The films and methods of Nicolas Philibert, maker of Etre et avoir, have shown him to be one of contemporary cinema’s most acclaimed documentarists. In The Land of the Deaf is an elegantly spare and thoughtful portrait of the rich, diverse, but often isolated culture of the deaf community. The film has tremendous power and value: it educates and transports us to another way of occupying this world, and it does so in a pleasurable, unrushed and intelligent fashion.
A long night's journey into day: Victor, a street hustler in the Santa Fe and Pueyrredón neighborhoods of Buenos Aires, from the evening of November 1, All Saints Day, to the dawn of November 2, All Souls Day. Victor's odyssey takes him from clients to friends to a gay gym then a hotel room and an all-night café. He plays pick-up soccer with kids whose parents are going through trash or waiting in parks. A vendor gives him a chrysanthemum. It seems he's being followed, and on the night streets, death is close at hand. Can Victor survive until dawn?
A summer day in Italy. The camera follows the deaf-mute Giacomo and a childhood girlfriend Stefi closely – in the woods, by the river – without wanting to disrupt the mystery of their relationship, between restrained sensuality and childhood games.
A teenager unwittingly reveals a terrible family secret to her new neighbors.
A documentary on the late French jazz pianist.
Michel, was born in Latin America, "on the other side of the world", as the script emphasizes, of a French father he hardly knew at all. He goes to Paris to start a new life. His only possession is a painting which his father left him, along with the advice: "If you ever need to sell the painting, do so in France, where it's worth a fortune." But Michel discovers that his father's tumultuous and secret past comes along with the valuable painting. Meanwhile, Clara, a middle age Spanish-Argentine mother gets a strange present from a now dying childhood friend in Buenos Aires. It's a roll of Super 8 film which brings back very strong, and emotionally charged memories from the 1970s and before.
A sightseeing tour of Foix (Ariège), “the most cheesy town in France”.
Welcome to Rubika, a planet with a fancy gravity.
Nénette, an orangutan, is the star of the Parisian zoo where she has lived most of her long life. She is a mother of four and has survived three mates, and she bonds only with a few select keepers. The camera rests throughout on Nénette and the other apes in everyday situations. We only see the visitors as occasional reflections in the glass, but we hear their recorded comments and conversations alongside interviews with the zoo keepers.
Moullet explores the causes and consequences of cases of mental disorders that were especially numerous in the Southern Alps.
A history of the racially stereotyped portrayal of African Americans in cinema, hosted by film pioneer Melvin Van Peebles.
Cédric is a child like millions of others. The only difference is that the little boy is seriously ill and must spend six months in a hospital. Fortunately, the medical staff are well aware that Cédric, like other kids named Steve or Dolores, must - above all else - live his child's life.
A small company valiantly struggles to survive under the respectful yet probing camera of Claire Simon in “At All Costs.” As the docu opens, founder and manager Jihad is off to see his banker. The lack of ready cash to pay his loyal employees, wholesale produce providers and a whole range of other creditors, including the tax-gobbling French government, is omnipresent. From a staff of 14, Jihad is down to three cooks, one delivery driver and a secretary in less than six months. The good-natured pluck of the remaining employees is at the heart of the film. Subterfuges for putting up a brave united front include scheduling food orders from a coin-operated pay phone when the office phone is cut off for nonpayment.
October 5, 1974: In the suburbs of Santiago, pregnant Carmen is badly injured and her partner Miguel, head of the resistance against Pinochet's dictatorship, is killed in combat. So begins a journey into the memories of the defeated...
At the end of the road lies a track, the very last, a track swamped with the mud of a Siberian autumn, and at the end of this track lies a vast, dark forest which secretes those who have made this their final refuge, in hamlets that fray a little more with every passing day, sapped by misery and alcohol. We have to travel as far as we can, and be prepared to fall into the ditch, to see what makes us human.
This documentary follows the legendary African singer and guitarist Ali Farka Touré (who died in 2006) as he returns to his home and musical roots in Niafunké, the village on the banks of the River Niger in Mali. Touré now sees himself as a farmer and family man, and is trying to improve agricultural and social conditions in the province of Timbuktu. The region has no roads and no electricity and Touré himself drove director Marc Huraux across the vast expanse of unforgiving desert land that surrounds Niafunké to make this film. The cameras accompany Touré as he goes about his daily farm business, and fulfilling his role and responsibilities as an important local figure.
A former Israeli soldier participated in a mission of retribution in which two Palestinian policemen were killed. He seeks forgiveness for what he did. His girlfriend does not think it is so simple and raises questions that he is not yet able to cope with. The soldier willingly testifies before the camera as long as his identity is not revealed. The filmmaker, while seeking a solution to protect the identity of the soldier, questions his own political and artistic conduct.
In a country that has been occupied for decades, a couple of puppeteers continue to bring a little joy from village to village. The children laugh, perhaps still unaware of the gravity of the situation. The central section is devoted to a visit to the refugee camp of Dheisheh.
"I have been lucky enough to be able to film the cleaning and restoration work on a painting by Pierre Bonnard: Nu dans la baignoire. I completely inhabited this canvas. It drew me to it and allowed me to record the palpable cinematic evidence of Bonnard's art of painting. It has led me along the hidden path of his private life." (Alain Cavalier)
