Judith Abitbol
Directing
Known For
In this intimate portrait addressed directly to Hélène Hazera, filmmaker Judith Abitbol revisits a key figure of France’s countercultures from the late 1960s to the 1990s. A member of the Gazolines and the FHAR (Homosexual Front for Revolutionary Action), Hazera was a tireless LGBTQ activist who founded Act Up’s Trans and AIDS commissions—one of her proudest achievements. Her true victory, however, was becoming the first transgender journalist at a major national newspaper (Libération), and later a producer at Radio France and France TV. Through her story, Abitbol reconnects with the insurrectionary spirit and creative chaos of those decades—an era when French culture was shaken by radical imagination, humor, and defiance. The film celebrates these modern Antigones who dared to live their desires beyond the reach of any law.
Hélène Trésore Transnationale
Twenty-year-old Nora takes her grandmother’s body to Algeria. Once there, her family discourage her from attending the funeral. Trapped between the four walls of the family home where she watches over her grandmother’s body, she is enraged. Silently.
Night Watchers
Lila is an 18-year-old girl living in Brest, France. She recently decided to wear a veil, to the dismay of her family. After an argument with her boyfriend, Lila does not feel like celebrating Eid at home and decides to slip away.
2 ou 3 choses que je ne sais pas d’elle
Tim lost his father a few months ago. Today, he is about to break up with his boyfriend Émile. Confined to his home, Tim delves into the memories of their relationship, mingled with his father's. Refusing to accept the separation, he embarks on a desperate digital hunt to find Émile.
Farewell Emile
No description available.
Vivere
No description available.
Avant le jour
No description available.
Brasero
January, 2007: I am back in Cairo. For work. You have changed your phone number, Omar. I must find you... I love you. Abdellah.
Cairo Streets
No description available.
Ă€ bas bruit
No description available.
L'Épouvantail
No description available.
Looking Mean Is Not Cool Anymore
Judith Abitbol filmed the work of pianist Jean-Louis Haguenauer. More precisely his work on the twenty-four preludes of Claude Debussy. It was a question of filming the elaboration of the work of the interpreter, such as Jean-Louis Haguenauer conceives it, at home, alone, in front of his piano. What does he do for hours at his piano? What is his approach to the work? How does he find his interpretation?