The Bapst Brothers, Carriers

Dissolution, histoire d'un séisme politique(fr)

Misunderstood by the French, Emmanuel Macron’s dissolution of the National Assembly on June 9, 2024, led to an unprecedented political deadlock. This documentary examines whether he miscalculated, why he took such a risk, and whether this signals a deeper institutional crisis in the Fifth Republic.

La Ve, une constitution sur mesure ?(fr)

We Cry Behind Dark Glasses(sr)

Documentary film that deals with the problems of the rock'n'roll scene in Niš, focusing primarily on the period after the collapse of the former SFRJ.

Les yeux dans les Bleus(fr)

This documentary follows the French soccer team on their way to victory in the 1998 World Cup in France. Stéphane Meunier spent the whole time filming the players, the coach and some other important characters of this victory, giving us a very intimate and nice view of them, as if we were with them.

Siempre días azules(es)

De Madrid a la Luna(es)

Dresdner Filmschätze - Teil 4 | Die 90er bis 2000er Jahre(de)

Projektionen der Sehnsucht(de)

Architects Herzog and deMeuron: The Alchemy of Building & The Tate Modern(en)

Visiting examples of Herzog and de Meurons ground-breaking style, this film reflects their capacity to astonish and explore the way in which they transform what might otherwise be ordinary through new treatments and techniques.

Inside Piano(it)

The fifth project of the Living Architectures series, Inside Piano is composed of three films on three symbolic buildings of Renzo Piano's career. A visit throughout the prototype-building of the Centre Pompidou. An immersion in the soundproof world of a submarine floating in the depths of the Parisian underground. A journey aboard a luminous magic carpet of a highly sophisticated architectural machine. A humorous, caustic and quirky point of view.

A la diestra del cielo(es)

Himalaya, le chemin du ciel(fr)

Directed by Marianne Chaud

Bosnia!(bs)

The carnage in Sarajevo provides the focus of this French documentary which seeks to call attention to the terrible conflict in the hopes of finally ending it. The film is divided into five parts. Each part covers a time frame ranging from April 4, 1992, the beginning of the war, to the present. The major issues that occur are three-fold. It depicts the systematic genocide of Bosnians, the silence of Western countries, and the determination of the Bosnians to resist. They refuse to be seen as victims, even though the filmmakers portray them so. Also included are the origins and political aspects of the war. It offers interviews with participants. It also reveals how the U.S. State Department censored reports about Serbian death camps.

Robert Breer At Home(en)

Burford met Breer in February 1992 and filmed his actions. Breer manipulates some of his mutoscopes: he leafs through some cards of his film in the making, Sparkill Ave! A dome-shaped sculpture slowly moves across the space.

Visconti: La verdad del melodrama(es)

Rif 1921, una historia olvidada(es)

Manuel Horrillo has visited for 7 years the fields where the clashes between the Spanish troops and the rebels of the protectorate took place during the so-called Rif War, a forgotten war of the Spanish collective imaginary.

Michel Foucault par lui-même(fr)

A voyage to the center of the thought of Michel Foucault (1926-1984), a tireless explorer of the margins, a brilliant and atypical thinker, through excerpts from his books and lectures, and the use of images that resonate with them.

Time(nl)

The point of departure for this film is the 1981 composition De Tijd by Dutch composer Louis Andriessen. Van der Keuken leaves the music undisturbed as an autonomous soundtrack and has the images engage in a sort of battle with it. These images are associations, fragments of events, scenes and situations. The film is preceded by a text by Bert Schierbeek.

Cinéastes de notre temps : Norman McLaren(fr)

The Arrival of a Train at La Ciotat(fr)

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.