Le Cineaste A Director

In the later part of his oeuvre, the famous Japanese filmmaker Yasujirō Ozu looks at the society of post-war Japan through family stories from the lower middle class. Arte has compiled a decalogy of 10 films from this period from the director's creative work. This short documentary film, created in this context, explains the film works using fragments of Ozu's notes, which he wrote between 1933 and 1963, elegant drawings and film clips. A fine insight into the themes and aesthetics of this moving cinema about intimacy and the passage of time and a fascinating journey into the moving final part of the Japanese master's work.

This is the story of Roger, a former pork butcher, who worked for 40 years in the beautiful town of Beaune in Burgundy. Since he retired, he has started a new life as a filmmaker: Roger films only on Super 8. Insects, birds, everything he can find in the countryside are his favorite subjects. His short films have won prizes all over the world, some of them have been shown during the Cannes Film Festival. Josette, his wife and number one fan, happens to work for him from time to time.

This is a scar born from a knife strike in the back of the young Mizoguchi, coming from an enamoured jealous prostitute. This event enabled him to become the great cineast of women, and much more !

An ambitious and true cinema film director is struggling to make his next film in today's changing and commercial orientated cinema industry.

In this feature-length interview, conducted by Robert Fischer in February 2015, Volker Schlöndorff talks about the making of his film BAAL (1969), based on the first play ever written by Bertolt Brecht. He describes his working relationship with Rainer Werner Fassbinder and his group of actors and how the Brecht family hated the film when it first came out, resulting in BAAL’s inavailability for over 40 years.

Since childhood, Claude Miller was mad about movies. From a cinephile he became a filmmaker, a craftsman of "mainstream auteur cinema " believing in the sensitivity and imagination of the viewer. Suggesting the most, while showing the least possible, his work is of an elegant modesty.

Ruiz, rediscovering the things of his past in Chile ten years after the Coup, regards them now with the eyes of another world. This other world is cinema, the mechanical gaze of a Super 8 camera. This eye sees very deeply, even beyond reality and brute memory.

For years, together with his partners from the production company O Quadro, he has been betting on cinema as a tool to explore the typical issues of youth. In this film, Evandro Scorsin turns the cameras on himself as he deals with the dilemmas of the passing of time and the imposition of adulthood. In an exercise in autofiction where cinema and life merge, the film is also a cinematic love letter to the beloved masters (especially Nicholas Ray). Coming and going between two countries and times, it records the vertigo of displacement and the reinventions inherent to an immigrant experience.

An investigative portrait of the master of cinematic melodrama, Douglas Sirk. His life was the ultimate melodrama, from which all his films were inspired. Through the testimonies of those closest to him and the unpublished accounts in his wife's diary, we get closer to this man surrounded by mystery.

Rosa von Praunheim has made 150 films and repeatedly provoked the middle-class to homophobic majority society. But he doesn't spare his own community either by accusing many gays of being conformist soft-spoken people; and by outing some prominent homosexuals against their will, he has made many enemies. For the younger generation of LGBTIQ activists, Rosa von Praunheim is still known as a figure from the early phase of the queer movement, but as a white cis man he hardly gets a hearing there. However, Rosa does not want to argue and theorize, but above all to live out his creativity. Sometimes narcissistic, sometimes angry and combative, sometimes anxious - and always with his own style. Companions such as the comic book creator Ralf König, the producer Regina Ziegler and the New York publicist Brandon Judell pay tribute to the artist and activist Rosa von Praunheim, who calls himself a “lucky child” because he was mostly able to do what he felt like doing.