Jean-Luc Nancy

Ming of Harlem: Twenty One Storeys in the Air is an only-in-New-York account of Ming, Al, and Antoine Yates, who cohabited in a high-rise social housing apartment at Drew-Hamilton complex in Harlem for several years until 2003, when news of their dwelling caused a public outcry and collective outpouring of disbelief. On the discovery that Ming was a 500-pound pound Tiger and Al a seven-foot alligator, their story took on an astonishing dimension. The film frames Yates’s recollections with a poetic study of Ming and Al, the predators’ presence combined with a text by philosopher Jean-Luc Nancy, reimagining the circumstances of the wild inside, animal names, strange territories, and human-animal relations.

Early on in this engaging historical drama, a marquis (played by the singularly droll Jacques Nolot) offers a peddler a carriage ride on a remote country road. After sizing up his benefactor, the peddler fights motion sickness to deliver his sales pitch: “I have here a few objects of wonder, pious images, pamphlets against men of the cloth, newspapers from Amsterdam and London, holy cards, quills, writing paper…”

Philosopher and heart transplant recipient Jean-Luc Nancy meditates on the history and integrity of bodies in a number of visual and literary passages exploring his onscreen presence, a surgical organ in search of a body and an unaccounted for, displaced invertebrate at sea. Outlandish is a journey between shores and environments, the touching of and proximity between bodies, the vanishing and appearance of crew, dimensions of form and, above all, our relations with strange foreign bodies.

Philosopher and heart transplant recipient Jean-Luc Nancy meditates on the history and integrity of bodies in a number of visual and literary passages exploring his onscreen presence, a surgical organ in search of a body and an unaccounted for, displaced invertebrate at sea. Outlandish is a journey between shores and environments, the touching of and proximity between bodies, the vanishing and appearance of crew, dimensions of form and, above all, our relations with strange foreign bodies.

An emotionally cold man leaves the safety of his Alpine home to seek a heart transplant and an estranged son.

The Ister is a 3000km journey to the heart of Europe, from the mouth of the Danube river on the Black Sea, to its source in the German Black Forest. Hailed by Scott Foundas of Variety as "a philosophical feast—at which it is possible to gorge oneself yet leave feeling elated,” the film is based on the work of one of the most influential and controversial philosophers of the 20th century, Martin Heidegger, who in 1933 swore allegiance to the National Socialists. By joining a vast philosophical narrative with an epic voyage along Europe’s greatest waterway, The Ister invites you to unravel the extraordinary past and future of ‘the West.’

　映画史に燦然と輝く巨匠監督15人が“時間”をテーマに競作した豪華な短編集。10分という厳密な時間制限と予算だけが決められ、それ以外は各監督の自由にすべてが委ねられたこの企画は、２本のコンピレーション・フィルムに結実。本作はそのうちの１本。もう１本のタイトルは「１０ミニッツ・オールダー 人生のメビウス」。 　これまで古今東西の哲学者たちが様々な思索をめぐらせた“時間の謎”を、８人の映画監督がそれぞれのタッチで追究していく。収録されている作品は、ベルナルド・ベルトルッチの「水の寓話」、マイク・フィギスの「時代×４」、イジー・メンツェルの「老優の一瞬」、イシュトヴァン・サボーの「１０分後」、クレール・ドニの「ジャン＝リュック・ナンシーとの対話」、フォルカー・シュレンドルフの「啓示されし者」、マイケル・ラドフォードの「星に魅せられて」、ジャン＝リュック・ゴダール「時間の闇の中で」の全８編。

A train conversation between an immigrant French woman and novelist Jean-Luc Nancy centering on the idea of intrusion within every foreigner (a more philosophical precursor to L'Intrus). A social commentary on the inherent fallacy - particularly in nations with a strong national identity like the U.S. and France - of the social notion that assimilation and integration embrace cultural differences; rather, it erases them.

Intertwined interviews of filmmaker Pedro Costa and philosopher Jean-Luc Nancy.