Rémi Gérard

Juste un Mouvement is a free take on La Chinoise, a Jean-Luc Godard movie shot in 1967 in Paris. Reallocating its roles and characters fifty years later in Dakar, and updating its plot, this new version offers a meditation on the relationship between politics, justice and memory. Although not anymore alive, Omar Blondin Diop, the only actual Maoist student in the original movie, now becomes the key character.

The doors of the abandoned Raverdy coffee and chicory factory remain closed, just like everything around it. The director – herself a descendant of the Raverdy family (and expecting her first child) – goes in search of the stories behind this sealed-off part of the city. She moves in with her 91-year-old grandmother, who lives over the road. Piece by piece, she is able to reconstruct events leading up to the factory’s closure, using old photos, advertising brochures, myths, language games, conversations with her grandmother and former female factory workers. These memories unfold through different storylines. The factory’s surroundings are explored through a poetic film style, and the history of the nunnery next to the factory is also revealed. This sensitive film is a reflection on the invisible and the forgotten, revolving around women and the changing body.

Jovens soldados caminham sem rumo pela floresta, mas algo não está certo. Tropas soviéticas, a Wehrmacht e soldados americanos no Iraque parecem coexistir no mesmo bosque pacífico. Eles falam desajeitadamente sobre memórias de guerra que não poderiam ser suas. E, no entanto, eles as conhecem de cor.

Confronted with an unplanned and often interrupted pregnancy, men from 20 to 40 years talk about their feelings and thoughts about such events. Through these stories, director Coline Grando questions the place of a man in the relationship between women and men.

Verão de 2010 em Túnis, na Tunísia, alguns meses antes da Revolução de Jasmim. Enquanto o regime de Ben Ali cai, Farah (Baya Medhaffer), uma garota de 18 anos, se junta a uma banda de rock politizada e descobre o álcool, o amor e os protestos. Indo contra a vontade da mãe, Hayet (Ghalia Benali), que conhece os tabus do país, Farah mergulha cada vez mais nesse mundo, sem suspeitar do perigo de um regime político que a observa e se infiltra na sua privacidade. Para proteger a filha, Hayet fará o que for preciso, inclusive, reviver as feridas da sua própria juventude.

Since the year 2000, there have been several waves of suicides among the indigenous population of the Colombian Amazon. I discovered that the men commit suicide because of love sorrow. Their wives leave them for white men. The latter think that the Indian feels nothing because they do not express themselves in the same way and, in their language, there are no words to describe feelings. Is it possible that a whole people, the Cácuas Indians, do not feel anything?