Elisabeth Perceval

On Ushant, where Jean Epstein retired to film “Finis Terrae” (1928), exploring the means of cinema to question reality. A century later, where do we stand?

A partly silent, partly sung film, shot nowadays in the erased footsteps of the Calais Jungle after its destruction. A tribute that doesn’t take a funeral angle, a tribute to the heroism of the displaced populations, driven out of sites at war devastated by the violence of fires. - doclisbona

From Brazzaville to Barcelona, a journey around the world in search of unique and diverse voices with the purpose of celebrating the collective dimension of life through words, music and the movement of bodies.

From Brazzaville to Barcelona, a journey around the world in search of unique and diverse voices with the purpose of celebrating the collective dimension of life through words, music and the movement of bodies.

From Brazzaville to Barcelona, a journey around the world in search of unique and diverse voices with the purpose of celebrating the collective dimension of life through words, music and the movement of bodies.

From Brazzaville to Barcelona, a journey around the world in search of unique and diverse voices with the purpose of celebrating the collective dimension of life through words, music and the movement of bodies.

From Brazzaville to Barcelona, a journey around the world in search of unique and diverse voices with the purpose of celebrating the collective dimension of life through words, music and the movement of bodies.

From Brazzaville to Barcelona, a journey around the world in search of unique and diverse voices with the purpose of celebrating the collective dimension of life through words, music and the movement of bodies.

In the beginning, Elisabeth picked yellow flowers. On the green hill, facing the sea, between a bunker, the glare of the sun, and the radiation from the wars in progress. In these times of confinement we film an hour a day, less than a kilometer away. It's a very old desire to film from home. The flowers, a radioactive yellow, evaporate in the light. And all around, the playful insects vibrate tirelessly. In this landscape under surveillance, there is Paul, an ancient Newfoundlander, struck down by the world to come. Has he left ? Has he disappeared? His dog prowls along the cliffs, between Fécamp and Yport. The sea turns red, we fall into the night.

A portrait of the unforgettable actor Michael Lonsdale, already starring in La Question humaine: one last performance, between Artaud and Plutarch, before turning into impalpable stardust.

Men and women are dancing feverishly for a long time. The dance of bodies turns into a filmic trance, fleeing turns into running away, with braided motifs that get revived with every race. The men who don’t dance talk, recite, tell their own stories for and with the filmmakers. And be it through dancing or talking, it is by sharing work space and time, by making a film together, as a community, and by lovingly giving in to sharing, that the film operates politically. It even makes a processional samba in the streets of Sao Paulo look like a show of inalienable collective power. Carried away by this power, the film itself then seems to run away, to overrun its own limits. Somewhere between fable and document, improvisation and composition, anger and joy, all frontiers are burning. (Cyril Neyrat - FID 2021)

Men and women are dancing feverishly for a long time. The dance of bodies turns into a filmic trance, fleeing turns into running away, with braided motifs that get revived with every race. The men who don’t dance talk, recite, tell their own stories for and with the filmmakers. And be it through dancing or talking, it is by sharing work space and time, by making a film together, as a community, and by lovingly giving in to sharing, that the film operates politically. It even makes a processional samba in the streets of Sao Paulo look like a show of inalienable collective power. Carried away by this power, the film itself then seems to run away, to overrun its own limits. Somewhere between fable and document, improvisation and composition, anger and joy, all frontiers are burning. (Cyril Neyrat - FID 2021)

Men and women are dancing feverishly for a long time. The dance of bodies turns into a filmic trance, fleeing turns into running away, with braided motifs that get revived with every race. The men who don’t dance talk, recite, tell their own stories for and with the filmmakers. And be it through dancing or talking, it is by sharing work space and time, by making a film together, as a community, and by lovingly giving in to sharing, that the film operates politically. It even makes a processional samba in the streets of Sao Paulo look like a show of inalienable collective power. Carried away by this power, the film itself then seems to run away, to overrun its own limits. Somewhere between fable and document, improvisation and composition, anger and joy, all frontiers are burning. (Cyril Neyrat - FID 2021)

Nas sombras da Vida Baixa, uma cerimônia secreta dedicada a treze guardiões dos tesouros comuns da humanidade, amor e resistência, juventude e poesia, igualdade e diferença, insurreição e revolução. O destino destas plantas sem raiz - saxifragas - é uma perseverança suave dobrada por uma intransigência imperceptível, que, com o tempo, impõe à dureza das pedras uma paciência que pode quebrá-las.

Nas sombras da Vida Baixa, uma cerimônia secreta dedicada a treze guardiões dos tesouros comuns da humanidade, amor e resistência, juventude e poesia, igualdade e diferença, insurreição e revolução. O destino destas plantas sem raiz - saxifragas - é uma perseverança suave dobrada por uma intransigência imperceptível, que, com o tempo, impõe à dureza das pedras uma paciência que pode quebrá-las.

Nas sombras da Vida Baixa, uma cerimônia secreta dedicada a treze guardiões dos tesouros comuns da humanidade, amor e resistência, juventude e poesia, igualdade e diferença, insurreição e revolução. O destino destas plantas sem raiz - saxifragas - é uma perseverança suave dobrada por uma intransigência imperceptível, que, com o tempo, impõe à dureza das pedras uma paciência que pode quebrá-las.

Life for refugees and migrants stuck at Calais: Filmed amidst the camps, the beaches, the sea and the sky, impressions of the lived experiences of these people wavering between despair and hope.

A growing city, where nearly 7,800 people lived, will be destroyed by 50% in February 2016. How will the 4,000 migrants expelled from the South zone reborn from their ashes in the northern zone. Before the state decided to annihilate the entire territory in October 2016 and to disperse its 11,000 inhabitants, to the four corners of France.

A growing city, where nearly 7,800 people lived, will be destroyed by 50% in February 2016. How will the 4,000 migrants expelled from the South zone reborn from their ashes in the northern zone. Before the state decided to annihilate the entire territory in October 2016 and to disperse its 11,000 inhabitants, to the four corners of France.

A growing city, where nearly 7,800 people lived, will be destroyed by 50% in February 2016. How will the 4,000 migrants expelled from the South zone reborn from their ashes in the northern zone. Before the state decided to annihilate the entire territory in October 2016 and to disperse its 11,000 inhabitants, to the four corners of France.

A growing city, where nearly 7,800 people lived, will be destroyed by 50% in February 2016. How will the 4,000 migrants expelled from the South zone reborn from their ashes in the northern zone. Before the state decided to annihilate the entire territory in October 2016 and to disperse its 11,000 inhabitants, to the four corners of France.

A young girl disappears in a forest in the heart of São Paulo, Brazil.

A young girl disappears in a forest in the heart of São Paulo, Brazil.

A young girl disappears in a forest in the heart of São Paulo, Brazil.

A caça ao homem continua em Barcelona, nos dias atuais. Fantasmas da colonização, imigração contemporânea, prostitutas vindas da África, um cão que fala, canções e danças. Exibição simultânea em quatro telas divididas.

Durante o mês de dezembro, Klotz e Perceval foram convidados para ministrar aulas de cinema na África. A partir da experiência decidiram rodar um documentário que envolve a cultura, dança e o encontro com os habitantes locais. Parte integrante dos Diálogos Clandestinos de um próximo longa da dupla, Ceremony.

Uma centena de fragmentos de sequências cinematográficas de caça ao homem que perpassam toda a História do cinema de Fritz Lang a Apichatpong Weerasethakul, passando por Jesus Franco, Dario Argento, Robert Bresson, Raoul Walsh, John Ford, Béla Tarr, Straub e Huillet. Exibição simultânea em quatro telas divididas.

Um crítico da revista Cahiers du Cinéma entrevista um diretor de cinema a respeito de sua nova produção. Parte integrante dos Diálogos Clandestinos de um próximo longa da dupla, Ceremony, a ser rodado.

À noite, duas criaturas partem na cidade adormecida. Elas carregam um idioma que arde o coração e desperta os sentidos. Esses seres apaixonados vão a um encontro secreto. Inédito no Brasil.

Carmen conhece Hussain, um jovem poeta afegão. Eles se apaixonam e se tornam inseparáveis. Pouco depois, ele descobre que seu pedido de asilo foi recusado, obrigando o casal a se esconder. No entanto, Hussain começa a se sentir sufocado e precisa sair de casa.

Carmen conhece Hussain, um jovem poeta afegão. Eles se apaixonam e se tornam inseparáveis. Pouco depois, ele descobre que seu pedido de asilo foi recusado, obrigando o casal a se esconder. No entanto, Hussain começa a se sentir sufocado e precisa sair de casa.

In 2009, Klotz and Perceval visit Jean-Luc Nancy at his home in Strasbourg, where they record a conversation in three intervals, in which the zenith of political discourse blends with everyday life. A lesson that is reflected in the communities at the center of both author’s films.

Simon, um sujeito meticuloso, sóbrio e calculista, é psicólogo e diretor de Recursos Humanos de uma corporação multinacional alemã sediada na França. Após demitir mais de mil trabalhadores, em um processo de "reengenharia" da empresa para melhor "racionalização" das linhas de produção, é solicitado pelo vice-presidente a investigar, em sigilo, o estado mental de um importante diretor-executivo, que apresentaria um comportamento supostamente estranho.

Durante uma festa, Camille fala sobre seu corpo amoroso atravessado pela ciência, o tempo que dá errado, e olha para o futuro. Produção de curta-metragem realizada para o projeto Talents Cannes.

Enquanto motins estouram em conjuntos habitacionais e o exército tenta restaurar a paz nas ruas, quatro jovens são interrogados pela polícia por suspeita de terrorismo. Produção de curta-metragem realizada para o projeto Talents Cannes.

Blandine arrives at the Charles de Gaulle Airport, seeking a reunion with her husband Papi in Paris. Despite articulate claims for asylum, she is held in a cramped cell along with a number of fellow Africans, humiliated, mistreated and told that they can expect immediate deportation. Papi enquires of her whereabouts at Arrivals, and is met with disinterested, misleading responses. When Blandine is hurt in a skirmish on the runway as the authorities try and force her out of the country, circumstances and a sympathetic employee of the Ministry of Foreign Affairs save her from expulsion. She is finally reunited with Papi in a communal squat, its inhabitants sharing harrowing stories of their time in France. With work, money and food scarce, and her confidence shaken by her less than warm welcome to the country, Blandine cannot find the enthusiasm to leave her damp mattress.

Blandine arrives at the Charles de Gaulle Airport, seeking a reunion with her husband Papi in Paris. Despite articulate claims for asylum, she is held in a cramped cell along with a number of fellow Africans, humiliated, mistreated and told that they can expect immediate deportation. Papi enquires of her whereabouts at Arrivals, and is met with disinterested, misleading responses. When Blandine is hurt in a skirmish on the runway as the authorities try and force her out of the country, circumstances and a sympathetic employee of the Ministry of Foreign Affairs save her from expulsion. She is finally reunited with Papi in a communal squat, its inhabitants sharing harrowing stories of their time in France. With work, money and food scarce, and her confidence shaken by her less than warm welcome to the country, Blandine cannot find the enthusiasm to leave her damp mattress.

Blandine arrives at the Charles de Gaulle Airport, seeking a reunion with her husband Papi in Paris. Despite articulate claims for asylum, she is held in a cramped cell along with a number of fellow Africans, humiliated, mistreated and told that they can expect immediate deportation. Papi enquires of her whereabouts at Arrivals, and is met with disinterested, misleading responses. When Blandine is hurt in a skirmish on the runway as the authorities try and force her out of the country, circumstances and a sympathetic employee of the Ministry of Foreign Affairs save her from expulsion. She is finally reunited with Papi in a communal squat, its inhabitants sharing harrowing stories of their time in France. With work, money and food scarce, and her confidence shaken by her less than warm welcome to the country, Blandine cannot find the enthusiasm to leave her damp mattress.

First part of a "trilogy of modern times" (the second one is La Blessure, and third - La question humaine). Paria follows the path of two characters, Momo and Victor. Momo –remarkably played by Gérald Thomassin– lives in the streets, while Victor, on the edge of poverty, loses his apartment when he loses his job. Their destinies will come across during the night of the “millennium” which will be celebrated in a social pick-up bus.

A rich Moroccan who belongs to the better circles has seven daughters. Whatever happens, the eighth offspring must be a son. It is a girl again, but she is given a male name, Ahmed and grows up like a boy. When Ahmed is 21, he is in an identity crisis: he wants to shave, leave a mustache and take his niece to wife. In the meantime, Ahmed's father is dying and wants to sail to heaven. He calls to Ahmed and calls her a female name Zahra and gives her freedom so that she can go out.

Allan is an engineer working in 1930s Calcutta. He is invited to stay with the family of his boss, Narendra Sen which includes his wife, Indira and daughter Gayatri. Gayatri and Allan become romantically involved leading to tragedy.