Directing
A humorous glimpse of what happens every morning on the wavy sidewalks of Copacabana Beach. Physical fitness, Brazilian style, with a dash of soccer and hints of Carmen Miranda.
Based on a dream, superposition of ruined castles, scree and poetic fragments in the Alsatian winter.
The young man fell from the sky. Communication relay burns. Flee from the city and its commotion, return to nature. Become part of another story. That of the legend of the prince. In the hope of a love, hiding behind the hollow in a tree. Nothing magic is improbable. What happened yesterday, may happen again tomorrow.
Separation of the functions and circulations in architecture and town planning: DES DALLES (FLAGSTONES). Ironic, methodical and critical journey of these places: DEDALE. Cinema is critique of reality. When this reality is already ideologically "mise en scène" (directed), a function of the cinema is to dislocate this scene to find its reality.
The documentary tells two very different human fates in the 1920s Soviet Union. Nikolai Vavilov was a botanical genius, Trofim Lyssenko was an agronomist who made great promises and fake inventions. Each of them tried to solve the country's nutritional problem, but only one succeeded.
That which changes and that which remains.
With a super 8 camera from Paris to Berlin, from Amsterdam to Rio, from Jerusalem to New York shooting only at night. Hungarian crooners, Indian tribal chants, opera arias, and an occasional samba make up the sound track of this “hand-held” diary.
In order to describe the metamorphoses undergone by the city of Paris, Gisèle Rapp-Meichler et Luc Meichler began from Guy Debord's texts on psychogeography to make Allée des signes, the last Situationist film-essay.
ROSA ROT gives two frameworks and two points of view: the abstract one, of a free inner thought as manifested by the visual immersion in a piece of landscape subject to constant change, striated by gales mingled with the incessant fall of thick snowflakes - and that, concrete, wider and distanced but in the same axis of this landscape crossed by the fixed frame of a window, which brings us back to a state of physical confinement while reading Rosa Luxemburg's letter from prison gives further evidence. As proof that no prison hinders freedom of thought.
A vanity. Shot in SVHS in 1995 during the destruction of a concrete church in the rue de la Roquette in Paris, the film becomes a vanity in 2009, assuming the degradation of the tape.
No description available.
A month in the country. In summer, a group of friends rent a house in southern France. People come and go, making their way through chickens, dogs and cats. Playful sounds and a wacky collage of music make up the soundtrack.
If, one evening, a village drinker abuses of schnapps to the point of risking a heart attack, the traditional remedy is to bury him up to his neck in manure and leave him there until morning. The organic heat causes an intense elimination of sweat, and the ammonia brings the patient back to consciousness. The "where am I" that follows and the short-circuiting, in the ethylic haze, of the dazzle of the first sun on the snow and the disgust of finding oneself in manure: this is the crucial moment of the borderline experience portrayed in the film. Death and resurrection, steeped not in mystery but in elementary chemistry, which, through its excess, opens the mind to the terrible presence of reality. A tribute to the strong primal character of the Alsatian in his stubborn resistance to all worldly things, and his fierce anchoring to the world.
A 15-year-old boy goes on a hiking trip with his estranged grandfather, and overcomes the grief of losing his parents on a mountain above the clouds.
Reflections on the emergence of the image memory in its path from the subliminal image to an imposant image. How to imagine the unimaginable? A flash-a souvenir - a dissection table. A family roadtrip on a winter Sunday in the black 203 with small red wings. In the late 50s we would realize the reality of horror embedded in the territory of Alsace less than twenty years ago: a Nazi concentration camp. To see for trying to believe? "In the absence of truth, however, we find moments of truth, and those moments are really all we have to bring order into this chaos of horror." Hannah Arendt.
How can places where fights for freedom have taken place, like here, reflect on history? One function of cinema is to ponder this relationship by filming the landscape as a sensitive surface where we try to bring out, with the necessary tools for image and sound, a certain figure of the past. It reveals itself by merging with the present in a loud echo that restores its full political dimension. With an artist (Grünewald) who was engaged in the Peasants' War (1525).
A series of episodes inspired by the popular Alsatian character "Hans im Schnockeloch", "who has everything he needs, wants nothing he has but has nothing he wants". "We wanted to restore some radical vitality to this typically Alsatian character. Incisive." A. Wicker
A minute and a half to recall endangered words. When the backwash of obscurantist thoughts seeks to overwhelm more enlightened ideas, our survival reflex consists – in this specific case of blacklisting words and therefore the ideas they represent – of declaiming their names loudly and clearly, whatever our language, in order to keep them alive and ready to operate, to resist. Would it be enough to remove the word "war" to eradicate conflicts ?
Research of cinematographic adequacy with the plastic and technological work of the artist Piotr Kowalski. Document on the setting up of the "Time Machine" exhibition at the Center Georges Pompidou (1981/82).
