Françoise Prenant

A famous docking : Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. "About the Conquest" confronts us with a page of the French national novel that was too hastily turned.

A famous docking : Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. "About the Conquest" confronts us with a page of the French national novel that was too hastily turned.

A famous docking : Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. "About the Conquest" confronts us with a page of the French national novel that was too hastily turned.

A famous docking : Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. "About the Conquest" confronts us with a page of the French national novel that was too hastily turned.

A famous docking : Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. "About the Conquest" confronts us with a page of the French national novel that was too hastily turned.

Through my window-camera, during urban adventures, views of Algiers, where, as a child, after Algerian Independence, I learned about liberty, and which some decades later after immigrating against my will and deliberately becoming an exile, I chose as my city. I was then a "wife of the Republic of Madagascar," as the left-hand side page of my passport noted, while the right-hand side declared "of the ambassador extraordinary and plenipotentiary." Disembodied, words off-screen, intervening one over the other, simultaneous encounters of polyphonic voices glide.

Through my window-camera, during urban adventures, views of Algiers, where, as a child, after Algerian Independence, I learned about liberty, and which some decades later after immigrating against my will and deliberately becoming an exile, I chose as my city. I was then a "wife of the Republic of Madagascar," as the left-hand side page of my passport noted, while the right-hand side declared "of the ambassador extraordinary and plenipotentiary." Disembodied, words off-screen, intervening one over the other, simultaneous encounters of polyphonic voices glide.

Through my window-camera, during urban adventures, views of Algiers, where, as a child, after Algerian Independence, I learned about liberty, and which some decades later after immigrating against my will and deliberately becoming an exile, I chose as my city. I was then a "wife of the Republic of Madagascar," as the left-hand side page of my passport noted, while the right-hand side declared "of the ambassador extraordinary and plenipotentiary." Disembodied, words off-screen, intervening one over the other, simultaneous encounters of polyphonic voices glide.

In the summer of 1969, the first and memorable Panafrican Festival of Algiers (Panaf of its small name) had brought together, assembled from all over Africa, musicians, dancers and theater groups, messenger artists from "brother countries", movements from liberation and the diaspora of the Americas. Forty years later, in July 2009, the second edition of this festival took place. During this one, I filmed several dance troupes in rehearsals or performances; the levitated bodies of the dancers, the energy, the grace and the life they give off.

René Schérer, who calls himself Professor Hairibus, is a philosopher, professor emeritus at Paris 8 University, and the author of numerous works about Husserlian phenomenology, childhood, Charles Fourrier and utopia. At any time, any opportunity, on paths climbed while talking, in the vegetable garden where ideas are ploughed as is the soil, in the seven-eleven where economy is sought and thought, at home, a haven of freedom, while washing up or peeling vegetables, while striding over Cevennes' crests where chestnuts and possibilities are found along the way, his philosophy is at work and play, in that it stimulates, provokes, shakes ideas and things.

Between Paris and Syria, the Orient remains an ordinary place filled with literature, myth, and the pulse of love. A love film without lovers, based on a poem by Constantin Cavafy.

It happens in, under, through the holes of Beirut, its floating gaps, along gullies from drilled pipes, in the dust of what is left of it, remained, because it is of the past this Beirut we see, of the recent past, filmed in 1995, before the city center collapsed by the war was razed and rebuilt.

Two women, angry Myope and happy Lunette (both played by Franssou Prenant), bounce ideas off each other in a small apartment, until Lunette fashions a story about Agathe (Cecile Garcia Fogel) and her husband Pierrot (Manuel Cedron), a one-time musician who now teaches gym. While the two love each other, they cannot communicate without quarreling.

Two women, angry Myope and happy Lunette (both played by Franssou Prenant), bounce ideas off each other in a small apartment, until Lunette fashions a story about Agathe (Cecile Garcia Fogel) and her husband Pierrot (Manuel Cedron), a one-time musician who now teaches gym. While the two love each other, they cannot communicate without quarreling.

Two women, angry Myope and happy Lunette (both played by Franssou Prenant), bounce ideas off each other in a small apartment, until Lunette fashions a story about Agathe (Cecile Garcia Fogel) and her husband Pierrot (Manuel Cedron), a one-time musician who now teaches gym. While the two love each other, they cannot communicate without quarreling.

She was 18. They were in love and lived together for ten years. 20 years later, he receives a letter from her. L is very ill. He grabs hold of his camera and films while trying to make her talk about other things, about cinema and what’s become of those political struggles…

A film by French filmmaker Françoise Prenant

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

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

In Pigalle night, from bars to stations, 3 young men, a love story (which ends badly).

1978년, 서른 살에 세상을 떠난 친구에 관한 영화. 자기변혁과 사회혁명에 대한 정열을 함께 불태웠던 친구 미셸 르카나티의 초상을 주축으로 작가의 사적 기억과 6-70년대에 혁명을 꿈꾸던 젊은 세대에 대한 기억이 담겨 있다. 68혁명에 참여한 로맹 구필 감독이 14세부터 찍어온 8미리 기록영상과 1982년 촬영한 픽션 및 인터뷰 영상을 섞어 만든 영화. 1982년 칸영화제 황금카메라 수상작.

Young trans women make the streets of Paris their cabaret. Their dreams are quickly overtaken by reality.

France, 1972. Albertine, a teenager in rebellion against school, the rancid family and religion, asserts her rights to a sexuality without obstacles. Wiith her friends, and the right to the abortion for the minor ones. With her friends, she campaigns for the rights to sexual pleasure and abortion for minor girls.