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A family's life is transformed into an object of art.
In five parts, this documentary tells the story of the colonisation of the French Overseas Territories. Slave descendants, coloniser descendants, historians, admirals, rebellious writers and politicians recount a lasting past that keeps on igniting the economic and social relations of these territories even to this day.
A family's life is transformed into an object of art.
“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.
Amélie, a 2-and-a-half-year-old Belgian girl, born in Japan, thinks she is God. From her wide awake and acerbic point of view, she believes she can make plants grow in the garden, or cross the sea by foot. She thinks she’s at the center of everything and she has only one goal: to convert the world to her cult. Unfortunately, almighty Amélie’s power seems limited to her nanny, Nishio-San. Between her family who treats her like any other child and a housekeeper who divinizes her, the choice is clear: Amélie will be Japanese. But her world will fall apart at the age of 3, when she learns that she will have to leave Japan eventually.
The surrealist painter René Magritte questions the objective reality and emphasizes the arbitrariness of the relationship between an object, its image and its name: the evocation of mystery consists of images of familiar things gathered or transformed in such a way that they no longer conform to our ideas, whether naive or wise.
Aboard a giant slave ship in an abandoned Citroën factory, the history of the West Indies is traced through several centuries of French oppression. The ship becomes a stage for the people to tell stories via song and dance—from their enslavement to their displacement in Metropolitan France.
Things are very exciting in the land of toys, today is the day for the big parade. Everybody is getting prepared to participate in the big event - but who is going to lead it all?
The tragedy of Eva-Marree, deprived of her children for prostitution then killed by their father. In a convincing indictment, director Ovidie denounces the abuse of power by a supposedly protective Swedish state.
A poor old woman tries in vain to get rid of some troublesome fleas.
In a workshop at the Cultural Center of Hienghène, in the north of New Caledonia, André, Yannick and the others build a canoe, once a vital boat in the Kanak culture. What is its true function today?
Zé Maria Magalhães is an innocent young man who, suddenly, sees his dreams and family destroyed by a man's greed: Miguel Ferreira da Fonseca, a powerful banker. For 15 years, Zé Maria is forced to remain hidden, in a life of lies, in another country, imprisoned by the memories of the past, having to assume a new identity. Today, he is a great farmer, owner of the Ouro Verde empire, known as Jorge Monforte, and has become one of the richest men in Brazil. The course of time only fueled his desire for revenge, making him lose the sense of right and wrong and the ability to love. Fifteen years later, he returns to Portugal, ready to avenge the past and destroy Miguel Ferreira da Fonseca.
A film in four episodes presenting teenage girls chosen as representative of their country and our time, in Italy, France, Japan and Canada. In spite of the stylistic peculiarities of the filmmakers, we find in each of them the same desire not to affirm anything, not to judge, but to quite simply show.
