Isabelle Prim

비밀리에 갖고 있던 고공의 기구에 올라탄 소녀는 우주에서 이상한 만남을 갖는다. 과거와 현재에 진행된 두 조사로 진실과 거짓을 구별하기 위한 노력이 펼쳐진다. 영화는 픽션과 프랑스국립우주연구소(CNES)의 아카이브를 뒤섞는다.

라비디는 요즘 젊은이이다. 그는 작은 뒷거래와 아르바이트를 하고 룸메이트와 작은 집에 살면서 작가가 되기를 꿈꾼다. 어느 날 그는 엘리자를 만나고서 자신이 감당하지 못할 라이프 스타일에 대해 다시 생각하게 된다.

At his grand-mother's death, Jean, a fourteen-year old teenager inherits the file of a mysterious court case from 1895. Fascinated by this archive, both real and fictitious, Jean becomes the judge of a criminal case completed more than a century ago.

At his grand-mother's death, Jean, a fourteen-year old teenager inherits the file of a mysterious court case from 1895. Fascinated by this archive, both real and fictitious, Jean becomes the judge of a criminal case completed more than a century ago.

At his grand-mother's death, Jean, a fourteen-year old teenager inherits the file of a mysterious court case from 1895. Fascinated by this archive, both real and fictitious, Jean becomes the judge of a criminal case completed more than a century ago.

At his grand-mother's death, Jean, a fourteen-year old teenager inherits the file of a mysterious court case from 1895. Fascinated by this archive, both real and fictitious, Jean becomes the judge of a criminal case completed more than a century ago.

걷잡을 수 없는 욕망에 휩싸이게 된 그들. 이 모든 것은 비밀스러운 영상으로부터 시작되었다! 카미유는 기차에서 우연히 휴대폰을 발견한다. 휴대폰 안에 담긴 건 아름다운 여성의 비밀스러운 성생활. 휴대폰 주인 수지에게 전화가 오고, 이후 두 여성은 더 나은 삶을 위해 에로티시즘과 정신적 각성의 여정을 시작한다. (2018년 제19회 전주국제영화제)

300 million years ago, the north of France was a wetland. 140 years ago, a canal is dug and never filled with water. One day, vagabonds decide to go down an invisible river and pick on the way débris of a world to start a new one. The film finds its starting point in the 1970s environmental scandal of Love Canal (NY, USA) who led to the Superfund act (1986), the first federal program on damages caused to natural ressources by industrial sites. From there, the film traces a path through the post-industrial landscapes of north of France and questions, through fiction, the taking in hand (metaphorically and litterally) of those great landscapes.

Amine is fifteen, a high school kid like any other. He has a girlfriend, Lou, and lives an ordinary life. One day, he has a bicycle accident, another one. This time, a young woman offers him a helping hand. She says his injured knee needs looking after, it's not a pretty sight. She lives nearby, so she takes him to her place. She's very relaxed with him, natural, sure of herself, happy in a world where everything seems so easy. He feels close to her, and finds her attractive. But is he attracted to her, or to this world that is so foreign to him? When he leaves, he notices that her apartment can be seen from the street, so he makes a plan to spy on her every day.

Documentary about a woman who claims to be Calamity Jane's daughter.

Documentary about a woman who claims to be Calamity Jane's daughter.

Documentary about a woman who claims to be Calamity Jane's daughter.

A burlesque crime film constructed around real events from 1897: Ildebrando Biribo, an Italian anarchist and a prompter in a theatre, is found dead in his box under the stage. An artistic puzzle between theatre, cinema, and a mysterious crime through the voice of playwright Edmond Rostand.

Fed up with his status as gallery poster boy, Rodin’s “The Thinker” airs his grievances to his partner...

A fairy is invited for lunch by Gertrude Stein, and suddenly the world changes.

A fairy is invited for lunch by Gertrude Stein, and suddenly the world changes.

A fairy is invited for lunch by Gertrude Stein, and suddenly the world changes.

A fairy is invited for lunch by Gertrude Stein, and suddenly the world changes.

A fairy is invited for lunch by Gertrude Stein, and suddenly the world changes.

A fairy is invited for lunch by Gertrude Stein, and suddenly the world changes.

A fairy is invited for lunch by Gertrude Stein, and suddenly the world changes.

A fairy is invited for lunch by Gertrude Stein, and suddenly the world changes.

A fairy is invited for lunch by Gertrude Stein, and suddenly the world changes.

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

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

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

Less and Less, Luc Moullet’s 40th film, concerns development and expansion, from 1968 to 2010, of the devices based on computers, automats, interactive terminals and others that can be found everywhere.

"Mademoiselle Else" is an adaptation in video of Fräulein Else, a novel by Arthur Schnitzler. It is the account in the first person of the last days of a young girl from a good family who, on holiday in the Alps, has to ask Dorsday, an old art agent and bon-vivant for money to help her father, a Viennese lawyer ridden with debts. Dorsday asks in exchange to be allowed to admire her nude. Scenes shot in the Alps break up the story to allow Else to literally distance herself from the rest of the film shot in the studio, a dark room that becomes the recipient of the various mental projections of the young girl. These two different environments enable us to understand the comings and goings in the Else who weighs herself up and Else who weighs up the situation. As it is indeed at Else's level, around sexual benchmarks, that Schnitzler develops his critique of liberalism.