Himself (voice)
Himself (voice)
Himself (voice)
Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).
Himself
Director
Director
Director
Director
Tauride reconnects with the myth and the tragic role which it reinterprets. Drawing from this fracture, traversed by the magnitude of its cruelty, Catherine Diverrès prompts reflection that leaves no room for nostalgia or the temptation of prophetism
Director
Portrait of the contemporary dance dancer and choreographer, Montet Bernardo.
Editor
The filmmaker recycles the discarded material from Concertino, a film conceived for a piece for ten dancers by the same name by Catherine Diverrès, a celebration of bodies shaken by emptiness.
Director
The filmmaker recycles the discarded material from Concertino, a film conceived for a piece for ten dancers by the same name by Catherine Diverrès, a celebration of bodies shaken by emptiness.
Director
Director
Director
Premonition of urban chaos from the images, a counter-reading of the picturesque and a rabidly cosmopolitan vision of the city.
Director
Director
Sara's bucolic pseudo-portrait, mother of the filmmaker, black and white photography and conceived for her projection in the interpretation of a huge choreographic piece by Catherine Diverrès.
Director
Director
Paris street scenes and architecture.
Director
Teo Hernandez in Versailles
Director
Outtakes from the movie
Director
Touching testimony of Teo Hernandez's return to his country after fifteen years of exile.
Director
Director
Short film by Teo Hernández that serves as a travelogue of a visit to Granada.
Director
Director
Director
Director
Images of the filmmaker's visit to Montpellier.
Director
Director
“Specially created for the Rencontre Danse / Image in Chateauvallon, this film is the result of the encounter, confrontation and then the almost miraculous match between the light and violent camera of Téo HERNANDEZ and the dancer-choreographer Bernardo Montet in the midst of improvisation. A body between sea and sky, the silent presence of the wind, a few birds: the elements of a fundamental mythology transformed into lyrical abstraction.”
Director
Editor
The outcome of Hernández’ friendship with the dancer and choreographer Bernardo Montet, this work, ranging from black-and-white to color, is the vertiginous record of a cross-dressing act, or a therapeutic performance on identity. Presented for the first time in Rouen, on May 26th 1987.
Director
The outcome of Hernández’ friendship with the dancer and choreographer Bernardo Montet, this work, ranging from black-and-white to color, is the vertiginous record of a cross-dressing act, or a therapeutic performance on identity. Presented for the first time in Rouen, on May 26th 1987.
Editor
Eyes and ears travel discontinuously through everyday life and the sub-worlds of the city and the body. A fragmented and subjective day-to-day chronicle that outlines a recurring obsession for registering even the most ordinary things, where the least poetic aspects of life, that is to say, the most somber ones, become the eye’s filter.
Writer
Eyes and ears travel discontinuously through everyday life and the sub-worlds of the city and the body. A fragmented and subjective day-to-day chronicle that outlines a recurring obsession for registering even the most ordinary things, where the least poetic aspects of life, that is to say, the most somber ones, become the eye’s filter.
Eyes and ears travel discontinuously through everyday life and the sub-worlds of the city and the body. A fragmented and subjective day-to-day chronicle that outlines a recurring obsession for registering even the most ordinary things, where the least poetic aspects of life, that is to say, the most somber ones, become the eye’s filter.
Director
Eyes and ears travel discontinuously through everyday life and the sub-worlds of the city and the body. A fragmented and subjective day-to-day chronicle that outlines a recurring obsession for registering even the most ordinary things, where the least poetic aspects of life, that is to say, the most somber ones, become the eye’s filter.
Director
Bernardo Montet at the Saint-Germain market
Director
The creation of spring.
Director
Director
Images of the filming process of Bernardo Montet on a beach.
Director
Director
Director
Discarded images from the movie “Midi” (1985) mounted to give rise to a new film.
Director
Short by Teo Hernandez.
Director
Director
Construction sites and architecture in Les Halles.
Director
The first snow of the year...
Director
Outtakes from the movie
Director
Outtakes from the movie
Director
Outtakes from the movie
Director
Outtakes from the movie
Editor
Editor
Director
Director
Editor
Outtakes from Maya
Director
Outtakes from Maya
Director
Director
The banner of the Cannes Festival shows its three premises: glory, money and politics. If you film the banal, the naive and the superficial of the atmosphere in Cannes at that time, it is for nothing more than to rescue the beauty of the water of its sea.
Director
Super 8 film, color and black and white, silent
Director
"I think of Fragments of the Angel and the sequence with Françoise and Ermina in the countryside, and I ask myself how to "justify" it throughout the film and tell myself that the text could say: "The angel is leading me to... ” [...] There are a thousand arrows embedded in the framework of reality." -Hernández
Director
Teo Hernandez films waste and scrap found on the pavements of the streets of Paris. “Sidewalks are great subjects: garbage, objects and materials, stains, signs, are a movie subject.”
Director
Film shot on the edge of a river whose soundtrack is a text in French and in English said and written by Teo Hernández.
Editor
Director
Director
Teo Hernández films some friends in a park under the Parisian summer heat.
Director
Fugitive images of the northwestern city of France.
Editor
In the early '80s, this collective of artists invented a style of cinema made in 4 hands, where each of the protagonists is also a filmmaker.
In the early '80s, this collective of artists invented a style of cinema made in 4 hands, where each of the protagonists is also a filmmaker.
Director
In the early '80s, this collective of artists invented a style of cinema made in 4 hands, where each of the protagonists is also a filmmaker.
Editor
An autobiographical black-and-white short in which Teo Hernández portrays his Purépecha father by holding backlit old photographs atop the Montparnasse Tower while reading a manifesto of sorts on his filmmaking.
Writer
An autobiographical black-and-white short in which Teo Hernández portrays his Purépecha father by holding backlit old photographs atop the Montparnasse Tower while reading a manifesto of sorts on his filmmaking.
Director
An autobiographical black-and-white short in which Teo Hernández portrays his Purépecha father by holding backlit old photographs atop the Montparnasse Tower while reading a manifesto of sorts on his filmmaking.
An autobiographical black-and-white short in which Teo Hernández portrays his Purépecha father by holding backlit old photographs atop the Montparnasse Tower while reading a manifesto of sorts on his filmmaking.
Through the use of portraits, shadow play and reflections, this series of exercises with and from body language compose a "four-handed" look against the notion of authorship: a vindication of the community content (repressed?) in every image.
Director
Through the use of portraits, shadow play and reflections, this series of exercises with and from body language compose a "four-handed" look against the notion of authorship: a vindication of the community content (repressed?) in every image.
Director
Teo Hernández's unmistakable camera movements portray the Basilica of the Sacred Heart in Paris.
Director
Teo Hernandez films the water of the Seine and its reflections for a film at once material and luminous.
Director
Foire du trône was made in a big annual Paris fair, like Coney Island. I filmed the people and the games, and that forms the first part of the film. The second part is an elaborate working of the coloured lights. (T.H.)
Director
One of my last films to be made indoors was La vie brève de la flamme. I used light in a very expressionist manner — still with the technique of a very active camera. (T.H.)
Director
Super 8 film, color, silent
An autobiographical film that orchestrates the fragments of Michel Nedjar's life, to compose an architecture. The family films shot by his father, pieces of Michel's first films shot in the Balearic Islands and in Athens, contemporary images with Teo Hernandez, to stolen dialogues between his mother and and his aunt, recorded without their knowledge. The author is the spider, at the center of a device that allows him to survive: he has woven the threads of his own web and is now in control of his personal situation.
Director
Director
Magical Super-8 (shown on 16mm) single frame portrait of the Notre Dame cathedral featuring luminous light and a dense score incorporating players from the square. - Early Monthly Segments
Director
A gong will never abolish chance? If chance is travesty of desire, and desire movement without measure, cinema is vibration of this desire in fugue.
Director
Bourges, France, May 1981. Invited to the Experimental Film and Music Festival, Hernández films the city for four days. Without a documentary concern, the film starts at a fair. It seems to be inhabited; there seems to be life there.
Editor
Outtakes from the movie.
Director
Outtakes from the movie.
Director
Outtakes from the movie
Director
Outtakes from "Marseille toujours".
Director
Editor
Director
Producer
From the series "Portraits" : Pascal Martin
Editor
From the series "Portraits" : Pascal Martin
Cinematography
From the series "Portraits" : Pascal Martin
Title Designer
From the series "Portraits" : Pascal Martin
Director
Téo Hernandez's series of Memories... transcribes perfectly the filmmaker's vertiginous ability to capture a city from a few well-chosen places; the juxtaposition of architecture and people creates a mosaic of sensations, exalted by the syncopation of the zooms and cascading shots, clues to the "manner", the "filmmaker's paw".
Director
Director
Portrait of the filmmaker's mother during her visit to Paris.
Director
From the series "Portraits" : Pascal Martin
Director
Fugitive images of old Paris neighborhoods.
Director
The film Graal goes (as well as all the films which precede it) toward an open and avowed paganism, in which pagan force and magic imbue all the subjects at all times. (...) This is not about "the" Holy Grail and its legend but about the concept of the Grail, taken in a larger sense as a universal archetype: abbreviation, metaphor of the cosmos. In fact, achievement. That is what the Grail is: the achievement's completion.
Himself
Director
Lacrima Christi, third part of the tetralogy Le Corps de la Passion (The Body of the Passion, 1977-1980), is inspired by Christian mythology, from which it draws a creative transformation force, in a search for identity that questions the two cultures to which the filmmaker belonged.
The song composed by the author modulates the phases of the film and constitutes, in its entirety, the specific form of a call.
Winter 1978-1979: In his signature style, Hernández films hearty meals, long afternoons and candlelit dalliances inside his residence on rue des Entrepôts.
Director
Winter 1978-1979: In his signature style, Hernández films hearty meals, long afternoons and candlelit dalliances inside his residence on rue des Entrepôts.
Director
Hymn to nature, song to the cosmos, Mâyâ builds a world where the camera generates a new type of representation in which the depth of field is reduced to the essential. Everything happens, in a way, on the same surface. – Gérard Courant
Co-Director
The construction of the film outlines the successive steps of a path that, as we move forward, reveals the different stages of its presentation: the moon, the rose, the child, the candle and the skull are linked in a unique picture that gives its internal meaning. Elements connected by the route of the film to lead to the final image: one in which the meaning becomes external.
Title Designer
An approach to Gaël Badaud and his activity as a painter: the birth of his paintings and the tight bonds between his work and his personal experience.
Editor
An approach to Gaël Badaud and his activity as a painter: the birth of his paintings and the tight bonds between his work and his personal experience.
Cinematography
An approach to Gaël Badaud and his activity as a painter: the birth of his paintings and the tight bonds between his work and his personal experience.
Producer
An approach to Gaël Badaud and his activity as a painter: the birth of his paintings and the tight bonds between his work and his personal experience.
Director
An approach to Gaël Badaud and his activity as a painter: the birth of his paintings and the tight bonds between his work and his personal experience.
N°16
Reel 2 of Gérard Courant's on-going Cinematon series.
Scenario Writer
The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez's work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding ("the camera must become a second eye") is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.
Cinematography
The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez's work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding ("the camera must become a second eye") is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.
Editor
The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez's work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding ("the camera must become a second eye") is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.
Producer
The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez's work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding ("the camera must become a second eye") is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.
Director
The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez's work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding ("the camera must become a second eye") is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.
N°16 / N°481
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
The purpose of the film is to go beyond the notion of the body as a system of functions, symptoms and reflexes that try to delimit the whole body. The body, represented here with all its norms, confronted with itself in a space devoid of causal references, moves towards the abolition of its image and the springing of its inner source: it is the luminous nucleus of the human body.
"ANGLE, with its brief black and white shots, almost always plunging and oblique, of naked bodies or parts of bodies, is a film of rupture. Punctuations of black primers break up the filmic continuity, isolating snapshots or brief furtive movements: the body rolling over itself, colliding with the other or falling (these terrible falls, as sharp as a fainting spell, like that of the hero of The Andalusian Dog, whose hand, as he falls, brushes for a moment against the naked back of a beautiful, insensitive woman, and which is, it seems to me, the most striking representation of the link between passion in love and death that can be given). Often these movements are repeated and the actors seem to be the descendants of Muybridge's bonshommes lost in a white room. At the end - this is the longest shot in the film - in a corner of the room, one of the two actors remains crouched, hiding his eyes in his hands. Then the corner reappears, empty."
Himself
Director
Splendid portrait of the artist Michel Nedjar making one of his dolls, which allows to fully follow the entire genesis of the act of creation.
Director
With Esmeralda, Hernandez shifts to the romantic mythology, but this descriptive aspect is secondary in the filmmaker's work, whose purpose is the constitution, by interposed myths, of a baroque cinematographic language. From this point of view, he joins the approaches of other contemporary filmmakers like Bene or Schroeter. In Esmeralda, he introduces masks from his creation to work on the physical and not only the filmic material. But Hernandez adds to his series of aesthetic variations of "stock-shots" of war plans, desolations, genocides, which brutally fall within the visual framework of his film. The filmmaker thus points out the cracks that overflow the myth in its darkest areas: the historical and social reality that obsesses us, that terrorizes us every moment.
Title Designer
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.
Scenario Writer
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.
Producer
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.
Costume Design
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.
Set Decoration
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.
Editor
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.
Cinematography
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.
Director
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.
Director
Exploration of bodies. Point, counterpoint. A black glove goes in search of a red glove.
Director
Liberté provisoire takes from everyday life, transforming the ordinary into a sensory delight. Walks in the Belleville district, Ménilmontant, leading to Père Lachaise cemetery, to the tombs of Piaf and Sarapo.
Costume Design
A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color, and the projection speed.
Set Decoration
A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color, and the projection speed.
Editor
A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color, and the projection speed.
Cinematography
A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color, and the projection speed.
Title Designer
A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color, and the projection speed.
Producer
A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color, and the projection speed.
Director
A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color, and the projection speed.
Director
An early Téo Hernandez film exploring the space of a garden.
Director
The desert, the sea, someone. I meet Michel Nedjar; together we went to the south of Morocco. There, a movie begins to take shape and develops as our journey continues. This is Michel là-bas.
Director
A walk through the countryside in Tangiers with two friends.
Director
A brief tribute to those that have haunted a moment of film history, stars of yesterday: Garbo, Del Rio, Crawford, Marlene Dietrich, Lupe Velez, Sylvia Sydney, Louise Rainer, etc.
Director
Director
A bed built by two lovers and then, sleep. Born thanks to Un chant d’amour, by Jean Genet, this short film is an (inspired) response to it.
"In 1968, during a stay in London, I could finally achieved my first film: 14, BINA GARDEN. A camera wanders into the decor of a room ..."
Director
"In 1968, during a stay in London, I could finally achieved my first film: 14, BINA GARDEN. A camera wanders into the decor of a room ..."
Director
Outtakes from the film.
Outtakes from the movie
Director
Outtakes from the movie
Director
Outtakers from the movie
Director
Outtakes from the movie
Director
Outtakes from the movie
Director
Outtakes from the movie
Director
Outtakes from the movie
Director
Outtakes from the movie
Director
Outakkes from the movie
Director
Outtakes from the movie
Director
Outtakes from the movie
Director
Outtakes from the movie
Director
Outtakes from the movie
Director
Outtakes from the movie
Editor
Outtakes from the movie
Director
Outtakes from the movie
