Stéphane Breton

The First Days

On a stretch of desert coastline in northern Chile where it never rains, seaweed collectors live on a shoestring and live life to the fullest, in shacks surrounded by garbage cans and driving rickety cars. A happy vision of the simplicity of the world.

The First Days

On a stretch of desert coastline in northern Chile where it never rains, seaweed collectors live on a shoestring and live life to the fullest, in shacks surrounded by garbage cans and driving rickety cars. A happy vision of the simplicity of the world.

Dark Forests

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.

Dark Forests

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.

Dark Forests

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.

Dark Forests

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.

Quelques jours ensemble

Russian people are passing before us during an endless train journey in winter. We lose ourselves in their speeches, gestures, faces, eyes. Anecdotes turn into admissions. Memory invades the compartment and seizes the empty spaces of the present. The train continues through the snow, cold and grey fog… An infinite film existing somewhere between the ephemeral and the eternal.

The Ways of the World: Vol. 1

A collection of six documentary films featuring various locations and cultures of the world, screened at the Musée du Quai Branly from 18-23 May.

Ascent to the Sky

In a small valley in Nepal, at the end of a path worn out by so many feet and so many centuries, two old shepherds escape fromt their village to climb the mountains: shit everywhere, purity of heart, bedazzlement.

Night Rising on Clouds

A documentary with black-white imagery taken in West Papua (Indonesia).

Night Rising on Clouds

A documentary with black-white imagery taken in West Papua (Indonesia).

The Empty House

Shot like a western without a gun, at a drunkard’s distance, the film takes place in New Mexico among an ancient Spanish community eaten to rack and ruin by rust, beer, and dust storms.

A Silent Summer

Filmed during the Kirghiz summer pastures in the Tian Shan Mountains, the film describes the quarrels of shepherds living in the same tent as well as the solitude of the filmmaker, in their midst but lost in thought.

Heaven in a Garden

Focused on his neighbours, Le Ciel dans un jardin continues the conversation, begun with the previous film, which is imbued with melancholy in the face of the impossibility of returning. This future mourning gives a particular colour to his observation, a combination of indifference (the repetition of the days governed by the principle of subsistence) and acuity (the contemplation of small things and of lost moments). The value of the shots finds itself enhanced, from the tactile close-up that captures the elementary actions—cultivating, eating, smoking—to the widest frame, espousing with a final gaze the frontiers of world that is about to be incorporated by the filmmaker as an interior landscape, a mental object. - Emmanuel Chicon

Them and Me

Shot behind the scenes, from the point of view of a subjective camera, the film shows the ethnologist’s ambiguous relations and negotiations with the people of his village in the mountains.

Them and Me

Shot behind the scenes, from the point of view of a subjective camera, the film shows the ethnologist’s ambiguous relations and negotiations with the people of his village in the mountains.

Le monde extérieur

A poetic stroll that doubles as a lilliputian ethnography and Lilliputian ethnography, filmed downstairs in the streets of Paris. It's a kind of Eux et moi in reverse, with the filmmaker directing his camera his camera to the people of his village, whom he observes through the deceptively candid eyes of a distant friend, unaware of the city and the crowd, to whom he addresses himself pretending to wonder about things that are so simple that they seem endowed with a secret life.

Le monde extérieur

A poetic stroll that doubles as a lilliputian ethnography and Lilliputian ethnography, filmed downstairs in the streets of Paris. It's a kind of Eux et moi in reverse, with the filmmaker directing his camera his camera to the people of his village, whom he observes through the deceptively candid eyes of a distant friend, unaware of the city and the crowd, to whom he addresses himself pretending to wonder about things that are so simple that they seem endowed with a secret life.