Danielle Jaeggi

A poll for an advertising agency during a working day resulting in a series of meetings with women and men from different social strata, each one of them with a different problem.

A man returns to the place he once lived a passionate love affair with a woman who is now dead. So powerful are the emotions that seize him that he imagines she is still alive, and begins to live as if this were the case...

Who is Milena whose arrival is announced to Sophie and Nicolas by postcard? The train from Prague brings for three weeks, the time of a visa, this young Czech and his bag stuffed with forbidden texts, marginal films and music. She will strive to make them known with the help of her new friends.

The relationship between a French journalist and his girlfriend is tested during the ORTF strike of television workers in this half documentary half fiction feature.

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A film about women. A film by women. A film for women. With a man’s camera. Someday women will see these sad images of our survival and will wonder how we have been able to take it. (D.J.)

In an experimentally compiled film review, Danielle Jaeggi, Paule Baillargeon and Claudia von Alemann reflect on their work as filmmakers and life as mothers. Just as the title is based on Michel Leiris' book of poems Bright Nights and Many a Dark Day, the film has its own poetry, which is also evident in shots of everyday activities, such as hands washing dishes. “Just the hair or the relationship of the hands to each other or gestures, and then words come in between and film clips that we talk about, and we were amazed to find that the women we portray in the films always have a lot of trouble with theirs Identity, their search for something, for lost people or lost things. “They are usually looking for something that has been lost, forgotten or gone,” said Claudia von Alemann in the 1992 interview conducted by Renate Fischetti, A Pioneer of Female Film Language. An essay about desire, doubt, contradictions. (fib)

The day I realized that I didn't know the name of my aunt, who died at the age of 15 in a concentration camp, I was seized with fear. This is a film about memory coming back, about the impossibility of forgetting.

A women's strike in a a textile factory that lasted 109 days.

The story centers on a woman confined within a "square" apartment with an infant, where her existence is defined by a repetitive cycle of nursing, weighing, counting, and record-keeping. A turning point occurs when she rebels against a "false choice" presented by a traveling salesman; this act of defiance allows her to finally find the words to speak to the child about her true desires.

Collective French work from 1975 shot in black and white, the film is the result of a collaboration among six women who aimed to explore their subjective experiences through the body. The narrative unfolds through images of bodily experiences, interspersed with spoken words, fragments of sentences, and music. Rather than a traditional story, it presents a sequence of gestures of suffering, pleasure, and self-gratification, described as "gestures of sculpture". The work documents a search for identity that remains fragmented and ongoing, capturing discussions that reflect a "woman-movement" in its developmental stage. Ultimately, it serves as a record of a collective consciousness caught in the very act of its formation