Fata Morgana

A homogeneous structure of wind and light across tree branches in the South region of Isère

The Weavers of Nishijin captures the process of traditional textile manufacture in Nishijin.

In this film, four key witnesses, who live in Algeria today, as full-fledged Agerians, show us what this colonization was really like, so "beneficial" that they themselves perceived it as the oppression of one people by another. Three of them, who today would be called "pieds noirs," in other words, those Europeans to whom France, the occupying power, gave the best land, taken from the indigenous populations, work, and exclusive rights, not shared by the entire population, lived rather well compared to the majority of the "natives." The fourth was far from all that and lived in Argentina. Annie Steiner, Felix Colozzi, Pierre Chaulet, and Roberto Muniz explain to us what led them to show solidarity with the struggle of the weak, the humiliated, and to risk their freedom and their lives by committing to liberate Algeria.

A day in a retirement home.

Lake gazes down at a still body of water from a birds-eye view, while a group of artists peacefully float in and out of the frame or work to stay at the surface. As they glide farther away and draw closer together, they reach out in collective queer and desirous exchanges — holding hands, drifting over and under their neighbors, making space, taking care of each other with a casual, gentle intimacy while they come together as individual parts of a whole. The video reflects on notions of togetherness and feminist theorist Silvia Federici’s call to “reconnect what capitalism has divided: our relation with nature, with others, and our bodies.”

Le Chant du Hoggar, a fictionalized documentary directed by Pierre Ichac, which takes as its theme the adventurous life of the Tuaregs of yesteryear, the setting being the lesser-known mountains and valleys of the Hoggar, and the actors being the Tuaregs themselves. This production, of considerable interest, was filmed last year by Pierre Ichac, a project manager for the General Government of Algeria. For six months, the young director, who traveled more than 7,000 kilometers by car and about 1,000 kilometers by Méhari through the Hoggar mountains, recorded 8,000 meters of film. The beautiful Fatimata reigns over all hearts in the wandering Tuareg tribe, with her herds, in the high valleys of the Hoggar. But she loves The Lion, the bravest of the young warriors of an enemy tribe. And it is Fatimata's name that The Lion lovingly carves on the rocks of the mountain.

Documentary on the French Alpine expedition to Hoggar in Algeria, starring Roger Frison-Roche, Raymond Coche, Pierre Lewden, and François de Chasseloup-Laubat. The 1935 French Alpine Expedition to Hoggar was conceived and prepared by Lieutenant Raymond Coche, the ideal leader for an expedition that would combine alpine and Saharan terrain in Algeria. Among his goals, he set himself the task of leading a French rope team to the still-untouched summits of Atakor and Tefedest and planting the French flag there. His old friend, Pierre Lewden, an athlete and journalist, was soon on the team, and to complete their project and complete the trio, they called on Roger Frison-Roche, a guide from Chamonix and one of the best climbers of this generation. A few days before their departure from Paris, filmmaker Pierre Ichac joined them.

Across two countries, France and Algeria, and five cities, Mohamed Gholam takes us south to tell us about the earthen and vernacular-inspired architecture of André Ravéreau. Passing through Lyon, Marseille, Algiers, and Djelfa, this adventure will take us to Ghardaïa, in the Algerian desert. The documentary presents the following buildings: L'Orangerie in Lyon, the Village Terre de l'Isle-d'Abeau in Villefontaine, the Unité d'Habitat or Cité Radieuse in Marseille, L'Aérohabitat in Algiers, the Palais des Raïs or Bastion 23 in Algiers, the Hôtel des Postes in Ghardaïa, and the low-cost housing of Sidi Abbaz de Bounoura.

An experimental video collage piece that investigates the concept of self-destruction across genres, eras, and cultures. Features footage from Abbas Kiarostami's Taste of Cherry (1997), Satyajit Ray's Apur Sansar (1959), Charlie Chaplin's City Lights (1921), and Jeff Tremaine's Jackass 4.5 (2022), among others.

In his book "1984", George Orwell saw the television of the future as a control instrument in the hands of Big Brother. Right at the start of the much-anticipated Orwellian year, Paik and Co. were keen to demonstrate satellite TV's ability to serve positive ends-- Namely, the intercontinental exchange of culture, combining both highbrow and entertainment elements. A live broadcast shared between WNET TV in New York and the Centre Pompidou in Paris, linked up with broadcasters in Germany and South Korea, reached a worldwide audience of over 10 or even 25 million (including the later repeat transmissions).