Stéphane Jourdain

Ethiopiques Magnetic Suite

Dazzled by the surrealist movement, Francis Falceto decided at the age of 17 to live an extraordinary life. In the 1980s, co-created l'Oreille est Hardie and Le Confort Moderne in Poitiers, leaving his mark on French underground culture. A record he discovered by chance opened another important chapter in his life: Ethiopian music, of which he became a great champion. "Ethiopiques Magnetic Suite" is the portrait of a discreet and essential man, a plunge into the counterculture, an invitation to live his his life.

Ethiopiques Magnetic Suite

Dazzled by the surrealist movement, Francis Falceto decided at the age of 17 to live an extraordinary life. In the 1980s, co-created l'Oreille est Hardie and Le Confort Moderne in Poitiers, leaving his mark on French underground culture. A record he discovered by chance opened another important chapter in his life: Ethiopian music, of which he became a great champion. "Ethiopiques Magnetic Suite" is the portrait of a discreet and essential man, a plunge into the counterculture, an invitation to live his his life.

I Will Revenge This World With Love - S. Paradjanov

The author of the film decides to leave the country where she lives, in connection with the outbreak of the dramatic events, and return home to Armenia in search of a worthy example and solutions on how to live on. Paradjanov's house becomes a place of inspiration and a point of no return to toxic reality.

Far from Michigan

Armenia and Azerbaijan are engaged in a multi-secular conflict. A war breaks out again. In Stepanakert, capital of Nagorno-Karabakh, men are at the front, women hide in the cellars, director Silva Khnkanosian sets out to find them and keeps a logbook. Life is organized under the bombs; women follow the war on the radio or checking their phones. No one sees defeat as an option. Yet after 44 days of battles, radio announces the capitulation of Armenia. We must leave.

This Is the End

Road trips through Los Angeles, famous verses in the Poetry Lounge and love in times of the pandemic: Rendezvous with an old flame, fourty years later. After Jaurès (2012), Vincent Dieutre presents another tender autofictional piece in the Forum.

Baby Annette, à l'impossible ils sont tenus

In 2019, the director Leos Carax proposes to Estelle Charlier and Romuald Collinet to design, make and animate "Annette", the puppet of his new film. This one will be the child of the couple Marion Cotillard and Adam Driver. Propelled into the world of cinema, begins for this charismatic duo a unique and singular adventure in their career as puppeteers. Faced with the demands of the filmmaker, the impossible, they are held.

The Disqualified

Hailing from Mohammedia, Tunisia, the film documents twelve years in the life of Mehrez. A gifted dancer and actor, but also irresistibly addicted to gambling and horse races, he struggles on a daily basis with himself and the bewildering contradictions of his country. In his unstoppable quest for truthful emotions, Mehrez defies all rules.

Village of Women

Only women, children and old people live in this Armenian village, while the men work in Russia. A life with a rhythm of its own, an independent daily life marked nonetheless by exile.

Nothing to be Afraid of

Ever since the war in Nagorno-Karabakh, the still disputed territory is contaminated by landmines. This documentary follows five female de-miners on their risky job.

Berlin Based

Its light, its smoky bars, its vacant land: the characters that we meet here treasure different aspects of Berlin. Vincent Dieutre puts faces and voices on some of the many artists who have settled there since the collapse of the Wall. Questioning each one about their arrival and possible departure, he depicts how Berlin has become part of the personal stories that have, in turn, been infused with a city’s history. What each artist recounts with their own words and sensitivity is also what the city has taught them – the vocabulary of the sentiments in German, the strength to live in the cold or in precarious conditions. Like a playful wink to the tourist guide format, the filmmaker travels from district to district.

Jaurès

A studio. A man and a woman. Moving images on the screen, which he comments on, spurred on by her questions. All the footage was shot from the window of a flat: views of the street, the metro line running above it, the canal, into the windows of the buildings opposite. The flat belongs to the man’s lover, the man is a guest, spending his nights there but never his days. By the canal, young men from Afghanistan set up makeshift shelters as the man looks on, developing increasing sympathy for them. The seasons change, winter, spring, summer.