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À travers l'univers à la Cinemateca Portuguesa de Lisbonne (June 22, 2017) is an episode of Gérard Courant's Filmed Notebooks shot during the retrospective of his films at the Cinemateca Portuguesa in Lisbon. In this episode of the Filmed Notebooks, António Rodrigues, programmer of the Cinemateca Portuguesa and Gérard Courant present to the public the session of Through the Universe.
"Compression de À travers l'univers" is the reduction of my film À travers l'univers from 1 hour to 18 minutes into a 4-minute movie. The film is "compressed" like a work by Arman or Caesar. But unlike the work of these artists who compressed usual objects, this self-compression reduces a purely artistic object. The tour de force and the bet of Compression de À travers l'universe was to make a total compression: in this film, there is no lack of a single shot of the original film!
"A Debate Across the Universe" is, on the one hand, the capture of the debate which followed the world premiere screening of my film "Across the Universe", presented as part of the "Ethnology and Cinema" in Grenoble, at the Les Méliès cinema in Saint-Marcellin and, on the other hand, the criticism of this debate and additional information relating to the staging of "Across the Universe".
French national Stéphane Bouquet, the illegitimate son of a U.S. soldier, goes looking for the father he never met in the United States' heartland.
Early 20th century film footage of Japan.
Serge Moati describes his film as "the saga of the 'children of the roads', builders of the future who "will one day cross countries that will look like gardens", as a lyric-amphigouric dialogue prophesied, declaimed by actors, quite amateurs, crossed all along the dusty tracks..."
The most pretentious of any bomber traverse movie that you will watch. This 12 minute short documentary, with a nostalgia inducing playlist and witty jokes throughout, is the newest production from the older half of the Daughdrill Brothers. 4 days in the Talkeetna Mountains will make any man start to go crazy and it is clear to see in the abrupt ending that the main objective of these men was to make it out alive.
A cat tries to cross a street in Tel Aviv, prevented by computer bugs.
1985, b/w, silent, 7min
Part science fiction, part homage to film history, this short black-and-white film fuses images of the moon with archival footage of King Mohammed V of Morocco’s face. All this swirling imagery is set to an eerie soundtrack that takes the viewer on a surreal journey. (Heure Exquise)
A young woman overhears a heated argument between a man and a woman, in a language she does not understand. As she continues her walk, she is left with questions she cannot answer.
A woman makes clothes in a basement but someone keeps interfering with her. She is angry but she doesn't know who she's being angry at. 'She' is actually a manikin and she's about to kidnap someone to ask for ransom money. The energetic and lively editing and sound are much alike Kim Gok and Kim Seon's previous work but their message to society is very direct and straightforward. The highlights of this movie are the unique narrative structure that twists the typical customs and the eccentric images.
Filmed in Rwanda in April 2004, during performances of the show Rwanda 94, in the context of the 10th commemoration of the genocide of the Tutsis and the massacre of Hutu moderates. How can theatre question reality when faced with the primary actors of the story told on stage? The intense, cathartic, active answer of the Rwandan audience brings to the fore the current concerns of the survivors. What is life like for them 10 years after the genocide? Echoing the issues in the play, "Rwanda. Through us humanity..." allows the survivors of the genocide to speak out, in their current reality, during this special period of mourning. The memory of the genocide is sought out, is established through the traumatic awakenings, the evocations, the disinterment and dignified burial of victims, the fears and worries with regard to the threats that still weigh upon them today.
The film consists largely of a series of interviews with female filmmakers from several different countries and filmmaking eras. Some, such as Agnès Varda and Catherine Breillat (both from France), have been making films for decades in a conscious effort to provide an alternative to the male filmmaking model; others, such as Moufida Tlatli (Tunisia) and Carine Adler (England), are relative newcomers to directing, and their approaches seem more personal and less political. The film as a whole manages to cover some important topics in the feminist debate about film -- how does one construct a female gaze, how can one film nude bodies without objectifying the actors (of either sex), what constitutes a strong female role -- while also making it clear that “women’s film” comprises as many different approaches to filmmaking as there are female filmmakers.
This short film can be considered as notes on the origins of the situationist movement; notes which thus naturally include a reflection on their own language.
