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One year: this is the time left to the employees of the Ascoval steel plant to save their factory and their future. During these months of sacrifice, doubt and hope, Eric Guéret, author and director of the documentary, accompanies the management and employees in a race against time to increase productivity and try to find a buyer. For many, this steel mill, which was the story of a lifetime, becomes a matter of survival. A personal struggle that is also symbolic of a problem intrinsic to this documentary: French deindustrialization. Can we still have heavy industry in France today?
Franck (Pierre Lottin), an all-time squatter, finds himself in a complicated trade-off: sell coke for his friend Malik (Yasmin Houicha) in exchange for a place to sleep. The problem is, Franck is no dealer, he even never took coke. Between his slip-ups, the meeting of a dealer, a real one (Clara Ponsot) and his colourful clients, the night is going to be long for our dealer wannabe. Very, very long...
"Hacking for the Commons", this 87 minute long documentary takes us to meet with those who, from India to the United States via Europe, are experimenting with the emancipation tools of "free software" in order to bring concrete solutions in a multitude of fields in which collective practices known as "open" - thus "non-proprietary" - are spreading : in agriculture, with "free" seeds, in health, with Open Source medicines, or in education, thanks to a free access to knowledge... Resistants of the "Free" software field see it as a philosophical and political issue, as much as a societal choice, while the contributory and emancipatory practices of "Free" software are beginning to spread far beyond the IT field alone, for the benefice of the Commons...
A story from the very center of events about the birth of a new country, the Donetsk People's Republic. Filming took place over six weeks from April to May 2014. The camera follows 300 revolutionaries who took over the building of the Regional State Administration in the center of Donetsk and declared the independence of the region. The revolutionaries see themselves as the saviors of their people from the bloodthirsty fascist government based in Kyiv. This is a story about how to make a revolution and what happens after that when you get the power. The heroes of the film are Andrei ("Lenin"), who leaves home and mother to change history; the speaker of the new government, Vladimir, and the head of the internal anti-corruption security service, whose task is to capture and interrogate traitors, fascists and enemies of the Revolution. When the heroes believed they had won, their fates abruptly changed course.
Cheikh Djemaï looks back on the genesis of Gillo Pontecorvo’s feature film, The Battle of Algiers (1965). Through archive images, extracts from the film and interviews with personalities, the filmmaker retraces the journey of a major work - from the events of the Algiers Casbah (1956-1957) to the presentation of the Lion of 'Or causing the anger of the French delegation in Venice - which left its mark as much in the history of cinema as in that of Algeria.
This documentary, filmed after October 7, places recent events in context and retraces the extraordinary history of this region to shed light on the present, interviewing actors and witnesses to this conflict: Islamists, Jewish nationalists, imams, rabbis, intellectuals, urban planners, soldiers, etc.
Four French museums, the Louvre, the Quai Branly, the French National Library, and the Rouen Museum, are faced with pressing demands for the return of works of art. The number of demands is multiplying. They come from all over the world, and in particular from Egypt, Mali and New Zealand. The question of returning works of art to their countries of origin is increasingly making news. Take for example the emotions aroused by President Sarkozy’s decision, on the 12th November 2010, to return 297 royal manuscripts to South Korea. The ensuing row involved diametrically opposed points of view. Was it a violation of the principle of inalienability of France’s national collections or was it a just reparation for the victims of colonization? The rich countries’ great museums and the countries of origin have completely different visions of the issue. The museums defend the idea of a universal museum whose works belong to the whole of humanity.
