Serge Halimi

In 1932, the writer Paul Nizan published "The New Watchdogs" to denounce the philosophers and writers of his time who, sheltering behind intellectual neutrality, imposed themselves as true watchdogs of the established order. Today the watchdogs are journalists, editors, and media experts who've openly become market evangelists and guardians of the social order. In a sardonic manner, "The New Watchdogs" denounces this press that, claiming to be independent, objective and pluralist, makes out it is a democratic force of opposition. With forcefulness and precision, the film puts its finger on the increasing danger of information produced by the major industrial groups of the Paris Stock Exchange and perverted into merchandise.

Pierre Carles, the dispenser of justice seen in “Pas vu, pas pris,” is back in the saddle. After attacking French television star reporters, his new target is television critics as represented by Daniel Schneidermann, host of the "Arrêt sur images" show. “Enfin pris ?” analyzes censure at work in television. It is also a thought-provoking look at how power changes people and the intimate forces between ambition and loyalty. A cruel, biting comedy from which no one really comes out unscathed.

"Pas vu, pas pris" starts with a subject filmed 2 years ago ; ordered then forbidden to broadcasting by Canal + : it was "Pas vu à la télé". Bernard Benyamin, Henri de Virieux, Patrick de Carolis, Anne Sinclair, Charles Villeneuve (amongst others) appear before the candid camera of Pierre Carles, for once subjected to an investigation that concerns their profession. After proclaiming that there is no taboo subject on television, they discover a pirate document showing Étienne Moujeotte and François Léotard in a business discussion about the destinies of TF1. Question asked : would they have agreed to broadcast this document and if not, why not ? The investigation itself is objectively searching : anything can be said on TV except one thing, the more or less close collusion of journalists and the political powers. Pierre Carles gives us a sharp reflection on the scope of this "fourth power" that the media have become, and on the compromises of those who are its masters.