Jean Dumont, Marinus Wagtmans, Raymond Poulidor, Georges Chappe on the song "Poets" by Léo Ferré.
Director
A few moments after the arrival of the first stage of the Critérium du Dauphiné 1970, Roanne-Chalon-sur-Saône (224 kilometers) which has just been won by the Belgian Daniel Van Rijckeghem ahead of the Dutch Jan Janssen (2nd) and Marinus Wagtmans (3rd). Filmmaker Gérard Courant photographed Raymond Delisle (yellow jersey), Luis Ocaña (final winner), Gilbert Bellone, Lucien Aimar, Roger de Vlaeminck (Belgian champion), Jan Janssen (green jersey), Harm Ottenbros (world champion), Jean Dumont, Marinus Wagtmans, Raymond Poulidor, Georges Chappe on the song "Poets" by Léo Ferré.
Director
From Gérard Courant’s Cinématon series.
Director
From Gérard Courant’s Cinématon series.
Director
From Gérard Courant's Cinématon series.
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Director
Cinematography
A fake "Cinematon".
Producer
A fake "Cinematon".
Director
A fake "Cinematon".
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Editor
A New World is an inventory of 112 streets, roads and alleys (first part) and 14 squares and squares (second part) of the Bois de Vincennes in Paris.
Sound
A New World is an inventory of 112 streets, roads and alleys (first part) and 14 squares and squares (second part) of the Bois de Vincennes in Paris.
Cinematography
A New World is an inventory of 112 streets, roads and alleys (first part) and 14 squares and squares (second part) of the Bois de Vincennes in Paris.
Producer
A New World is an inventory of 112 streets, roads and alleys (first part) and 14 squares and squares (second part) of the Bois de Vincennes in Paris.
Director
A New World is an inventory of 112 streets, roads and alleys (first part) and 14 squares and squares (second part) of the Bois de Vincennes in Paris.
