Directing
Vedette is a cow. Vedette is queen. She was even once queen of the queens of the Alps. But Vedette is getting older. In order to save her the humiliation of being dethroned by young rivals, our neighbors, Elise and Nicole let us look after her for an entire summer. This is where our vision changes : our vision of the cows, of our local neighbors, in short, our vision of the world.
Lili is twenty years old, has an English mother, a magician father, a voice from elsewhere and a gift that only children know: the power of her own desire. It all starts with a summer night: that summer, Lili and Bruno will find love.
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Caroline is young, impulsive, quick-tempered. Colette, a little older, is compassionate and disorganized. Families that ha've come from Sri Lanka, Mongolia, Eritrea, and elsewhere face both women when seeking exile in France. Each day more people arrive, with or without passports, with or without luggage, by the planeload or in tarpaulin covered trucks... How do we cope with this overflowing tide of distress and need ? The film recounts this face to face encounter, at times tense and explosive, moving and amusing, where everyone defends their position.
A documentary by Marie-Claude Treilhou.
Festival of Avignon 1977. In the main courtyard of the Popes' Palace, actors rehearse a play by Shakespeare, Coriolan. The director is inspired by this text and the history of the landscape of Provence to question the imaginary threads that link all these elements and that "make theater". "Theater is a film about the relationship between theater and history. First, there is Coriolan, Shakespeare's play about a Roman dictator's rise to power, there are the landscapes of Provence, there are the actors who rehearse the play in Avignon. And two voices, that of a man and that of a woman who speak to each other. While the reality of the actors' work builds the documentary side of the film, this fictional dialogue resonates with the landscapes that contain so many traces and stories. The film, playful and joyful, explores the narrative possibilities of cinema." - Catherine Bizern
Lolita hates to smile. Kévin doesn't know how to sell himself. Hamid doesn't like bosses. They are twenty. They have no qualifications. They are looking for work. Over six months, the coaches of an employment consultancy firm are going to teach them the attitudes and language required to get a job in today's market. Through this apprenticeship, the film reveals the absurdity of these new rules of the game.
A woman questions men. She tries to make them talk about themselves, some answer, others don't. In counterpoint: hunting, dancing, motorcycle riding. "I have always wanted to know more about men, to hear about their country, about "what it's like to be a man". Curiosity of a little girl, no doubt. But also a woman's desire, a desire to get closer and closer, until the impossible fusion. Juliette du côté des hommes is the film of this curiosity, of this desire. Men who please me tell me their story, tell me about their desires. And I, who listen to them and watch them, tell with these words and these images, my desire for them. Between a marathon and bikers, a hunting party and a card game, a waltz that sails and a tango that sways, there is masculinity that passes. There is - for me - the Other." (Claudine Bories)
In 1975, the "Year of the Woman" was celebrated for the first time. An opportunity for Claudine Bories to make her first film to the glory of the women of Aubervilliers... Workers, employees, hairdressers, young girls met in the street or in the squares... This film is a black and white videogram, filmed on the sly, a little wildly. It is a "film of the streets" as one says "song of the streets", realized with a freedom and a cheerfulness full of hope. - Films-Documentaire.fr
Gabriel Bories is the director's father: an anarchist worker in 1936, he did time in prison, the Moroccan Rif, the children's prison... A mysterious itinerary, reinforced by a troubling resemblance to Jean Gabin. This portrait is built like a cinematographic quest with its montages, its cuts, its lightings and its shadowy zones. The viewer is also taken on a journey through history and landscapes. The journey of this father is traced with subtlety, without emotional overflow, and yet, we are moved.
