Raymonde Carasco

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

The shooting diary of a film shot in France and in the United States. Using photos of Paris and of New York City, excerpts of his former films, statements by friends of his and shooting sequences of the film itself, tormented filmmaker Marcel Hanoun has made a heterogeneous and unclassifiable film about the difficulty of filming.

The movie shows a smattering of images from the story of Wilhelm Jensen's Gradiva. The subject is sublimated desire.

Rites of winter, rites of peyote. A creative documentary based on texts by Antonin Artaud read by Jean Rouch, and the words of the last shaman’s peyote, translated by Raymonde Carasco.

Joa (Bulle Ogier), an archaeologist from Mexico, comes to Paris in search of her sister Anna (Mireille Perrier), of whom she is suddenly without news. Anna, a theater actress, was in the title role in Sade's "Justine" when she disappeared. The investigation leading Joa to the people who have known her sister, turns into an initiatory quest. Her journey, her stroll through a subterranean marginal Paris, leads also to the emergence of a new woman.

The veneer of the story is a tale of chance love: two French expatriates strike up a chance romance when they meet on a ship headed back to South America.

An intimate exploration of Raymonde Carasco’s father.

To attain knowledge, man and woman had to be willing to give up their innocence," says Boris Lehman. Life Lesson is a poetic and philosophic reflection on the theme of paradise lost. Some fifty persons illustrate the planet's convulsions and the world's vacillations. Trying to communicate, to commune with the invisible, they cry out, sing out, give out messages, each in their own way, in their own state of solitude. These are like multiple echoes that resemble waves in the water or stars in the sky. " Behind these images and sounds that have been stifled by today's society, Lehman hunts for noises, cries, songs, messages that go astray. He says that if we look at the invisible we may hear the words. He invites us to look beyond the appearances of social life and to vibrate in tune with life's polyphony that is all around us."

By combining a journey to the locations for Eisenstein’s unfinished opus Que Viva Mexico! with images of an Indian girl walking, Carasco has created a cinematic topos across multiple historical eras. We see figures walking, marching, in motion, as we set out on the trail of a film, and of the Tarahumara – those who run fast.

Third chapter of La fêlure du temps. "It's enough that Gloria tells you the first time: if you want to work that way, do it. The sueño is not taught: you yourself are going to think how to work the sueño"

La fêlure du temps (2000-2003) is the last of the works of Raymonde Carasco focused on the Tarahumara. This epic divided into five chapters (L’Avant is the first) focuses on the origins and the disappearance of the Tarahumara culture, based on the words of the last shaman.

A documentary cycle involving the Rarámuri or Tarahumara people of Northern Mexico. This film addresses rites of winter as well as peyote and bakaka rites. Its commentary, read by Raymonde Carasco and Jean Rouch, is drawn from texts by Antonin Artaud.

“The most culturally mixed of the Tarahumara dances, a hermaphrodite dance says Raymonde. We may have captured a little of Artaud’s vision in the Le rite du peyotl chez les Tarahumaras.” (Régis Hébraud)

Second chapter of La fêlure du temps. "As a child, I loved to dance. I remember a time we lived in happiness"

This film was shot in summer 1979. The repeated ritual of Tutuguri that Tranquilino the saweame sang and danced six times in a short, strictly accurate duration. Secret words from which only emerge vowels, dance that builds a sacred space between the four cardinal points of a cross, a black and pagan sign. A native solar rite, prior to the Spanish conquest. The assembly here builds in a single plane the two poles of real time and an expanded space-time, from dual material: Tutuguri and Carreras.

This film chronicles a meeting: that of the Tarahumara Indians and a camera that looks at the people that are etymologically called "foot runners." Musical montage: steps rhythms, traditional gestures and postures.

This film was shot during Easter 1985. It shows the preparation and staging of the Passion in the village of Norogachic, Mexico. The initiation rites of two Pascoleros, filmed for the first time, form the center of this document.

No description available.

This film was shot in August 1984 in NOROGACHIC, the heart of the Sierra Tarahumara (the same place where Antonin Artaud in 1936, claims to have attended the rites of Tutuguri after crossing "The Mountain of Signs").

No description available.