Raymonde Carasco

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

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.

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."

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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.

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.

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.

Reel 4 of Gérard Courant's on-going Cinematon series.

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 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.

“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)

Portrait of French filmmaker Raymonde Carasco shot in Hyères (France) on September 3, 1978 at 2:30 PM.

This film is a confrontation between the texts Antonin Artaud wrote about the Tarahumaras and the films Raymonde Carasco made with the Tarahumaras (from 1977 to 1994) on the track of Antonin Artaud, in Norogachic, the only place explicitly mentioned by Antonin Artaud.

Fifth chapter of La fêlure du temps. "Yes, the dead, I see him very well. He tells me of the necessity to do that ritual. We have to end this, that he may be clean, limpiado, that he must finish all that needs to be finished."

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.

"Erasmo Palma: Matachín dancer, Tarahumaras songwriter, resource for anthropologists, our informer and friend since 1978." (Régis Hebraud)

Fourth chapter of La fêlure du temps. "We work the sueño, the pure sueño: first, see, see the disease, how the disease is advancing"

To mark the celebrations of Holy Week, the Tarahumara Indians of Mexico invented (or found) dance-rites in which men paint the face and body. Passion processions depict two kinds of "fariseos" (Pharisees): some dressed in white and crudely daubed with chalk; others, almost naked--feather helmets wearers--fully marked with large white spots. Children, teenagers, young men; all the men of the tribe are organized into a strip under the lead of an older flag carrying dancer. They occupy the site of the village for three days and three nights witn uninterrupted, obstinate drums. Commemoration or preparation for what fight? For the strange figure of Governador leather mask seems to revive the tradition of the leader of nomadic warriors. On Easter morning, the public festivities end abruptly with the appearance of two Pascoleros in body paint, the dual perform a subtle dance: they will be the signal for the up-to-death of Judas.

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.