Isabelle Prim

Aboard a high-altitude balloon the secret of which she possesses, a young girl has a strange encounter in space.Two investigations, undertaken in both the past and the present, endeavour to distinguish truth from falsehood. Isabelle Prim interweaves fiction with the formidable archives of the National Center for Space Studies.

When penniless young writer Labidi meets Elisa he knows she’s the one for him. But Paris is expensive. A captivating film that combines the classic themes of French New Wave cinema with questions about roots, familiarity and distance.

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.

Camille, uma bela mulher na casa dos 40 anos, encontra o celular que Suzy perdeu na estação de trens. Logo, as duas mulheres combinam um encontro para que a jovem possa recuperar o aparelho. É quando Suzy conhece Clara, a namorada de Camille. As três são interrompidas pelo amante alienado de Suzy que, embriagado, faz de tudo para a reconquistar. A partir daí, inicia-se um jogo de desencontros. Pouco a pouco, cada um escolhe o caminho que considera de felicidade, o seu lugar na trama dos sentimentos.

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.

O filme nasce a partir de um convite do Centre Georges Pompidou, mais especificamente do programa audiovisual de caráter experimental Hors Pistes, para a realização de um filme-performance. A jovem cineasta francesa se une à diretora de fotografia Caroline Champetier e à atriz Clotilde Hesme para, inspirada no Caso Dreyfus, adaptar para a tela e para o palco a triunfante estreia de Cyrano de Bergerac em 1897. Filmado no teatro La Comédie de Reims e narrado por Laurent Poitrenaux, o filme-performance cria labirínticas camadas narrativas, que desafiam o espectador enquanto um burlesco suspense se desenrola no palco.

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.