Rémon Fromont

A burnt-out New York psychoanalyst exchanges apartments with a Parisian woman. When his patients arrive, they talk to her and then pay. He returns early and becomes a patient as well.

Events of strange and serious nature mark the invention and the manufacture of the nylon stockings. For example inhuman exploitation of workers in artificial silk factories. The US army was a substantial promoter of the nylons.

Biographical film about the life and work of the Belgian painter Jan Cox. Cox had a tempestuous youth, during which he co-founded the Jeune Peinture Belge group and worked on the fringes of the Cobra movement.

I Don’t Belong Anywhere - Le Cinéma de Chantal Akerman, explores some of the Belgian filmmaker’s 40 plus films. From Brussels to Tel-Aviv, from Paris to New-York, this documentary charts the sites of her peregrinations. An experimental filmmaker, a nomad, Chantal Akerman shares her cinematic trajectory, one that has never ceased to interrogate the the meaning of her existence. Thanks in great part to the interventions of her editor, Claire Atherton, she delineates the origins of her film language and her aesthetic stance.

In this incisive dispatch from the newly collapsed Soviet empire, bullet holes from WWII still pockmark the old stone buildings. Akerman journeys from East Germany to Moscow between the late summer and winter of 1993 ('while there’s still time'), chronicling in deliberate tracking shots, circular pans, and domestic tableaux yet another moment of radical upheaval in the 20th-century, the faces and bodies of Poles, Ukrainians, Germans, and Russians weighed down with obedient resignation and uncertainty.

A woman who only has a couple of months left to live decides to go on a final journey, crossing several countries.

Brussels, La Monnaie Opera House. Three people near the end of their lives meet with choreographers, actors and musicians. They take part in a unique experience which involves music, dance and silence. Their journey becomes a tribute to the fragility of the human condition, between reality and representation, tragedy of the body and freedom of the spirit. Together they question their own relationship with death.

Céramique and Louis are a carefree and charming young couple. But soon the whims of love appear. They have to face up to it.

A Palestinian boy becomes entranced with a beautiful Romani girl and a fairy tale world she weaves amidst conflict in Gaza. The children explore nature, mysticism and what their future holds, while learning to live with the surrounding brutality c. 1990. Yusef's family scrapes by in a seaside camp while his father's in prison and his heavily-armed brother's on the run, parrying with Israeli troops. Salah, Yusef's schoolmate from a well-off Arab family strives faithfully to assist them, while Yusef helps an elderly, blind neighbor escape from his lonely abandonment into the North American dreamworld he's waited so long for.

A playful, free, and personal film in the form of a letter, a film interwoven with a thousand stories knit together with different textures, a book of images where a filmmaker shows the images and the stories he wants to share.

Chantal Akerman investigates the American Deep South through the story of a lynching and grisly murder of an African-American man that took place in Texas in 1998.

Social comedy about 2 forty-somethings who're looking for a new purpose in life.

The class struggle between loving the poor, or asking yourself an excuse to be selfish for trying to live a luxury life.

Janine Bazin and André Labarthe approached Chantal Akerman about making a film for the series; eagerly, Akerman proposed a number of filmmakers—but all had already been done. So she suggested…“How about me?” Akerman creates a fascinating self-portrait that takes us through her career, aided by critics Emmanuel Burdeau and Jean Narboni and filmmaker Luc Moullet.

The history of barbed wire, whose use dates back to the first settlers of the Wild West, always driven by their reckless and ruthless spirit of conquest and selfish ambition to leave their mark on wild lands; of its relationship with politics and mercantilism; of the perversion of the millenary relationship between men and animals; of the evolution of surveillance techniques. Fences and borders: the tragic tale of the enclosure of the world.

A portrait of pianist Alfred Brendel performing and analysing Franz Schubert's final three sonatas.

No description available.

Franco’s dictatorship, one of the longest and most violent dictatorial regimes in the history of the 20th century, has been kept silent by Spain since the transition and the recovery of democracy. In December 2007 following the approval of the controversial Historical Memory Law, whereby the Spanish government finally intends to lift the veil over this dark period, and thus do justice to the hundreds of thousands of victims of Francoism. From this starting point, the filmmaker José-Luis Peñafuerte (grandson of exiles) takes us on an authentic film journey through the roots of that hidden European memory, in order to open a window against oblivion.

A European official seeking to leave the Congo with his mistress in 1960 is stopped at a checkpoint.

Chantal Akerman reads a script detailing the woes that befell her on the day she thought about "The Future of Cinema". The camera continuously rotates 360 degrees around her apartment as she rereads the script at an exponentially increasing speed. At its heart, an homage to Godard.