Les bouillons parisiens, une histoire de goût(2025)

Bienvenue au grand magasin(fr)

Reinventing Mirazur(en)

Mirazur, Argentine-born chef Mauro Colagreco's 3 Michelin starred restaurant on France's Mediterranean coast, was awarded Best Restaurant in the World on the eve of the pandemic. Not content to rest on their laurels, Colagreco and his diverse team soldiered on through the global tragedy of the lockdown, boldly reimagining the restaurant's concept and menu to reflect their dedication to biodynamic principles. Mirazur re-emerged with a new and enthusiastic approach: the Moon Menu.

Les dessins d'Yves Saint Laurent(fr)

Maurice(fr)

A short documentary portrait of Maurice Laroche, owner and projectionist of the 'Beverley', the last Porno Cinema in Paris.

Le Mural(en)

A documentary short by Barbara Bingley-Verseman about the creation of a monumental outdoor mural by her twin sister, LA-based Kat Bing, and Parisian artist Kekli in the lead up to the Paris 2024 Olympics

Appartement proche Paris, charme atypique(fr)

Il a besoin(fr)

Les Petites Aiguilles(fr)

Wherever I am ～world tour 2009 in Europe~(ja)

This documentary includes footage of KOKIA's tour throughout Europe, starting in Paris, then going around to all the counties and concludes with her returning to Japan. It also includes various clips of her performances throughout Europe. This documentary was filmed between April 2009 until June 2009.

Prey(fr)

Khali, La Nouvelle VOIX du Rap Français ! ( documentaire )(fr)

Mister Swing(fr)

End Less(fr)

Improvised over the course of a single night in Paris, this short film follows Fanny and Alexis, who meet by chance on a warm August evening. Fanny doesn’t believe in second dates, always less magical than the first spark. To prove her wrong, Alexis proposes an unusual pact: to meet every week as if it were their very first time.

Live in Paris 2007 les couleurs de Paris(ja)

Concert film featuring KOKIA's Live in Paris 2007 les couleurs de Paris filmed on January 20, 2007.

Zero Budget(en)

Looks at the emergence of lesbian feature filmmakers in the U.S. and how they produce films on a small budget. Interviews with directors Rose Troche (Go Fish); Sharon Pollack (Everything Relative); and Alex Sichel (All Over Me) as well as producer Dolly Hall, executive producer Christine Vachon and writers Sylvia Sichel and Guinevere Turner.

Jack of Three Trades: In Focus on Nicholson the Director(en)

We all know Jack Nicholson the actor. But few know the history of Jack Nicholson the screenwriter, and especially Jack Nicholson the director. Nicholson's lifelong friend, filmmaker Henry Jaglom, reflects on the icon's behind-the-camera career, while film historian/filmmaker Daniel Kremer presents and analyzes the full scope of that history.

Freight(nl)

Onboard the Panerai container ship, the young sailor Rudmer dreams of becoming a captain himself one day.

Elective Vicissitudes: The Radical Exiles of Jules Dassin(en)

In 1968, filmmaker Jules Dassin collaborated with Ruby Dee and civil rights activist Julian Mayfield on Uptight, a "politically radical" film noir about Black revolution, framed against the April 4 assassination of Dr. Martin Luther King, Jr. Director, producer and co-writer Dassin, a blacklisted American exile, returns to his birth country after having gone into a second exile from his adopted country Greece, then makes a film that roiled the powers that be (or "powers that were") in the U.S. government. The material so upset the FBI that they closely monitored the production up until the eve of its premiere, recruiting crew members as moles. The irony is rich, as Uptight was a remake of John Ford's The Informer (1935) and dealt with a turncoat character who engineers the assassination of a revolutionary leader. How is Uptight both an outlier (or anomaly) as well as simultaneously integral to the career of Jules Dassin?

The Great Ecstasy of Tree-Climber Otto, or How I Learned to Stop Worrying and Love Late Preminger(en)

Otto Preminger wasn't only one of the most famous directors of classic Hollywood. He was a presence, a brand, and the only one who rivaled Hitchcock as the greatest showman and self-promoter of his generation. But toward the end of his career, his attempts to "get with the times" (with films like Skidoo, Tell Me That You Love Me Junie Moon, Such Good Friends, Hurry Sundown, and others) shocked, alienated, and outright repelled audiences. What happened to Otto and how can one best appreciate and enjoy those confounding later works?

Entre Vitrais e Orações(pt)