Gérard Courant

I give a methodical account of my film work: the creation of new series (Lire, Trio, Avec Mariola), the shooting of a new feature film (Amours décolorées which will take ten years to edit) with Mariola San Martin.

Gérard Courant films the routes of his voyage in Greece with a Super8 camera. Reflections, waves, ports and landscapes are edited at a dizzying pace; in their midst, portraits appear of a very beautiful woman, along with images of the director who turns the camera on himself, showing his face reddened by the sun.

Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.

"A Debate Across the Universe" is, on the one hand, the capture of the debate which followed the world premiere screening of my film "Across the Universe", presented as part of the "Ethnology and Cinema" in Grenoble, at the Les Méliès cinema in Saint-Marcellin and, on the other hand, the criticism of this debate and additional information relating to the staging of "Across the Universe".

Encore Cinématé ! is a fake Cinématon by Gérard Courant, the author and designer of this famous film series. It is not part of the anthology and is therefore out of collection. However, he has all the characteristics of an official Cinématon but the filmmaker, who had just lent himself to the cinematon game a year earlier, on the occasion of the 2000th portrait of his collection, did not want to overload his fetish series with new portraits of him. He preferred not to integrate it while ensuring that this portrait has a real existence, that it is visible and that it is a film in its own right.

Coude à coude is an episode of Gérard Courant's Filmed Carnets that follows Velo Love (July 1 to 3, 1996), in which journalist and screenwriter Alain Riou proposed to the filmmaker to accompany him by bike on the course of the mountain stage of the Tour de France, Chambéry-Les Arcs.

Loosely inspired by Edgar Poe. A mixture of darkness, melancholy and evanescence, a disturbing atmosphere surrounds Lady Usher's Diary. This slow and feverish melodrama...

Married couple Jock & Nora are visiting the town of Litan during Litan's Day, with its carnivalesque atmosphere. When Nora wakes that morning from dreaming the bizarre death of her husband, she sets out across town to find him and warn him. But as she does, she encounters stranger and stranger people and events erupting into a frenzy in front of her. Now, she and Jock must elude all of the impediments in their way of reaching safety on the outskirts of town.

The shooting diary of a film shot in France and in the United States. Using photos of Paris and of New York City, excerpts of his former films, statements by friends of his and shooting sequences of the film itself, tormented filmmaker Marcel Hanoun has made a heterogeneous and unclassifiable film about the difficulty of filming.

Amours décolorées is a cinematographic poem to the glory of Mariola San Martin, model, stylist, dancer and Spanish photographer.

30 years after their artistic revolution, members of the Zanzibar group meet in 1999 in Saint-Sulpice Square in Paris (France) in front of Gérard Courant's camera.

This distinctly personal journey into the artistic possibilities of independent film is not to be missed. Jonas Mekas, Jean-Pierre Gorin, Robert Kramer and many other visionaries and mavericks of the silver screen – as well as a book seller, a critic and a psychoanalyst – discuss what cinema has meant to them, what it is and what it could be and, implicitly, how it has changed over the 18 years in which this film was shot. Director Boris Lehman leads the charge, drawing in moments of absurdist humour and inventive camera work; he keeps things raw and spontaneous. His encounters with the now much-missed Jean Rouch and Stephen Dwoskin are particularly touching and stand testament to their personal playfulness and candour. An engaging, absorbing, epic odyssey of a movie.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

A Ciné-poem – An impressionist ballad in the early 80’s.

A bicycle race is held every year in a pass of the Alps called Parpaillon. With the energy of a skillful cyclist perhaps as a great tribute to François, the mailman played by Tati in The Big Day, Moullet makes a comedy by pedaling at a pace that allows him to reinvent the possibilities of film gags.

Two young girls meet, Reinette from the countryside and Mirabelle from Paris, and decide to take a flat together in Paris where they attend University. Four successive stories about their daily lives illustrate the very different views, characters and relation to the world of these two friends.

The story about gladiators against a German background. One of them, Ettore, has become a star of the underworld. He ends up breaking down, caught in a role he can no longer fulfill. His last betrayal is to spill the beans to the press. –São Paulo International Film Festival

A young man tired of writing and rewriting a screenplay decides to begin a Super 8mm film diary. He films his parents and those close to him and determines to tell the about his homosexuality.

A diverse group of guests gather in a small hotel in Paris to contemplate the state of their lives in this pretentious drama. Joseph Goldman (Fernando Rey) is a washed-up Hollywood actor making a living in the dinner-theater circuit. Accompanied by his wife Sarah (Carole Regnier), Goldman meets Frederique (Berangere Bonvoisin), who is hiding from her former lover. French financier Arthur (Fabrice Luchini) hopes to get into the film industry and bends the ear of a British director (Michael Medwin). The talkative film has little action, and none of the characters evoke much interest or resolve their dilemma.

Trying to describe oneself is a movie about representation. How it is possible, through film, to describe oneself and describe others. With the camera as mirror and third eye. At first, a collage-like combination of letter-writing, investigation and journey, something between documentary and feature film. Finally, a portrait of Boris Lehman from 1989 to 1995, part II of BABEL.

Voyage au centre du monde is, following an invitation from the new Belgrade town hall and the government of the Republika Serbska, the film brought back by Gérard Courant from his trip with a group of writers in Yugoslavia and Bosnia and Herzegovina.

Ulrich Gregor is filmed in his office at the Berlin Film Festival surrounded by the festival's poster (The Great Family of René Magritte).

"On the occasion of the premiere of Nel Regno di Napoli in Cannes in 1978, Werner Schroeter gave me an audio interview about this film and about his work in general. Our meeting took place on the terrace of the Hotel Majestic, in the midst of excitement of the Cannes festival life, a few days after the screening of Nel Regno di Napoli and in the presence of the photographer Jean-Claude Moireau. Vivre à Naples et mourir is the audio capture of that informal meeting that happened on 20 May 1978 and which is, as per director's wish, more like a casual conversation than an interview in the strict sense of the term (a set of questions and answers).

A song of love to the city of Genoa. The film wanders the streets of the city center and explore the beautiful cemetery and then climb the hills which offer an amazing view over the old town crossed by a highway and port.

15 years through Le Bois de Vincennes - The "before" and "after" 1999 storm destructions.

A film about an ongoing cinematic adventure that began in 1978: a vast anthology of personality portraits called Cinématons, dealing with people in the arts. Historical, ethnological, sociological and psychological, this anthology is a living record of the artistic community of the last 20th century which attempts to answer these questions: Why film everyone? Why choose cultural personalities? How do the subjects look at their image? How much exhibitionism and narcissism is involved in being filmed?

On the occasion of the passing of Marcel Hanoun, Gérard Courant wanted to pay tribute to this companion whom he had known since 1975 by accompanying him with the song Avec le temps by Léo Ferré.

"L'Artifice et le factice" is the episode that covers the period from January 1, 1988 to December 31, 1988 of my filmed Notebooks.

A cinematographic logbook around the mythical island of Alicudi in Sicily.

Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).

The fortuitous meeting of two women to the identical first name, Lucy, who formerly loved the same man, Jonathan, induced, in this film, of the polysemous variations on the memory, art, and the difficult relationship between creation and emotional life. Dehumanized by an exclusive artistic practice, the man lost his reference marks little by little. "Lucy en miroir" wants to be, also, a shifted and transverse second reading of "The Contempt" ("Le Mépris") of Godard, by a step more plastic than analytical or conclusive.

"Autour de Vent-Pire" is a documentary recounting the shooting of "Vent-Pire", the vampire film that Gérard Courant shot on November 12, 1970 at the Porte du Diable in the Pasques forest in Plombières-lès-Dijon.

Les Deux Lucy is a short documentary portrait of the shooting of Raphaël Bassan's film Lucy en miroir. It's the opportunity for us to look at one of our contemporary filmmakers and important film critics of what we call in French cinémas differents, meaning a different way of making films. Our making of offers the opportunity to follow, step by step, the making of this short film with scenes shot on the set, and to listen to comments by the filmmaker about his work.

Inspired by the detention of Jean-Paul Kauffmann and Michel Seurat in Lebanon, hostages and improbable currency for terrorists...

A single-screen version of the Portraits / Mirrors multi-projection. Featuring portraits of: Aloual, Gaël Badaud, Raphaël Bassan, Yann Beauvais, Jean-Michel Bouhours, Gérard Courant, Berndt Deprez, Bertrand Gadenne, Mythia Kolésar, Christian Lebrat, Stéphane Marti, Pascal Martin, Michel Nedjar, Dominique Noguez, Vivian Ostrovsky, Bernard Roué, Martine Rousset, Alain Sayag, Unglee, and Catherine Zbinden.

A film by Vincent Tolédano

Six other months of my life (December 1979 – June 1980), from one decade to the next, a trip to Quebec, Brussels, Geneva and many other adventures.

Joseph Morder's fifth journal film shot from July to December of 1980.

Le Nouvel Hiver is a slightly disillusioned reflection on the state of the world (the fall of the Berlin Wall, the end of the USSR, the Gulf War), the events of which are the thread of this year's Notebooks (1 January 1991 to 31 December 1991). Of course, these Notebooks are far from this sinister current events because life is elsewhere, in creation and in a quest for the absolute. And then, Le Nouvel Hiver takes us into surprising encounters (with Ken Loach, Brigitte Lahaie) and transports us to places I can't live without (the Ardèche in the North).

The three presidents for life of the Morlock Academy are assassinated by the Academy's permanent secretary in a peaceful village in Ardèche.

This film is an audio interview of Louis Skorecki, filmmaker and film critic for Cahiers du cinéma, by Patrice Kirchhofer and Gérard Courant. This interview, later put into images by Gérard Courant, is centred around the feature film Eugénie de Franval, based on Sade's novella, which Louis Skorecki shot in 1974 and which was awarded the prize of "la porte entrouverte" at the festival of young cinema in Toulon in 1975 by the jury composed of Marguerite Duras, Shuji Terayama and Dominique Noguez.

Autour de 24 Passions is the making-of of my film 24 Passions . It was shot in 2003, on the occasion of the 24th year of filming this film on the Stations of the Cross of Burzet, in Ardèche. (Gérard Courant)

Two Morlock cyclists challenge each other in the passes of the Massif Central. Their duel is nightmarish and unusual, but the outcome of their struggle is chivalrous and moral.

The Jeu de Paume in Paris (France) presented an Oscar Muñoz exhibition from June 3 to September 21, 2014. On the occasion of this exhibition, Marina Vinyes Albes organized a special evening on July 1, 2014 entitled "Becoming in the Moment, the Time of the Gesture" where 6 Screen Tests by Andy Warhol, 5 Cinématons by Gérard Courant and Galaxie by Gregory Markopoulos were screened.

Le Ciné-Club Universitaire de Dijon is the recording of this radio programme - a first for Gérard Courant - which allows him to talk about some of the films that are close to his heart: The Death of Maria Malibran by Werner Schroeter, La Cicatrice intérieure by Philippe Garrel, Hotel Monterey and Jeanne Dielman 23 quai du Commerce 1080 Bruxelles by Chantal Akerman, La Chinoise (The Chinese) by Jean-Luc Godard, Né by Jacques Richard.

The ending of filming 24 passions over 24 years in Burzet (France). Shot on a silver film, it takes us on a tour around the area now left empty.

Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"

This unofficial Cinématon is one of two that Gérard Courant filmed on January 25, 2001. The second Cinématon, filmed in a tighter cinematic frame on the same day as his other non-collection Cinématon, is called Encore cinématé!

The filming of Joseph Morder's Cinématon n°1968.

A New World is an inventory of 112 streets, roads and alleys (first part) and 14 squares and squares (second part) of the Bois de Vincennes in Paris.

A New World is an inventory of 112 streets, roads and alleys (first part) and 14 squares and squares (second part) of the Bois de Vincennes in Paris.

A New World is an inventory of 112 streets, roads and alleys (first part) and 14 squares and squares (second part) of the Bois de Vincennes in Paris.

A New World is an inventory of 112 streets, roads and alleys (first part) and 14 squares and squares (second part) of the Bois de Vincennes in Paris.

A New World is an inventory of 112 streets, roads and alleys (first part) and 14 squares and squares (second part) of the Bois de Vincennes in Paris.

Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)

Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)

Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)

Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)

Every year since 1980, I have filmed the Good Friday ceremony reconstructing the Passion of Christ in Burzet, a remote village in the Ardèche area, where for seven hundred years, the local people have dressed up to celebrate and perpetuate this religious rite. (Gérard Courant)

Terry Gilliam's "Cinématon" n°601 portrait by Gérard Courant on September 8, 1985 in Deauville, France.

Reel 6 of Gérard Courant's on-going Cinematon series.

Reel 6 of Gérard Courant's on-going Cinematon series.

Early portrait of Ossang in Courant's ongoing "Cinématon" series.

"The Misfortunes of Paul Cadéac" shows the ravages of time on a copy of the film "Quai des blondes", the only realization that Paul Cadéac shot in 1954. By isolating and slowing down the most damaged photograms of the French producer's film, I managed to create an object with abstract shapes and, insidiously, to give another life to a leading artistic work. Gérard Courant

"The Misfortunes of Paul Cadéac" shows the ravages of time on a copy of the film "Quai des blondes", the only realization that Paul Cadéac shot in 1954. By isolating and slowing down the most damaged photograms of the French producer's film, I managed to create an object with abstract shapes and, insidiously, to give another life to a leading artistic work. Gérard Courant

"The Misfortunes of Paul Cadéac" shows the ravages of time on a copy of the film "Quai des blondes", the only realization that Paul Cadéac shot in 1954. By isolating and slowing down the most damaged photograms of the French producer's film, I managed to create an object with abstract shapes and, insidiously, to give another life to a leading artistic work. Gérard Courant

"The Misfortunes of Paul Cadéac" shows the ravages of time on a copy of the film "Quai des blondes", the only realization that Paul Cadéac shot in 1954. By isolating and slowing down the most damaged photograms of the French producer's film, I managed to create an object with abstract shapes and, insidiously, to give another life to a leading artistic work. Gérard Courant

Des eaux, petites et grandes is an episode of Gérard Courant's Carnets filmés which celebrates the element of water.

Des eaux, petites et grandes is an episode of Gérard Courant's Carnets filmés which celebrates the element of water.

Des eaux, petites et grandes is an episode of Gérard Courant's Carnets filmés which celebrates the element of water.

Des eaux, petites et grandes is an episode of Gérard Courant's Carnets filmés which celebrates the element of water.

Des eaux, petites et grandes is an episode of Gérard Courant's Carnets filmés which celebrates the element of water.

I give a methodical account of my film work: the creation of new series (Lire, Trio, Avec Mariola), the shooting of a new feature film (Amours décolorées which will take ten years to edit) with Mariola San Martin.

I give a methodical account of my film work: the creation of new series (Lire, Trio, Avec Mariola), the shooting of a new feature film (Amours décolorées which will take ten years to edit) with Mariola San Martin.

I give a methodical account of my film work: the creation of new series (Lire, Trio, Avec Mariola), the shooting of a new feature film (Amours décolorées which will take ten years to edit) with Mariola San Martin.

I give a methodical account of my film work: the creation of new series (Lire, Trio, Avec Mariola), the shooting of a new feature film (Amours décolorées which will take ten years to edit) with Mariola San Martin.

Reel 40 of Gérard Courant’s on-going Cinematon series.

Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"

"On the occasion of the premiere of Nel Regno di Napoli in Cannes in 1978, Werner Schroeter gave me an audio interview about this film and about his work in general. Our meeting took place on the terrace of the Hotel Majestic, in the midst of excitement of the Cannes festival life, a few days after the screening of Nel Regno di Napoli and in the presence of the photographer Jean-Claude Moireau. Vivre à Naples et mourir is the audio capture of that informal meeting that happened on 20 May 1978 and which is, as per director's wish, more like a casual conversation than an interview in the strict sense of the term (a set of questions and answers).

Surroundings of the Canal Saint-Martin’s in Paris, a popular district where modernization is just about to begin.

"In this journey, Courant's heroine wanders through the clouds and Pyrenees mountains way after the world's destruction [...] Songs by Brigitte Bardot, Marilyn Monroe and Leonard Cohen, scores by Vivaldi, Kraftwerk and Johan Strauss, they all form this eclectic and defying musical atmosphere from which Courant dreams about a point of view that would allow him to find a rhythm in a constantly changing abysmal paradise" -Diego Trerotola

"In this journey, Courant's heroine wanders through the clouds and Pyrenees mountains way after the world's destruction [...] Songs by Brigitte Bardot, Marilyn Monroe and Leonard Cohen, scores by Vivaldi, Kraftwerk and Johan Strauss, they all form this eclectic and defying musical atmosphere from which Courant dreams about a point of view that would allow him to find a rhythm in a constantly changing abysmal paradise" -Diego Trerotola

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

The film shows this place where the author was a resident from January 4, 1966 to July 31, 1967.

Surroundings of the Canal Saint-Martin’s in Paris, a popular district where modernization is just about to begin.

Poetic sci-fi film as an homage to Cinema, Cocteau, Goodis and to American B-series of the 1940s. Constructed exclusively on photograms in black and white and freely inspired on Jean-Luc Godard's Alphaville.

Gérard Courant films the routes of his voyage in Greece with a Super8 camera. Reflections, waves, ports and landscapes are edited at a dizzying pace; in their midst, portraits appear of a very beautiful woman, along with images of the director who turns the camera on himself, showing his face reddened by the sun.

Gérard Courant films the routes of his voyage in Greece with a Super8 camera. Reflections, waves, ports and landscapes are edited at a dizzying pace; in their midst, portraits appear of a very beautiful woman, along with images of the director who turns the camera on himself, showing his face reddened by the sun.

1300 meters from the arrival of the 13th stage Carpentras-Orcières Merlette (192 kms), then, in the Col de Sauze, the 14th stage Orcières-Merlette-Briançon (201 kms) of the Tour de France 1972. Filmmaker Gérard Courant photographed Eddy Merckx (yellow jersey), Cyrille Guimard (green jersey), Luis Ocana (white box combination), Lucien Aimar, Lucien Van Impe, Joachim Agostinho (Portugal champion), Felice Gimondi (Italian champion), Raymond Poulidor, Karl-Heinz Kunde, Leif Mortensen, Bernard Thévenet. The stage of Orcières-Merlette was won by Van Impe ahead of Agostinho and Merckx and that of Briançon by Merckx in front of Gimondi and Guimard. This clip is an excerpt from the first episode of Gérard Courant's "Carnets filmés" entitled "Aurore collective".

1300 meters from the arrival of the 13th stage Carpentras-Orcières Merlette (192 kms), then, in the Col de Sauze, the 14th stage Orcières-Merlette-Briançon (201 kms) of the Tour de France 1972. Filmmaker Gérard Courant photographed Eddy Merckx (yellow jersey), Cyrille Guimard (green jersey), Luis Ocana (white box combination), Lucien Aimar, Lucien Van Impe, Joachim Agostinho (Portugal champion), Felice Gimondi (Italian champion), Raymond Poulidor, Karl-Heinz Kunde, Leif Mortensen, Bernard Thévenet. The stage of Orcières-Merlette was won by Van Impe ahead of Agostinho and Merckx and that of Briançon by Merckx in front of Gimondi and Guimard. This clip is an excerpt from the first episode of Gérard Courant's "Carnets filmés" entitled "Aurore collective".

1300 meters from the arrival of the 13th stage Carpentras-Orcières Merlette (192 kms), then, in the Col de Sauze, the 14th stage Orcières-Merlette-Briançon (201 kms) of the Tour de France 1972. Filmmaker Gérard Courant photographed Eddy Merckx (yellow jersey), Cyrille Guimard (green jersey), Luis Ocana (white box combination), Lucien Aimar, Lucien Van Impe, Joachim Agostinho (Portugal champion), Felice Gimondi (Italian champion), Raymond Poulidor, Karl-Heinz Kunde, Leif Mortensen, Bernard Thévenet. The stage of Orcières-Merlette was won by Van Impe ahead of Agostinho and Merckx and that of Briançon by Merckx in front of Gimondi and Guimard. This clip is an excerpt from the first episode of Gérard Courant's "Carnets filmés" entitled "Aurore collective".

Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.

Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.

Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.

Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.

Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.

"A Debate Across the Universe" is, on the one hand, the capture of the debate which followed the world premiere screening of my film "Across the Universe", presented as part of the "Ethnology and Cinema" in Grenoble, at the Les Méliès cinema in Saint-Marcellin and, on the other hand, the criticism of this debate and additional information relating to the staging of "Across the Universe".

"A Debate Across the Universe" is, on the one hand, the capture of the debate which followed the world premiere screening of my film "Across the Universe", presented as part of the "Ethnology and Cinema" in Grenoble, at the Les Méliès cinema in Saint-Marcellin and, on the other hand, the criticism of this debate and additional information relating to the staging of "Across the Universe".

"A Debate Across the Universe" is, on the one hand, the capture of the debate which followed the world premiere screening of my film "Across the Universe", presented as part of the "Ethnology and Cinema" in Grenoble, at the Les Méliès cinema in Saint-Marcellin and, on the other hand, the criticism of this debate and additional information relating to the staging of "Across the Universe".

"A Debate Across the Universe" is, on the one hand, the capture of the debate which followed the world premiere screening of my film "Across the Universe", presented as part of the "Ethnology and Cinema" in Grenoble, at the Les Méliès cinema in Saint-Marcellin and, on the other hand, the criticism of this debate and additional information relating to the staging of "Across the Universe".

In 2004 and 2005, I made a filmed inventory of the streets and squares of Saint-Marcellin, in the Dauphiné. This movie is called: Across the Universe. In this film, each street and square was filmed in a single sequence shot and each of the plaques for these streets and squares is placed at the beginning of each street and square. In order to offer a maximum of views of the city, here is Les Chutes de Saint-Marcellin, an appendix to Across the Universe which is made up of shots that were not retained for this film but which deserve to be kept and shown.

In 2004 and 2005, I made a filmed inventory of the streets and squares of Saint-Marcellin, in the Dauphiné. This movie is called: Across the Universe. In this film, each street and square was filmed in a single sequence shot and each of the plaques for these streets and squares is placed at the beginning of each street and square. In order to offer a maximum of views of the city, here is Les Chutes de Saint-Marcellin, an appendix to Across the Universe which is made up of shots that were not retained for this film but which deserve to be kept and shown.

In 2004 and 2005, I made a filmed inventory of the streets and squares of Saint-Marcellin, in the Dauphiné. This movie is called: Across the Universe. In this film, each street and square was filmed in a single sequence shot and each of the plaques for these streets and squares is placed at the beginning of each street and square. In order to offer a maximum of views of the city, here is Les Chutes de Saint-Marcellin, an appendix to Across the Universe which is made up of shots that were not retained for this film but which deserve to be kept and shown.

In 2004 and 2005, I made a filmed inventory of the streets and squares of Saint-Marcellin, in the Dauphiné. This movie is called: Across the Universe. In this film, each street and square was filmed in a single sequence shot and each of the plaques for these streets and squares is placed at the beginning of each street and square. In order to offer a maximum of views of the city, here is Les Chutes de Saint-Marcellin, an appendix to Across the Universe which is made up of shots that were not retained for this film but which deserve to be kept and shown.

"Le Départ de la 2ème étape Ambérieu-en-Bugey-Saint-Vulbas du Tour de l’Ain 2017" is an episode of "Carnets filmés" by Gérard Courant that the filmmaker shot in Ambérieu-en-Bugey in the departure village of the Tour de l'Ain cyclist where around a hundred professional runners from all over the world meet.

"Le Départ de la 2ème étape Ambérieu-en-Bugey-Saint-Vulbas du Tour de l’Ain 2017" is an episode of "Carnets filmés" by Gérard Courant that the filmmaker shot in Ambérieu-en-Bugey in the departure village of the Tour de l'Ain cyclist where around a hundred professional runners from all over the world meet.

"Le Départ de la 2ème étape Ambérieu-en-Bugey-Saint-Vulbas du Tour de l’Ain 2017" is an episode of "Carnets filmés" by Gérard Courant that the filmmaker shot in Ambérieu-en-Bugey in the departure village of the Tour de l'Ain cyclist where around a hundred professional runners from all over the world meet.

"Le Départ de la 2ème étape Ambérieu-en-Bugey-Saint-Vulbas du Tour de l’Ain 2017" is an episode of "Carnets filmés" by Gérard Courant that the filmmaker shot in Ambérieu-en-Bugey in the departure village of the Tour de l'Ain cyclist where around a hundred professional runners from all over the world meet.

"Le Départ de la 3ème étape Lagnieu-Oyonnax du Tour de l'Ain 2017" is an episode of the Carnets filmés by Gérard Courant that the filmmaker shot in Lagnieu, in the starting village of the Tour de l’Ain cyclist, where around a hundred professional riders come together from all over the world.

"Le Départ de la 3ème étape Lagnieu-Oyonnax du Tour de l'Ain 2017" is an episode of the Carnets filmés by Gérard Courant that the filmmaker shot in Lagnieu, in the starting village of the Tour de l’Ain cyclist, where around a hundred professional riders come together from all over the world.

"Le Départ de la 3ème étape Lagnieu-Oyonnax du Tour de l'Ain 2017" is an episode of the Carnets filmés by Gérard Courant that the filmmaker shot in Lagnieu, in the starting village of the Tour de l’Ain cyclist, where around a hundred professional riders come together from all over the world.

"Le Départ de la 3ème étape Lagnieu-Oyonnax du Tour de l'Ain 2017" is an episode of the Carnets filmés by Gérard Courant that the filmmaker shot in Lagnieu, in the starting village of the Tour de l’Ain cyclist, where around a hundred professional riders come together from all over the world.

À travers l'univers à la Cinemateca Portuguesa de Lisbonne (June 22, 2017) is an episode of Gérard Courant's Filmed Notebooks shot during the retrospective of his films at the Cinemateca Portuguesa in Lisbon. In this episode of the Filmed Notebooks, António Rodrigues, programmer of the Cinemateca Portuguesa and Gérard Courant present to the public the session of Through the Universe.

À travers l'univers à la Cinemateca Portuguesa de Lisbonne (June 22, 2017) is an episode of Gérard Courant's Filmed Notebooks shot during the retrospective of his films at the Cinemateca Portuguesa in Lisbon. In this episode of the Filmed Notebooks, António Rodrigues, programmer of the Cinemateca Portuguesa and Gérard Courant present to the public the session of Through the Universe.

À travers l'univers à la Cinemateca Portuguesa de Lisbonne (June 22, 2017) is an episode of Gérard Courant's Filmed Notebooks shot during the retrospective of his films at the Cinemateca Portuguesa in Lisbon. In this episode of the Filmed Notebooks, António Rodrigues, programmer of the Cinemateca Portuguesa and Gérard Courant present to the public the session of Through the Universe.

À travers l'univers à la Cinemateca Portuguesa de Lisbonne (June 22, 2017) is an episode of Gérard Courant's Filmed Notebooks shot during the retrospective of his films at the Cinemateca Portuguesa in Lisbon. In this episode of the Filmed Notebooks, António Rodrigues, programmer of the Cinemateca Portuguesa and Gérard Courant present to the public the session of Through the Universe.

"Compression de À travers l'univers" is the reduction of my film À travers l'univers from 1 hour to 18 minutes into a 4-minute movie. The film is "compressed" like a work by Arman or Caesar. But unlike the work of these artists who compressed usual objects, this self-compression reduces a purely artistic object. The tour de force and the bet of Compression de À travers l'universe was to make a total compression: in this film, there is no lack of a single shot of the original film!

"Compression de À travers l'univers" is the reduction of my film À travers l'univers from 1 hour to 18 minutes into a 4-minute movie. The film is "compressed" like a work by Arman or Caesar. But unlike the work of these artists who compressed usual objects, this self-compression reduces a purely artistic object. The tour de force and the bet of Compression de À travers l'universe was to make a total compression: in this film, there is no lack of a single shot of the original film!

"Compression de À travers l'univers" is the reduction of my film À travers l'univers from 1 hour to 18 minutes into a 4-minute movie. The film is "compressed" like a work by Arman or Caesar. But unlike the work of these artists who compressed usual objects, this self-compression reduces a purely artistic object. The tour de force and the bet of Compression de À travers l'universe was to make a total compression: in this film, there is no lack of a single shot of the original film!

"Compression de À travers l'univers" is the reduction of my film À travers l'univers from 1 hour to 18 minutes into a 4-minute movie. The film is "compressed" like a work by Arman or Caesar. But unlike the work of these artists who compressed usual objects, this self-compression reduces a purely artistic object. The tour de force and the bet of Compression de À travers l'universe was to make a total compression: in this film, there is no lack of a single shot of the original film!

A few moments after the arrival of the first stage of the Critérium du Dauphiné 1970, Roanne-Chalon-sur-Saône (224 kilometers) which has just been won by the Belgian Daniel Van Rijckeghem ahead of the Dutch Jan Janssen (2nd) and Marinus Wagtmans (3rd). Filmmaker Gérard Courant photographed Raymond Delisle (yellow jersey), Luis Ocaña (final winner), Gilbert Bellone, Lucien Aimar, Roger de Vlaeminck (Belgian champion), Jan Janssen (green jersey), Harm Ottenbros (world champion), Jean Dumont, Marinus Wagtmans, Raymond Poulidor, Georges Chappe on the song "Poets" by Léo Ferré.

A few moments after the arrival of the first stage of the Critérium du Dauphiné 1970, Roanne-Chalon-sur-Saône (224 kilometers) which has just been won by the Belgian Daniel Van Rijckeghem ahead of the Dutch Jan Janssen (2nd) and Marinus Wagtmans (3rd). Filmmaker Gérard Courant photographed Raymond Delisle (yellow jersey), Luis Ocaña (final winner), Gilbert Bellone, Lucien Aimar, Roger de Vlaeminck (Belgian champion), Jan Janssen (green jersey), Harm Ottenbros (world champion), Jean Dumont, Marinus Wagtmans, Raymond Poulidor, Georges Chappe on the song "Poets" by Léo Ferré.

A few moments after the arrival of the first stage of the Critérium du Dauphiné 1970, Roanne-Chalon-sur-Saône (224 kilometers) which has just been won by the Belgian Daniel Van Rijckeghem ahead of the Dutch Jan Janssen (2nd) and Marinus Wagtmans (3rd). Filmmaker Gérard Courant photographed Raymond Delisle (yellow jersey), Luis Ocaña (final winner), Gilbert Bellone, Lucien Aimar, Roger de Vlaeminck (Belgian champion), Jan Janssen (green jersey), Harm Ottenbros (world champion), Jean Dumont, Marinus Wagtmans, Raymond Poulidor, Georges Chappe on the song "Poets" by Léo Ferré.

A few moments after the arrival of the first stage of the Critérium du Dauphiné 1970, Roanne-Chalon-sur-Saône (224 kilometers) which has just been won by the Belgian Daniel Van Rijckeghem ahead of the Dutch Jan Janssen (2nd) and Marinus Wagtmans (3rd). Filmmaker Gérard Courant photographed Raymond Delisle (yellow jersey), Luis Ocaña (final winner), Gilbert Bellone, Lucien Aimar, Roger de Vlaeminck (Belgian champion), Jan Janssen (green jersey), Harm Ottenbros (world champion), Jean Dumont, Marinus Wagtmans, Raymond Poulidor, Georges Chappe on the song "Poets" by Léo Ferré.

A fake "Cinematon".

A fake "Cinematon".

A fake "Cinematon".

Gérard Courant's "Filmed Diary" of December 14, 2011, produced in Dubai (United Arab Emirates). Between December 7 and 15, 2011, Gérard Courant was invited by the Dubai International Film Festival, in the United Arab Emirates. It was an opportunity for him to film many "Cinematons" of personalities from the Arab world and to continue his "Film Notebooks" from which he brought back 7 episodes.

Gérard Courant's "Filmed Diary" of December 14, 2011, produced in Dubai (United Arab Emirates). Between December 7 and 15, 2011, Gérard Courant was invited by the Dubai International Film Festival, in the United Arab Emirates. It was an opportunity for him to film many "Cinematons" of personalities from the Arab world and to continue his "Film Notebooks" from which he brought back 7 episodes.

Gérard Courant's "Filmed Diary" of December 14, 2011, produced in Dubai (United Arab Emirates). Between December 7 and 15, 2011, Gérard Courant was invited by the Dubai International Film Festival, in the United Arab Emirates. It was an opportunity for him to film many "Cinematons" of personalities from the Arab world and to continue his "Film Notebooks" from which he brought back 7 episodes.

"Les Malheurs d'Émile Cohl" shows the ravages of time on the copy of the film "Les Chapeaux des belles dames" which Émile Cohl shot in 1909. Slowing down the most damaged parts of the film from the father of the animation, Gérard Courant has succeeded in creating an object with abstract shapes and, paradoxically, in giving another life to Cohl's work." --Courant

One of Courant's many "Carnets filmés", filmed on November 7, 2021 in the botanical garden of l'Arquebuse in Dijon. The film is a slow exploration of this space, created in 1833 and rich in around 3,500 species of botanical plants.

One of Courant's many "Carnets filmés", filmed on November 7, 2021 in the botanical garden of l'Arquebuse in Dijon. The film is a slow exploration of this space, created in 1833 and rich in around 3,500 species of botanical plants.

"Villagium" is a film made from a stationary one-and-a-half-hour shot, which shows the storm and the rain in the street, by the church in the village of Priay, Ain.

"Pons" is a film made of a single fixed-sequence shot, lasting half an hour, which shows the Ain river and the Priay bridge spanning it.

Filmed with a telephoto lens, from the heights of the village of Priay, the four pressurized water reactors at the Bugey nuclear power plant in Saint-Vulbas. The village and its bell tower in the foreground was where, as a child, Antoine de Saint-Exupéry spent his holidays.

"L'Hôtel-Dieu de Lyon" is, in a subjective camera and in a single sequence shot of about twenty minutes, an exploration of the former Hôtel-Dieu hospital in Lyon. Located on the western edge of the Rhône and near Place Bellecour, the Hôtel-Dieu was rehabilitated and converted in 2018 into a luxury hotel and shopping malls. The film runs through all the inner courtyards of this huge building. The film is dedicated to François Rabelais who, from 1532, was a doctor at the Hôtel-Dieu in Lyon.

"L'Hôtel-Dieu de Lyon" is, in a subjective camera and in a single sequence shot of about twenty minutes, an exploration of the former Hôtel-Dieu hospital in Lyon. Located on the western edge of the Rhône and near Place Bellecour, the Hôtel-Dieu was rehabilitated and converted in 2018 into a luxury hotel and shopping malls. The film runs through all the inner courtyards of this huge building. The film is dedicated to François Rabelais who, from 1532, was a doctor at the Hôtel-Dieu in Lyon.

"L'Hôtel-Dieu de Lyon" is, in a subjective camera and in a single sequence shot of about twenty minutes, an exploration of the former Hôtel-Dieu hospital in Lyon. Located on the western edge of the Rhône and near Place Bellecour, the Hôtel-Dieu was rehabilitated and converted in 2018 into a luxury hotel and shopping malls. The film runs through all the inner courtyards of this huge building. The film is dedicated to François Rabelais who, from 1532, was a doctor at the Hôtel-Dieu in Lyon.

"L'Hôtel-Dieu de Lyon" is, in a subjective camera and in a single sequence shot of about twenty minutes, an exploration of the former Hôtel-Dieu hospital in Lyon. Located on the western edge of the Rhône and near Place Bellecour, the Hôtel-Dieu was rehabilitated and converted in 2018 into a luxury hotel and shopping malls. The film runs through all the inner courtyards of this huge building. The film is dedicated to François Rabelais who, from 1532, was a doctor at the Hôtel-Dieu in Lyon.

"Every Good Friday, since 1980, I film the ceremonial of the Stations of the Cross of the Passion of Christ in Burzet, in an isolated village in the Ardèche, where the inhabitants, for seven centuries, dress up to celebrate and perpetuate this religious rite. Due to the Covid-19 pandemic, Burzet's 2021 Passion of Christ Ceremonial has been canceled. To compensate for this cancellation, I tried an experiment..." Says Alain Paucard of the film: "Courant reworks the images, passing from realism to a sort of expressionism which, enlarging the line, warms it."

Coude à coude is an episode of Gérard Courant's Filmed Carnets that follows Velo Love (July 1 to 3, 1996), in which journalist and screenwriter Alain Riou proposed to the filmmaker to accompany him by bike on the course of the mountain stage of the Tour de France, Chambéry-Les Arcs.

Coude à coude is an episode of Gérard Courant's Filmed Carnets that follows Velo Love (July 1 to 3, 1996), in which journalist and screenwriter Alain Riou proposed to the filmmaker to accompany him by bike on the course of the mountain stage of the Tour de France, Chambéry-Les Arcs.

Coude à coude is an episode of Gérard Courant's Filmed Carnets that follows Velo Love (July 1 to 3, 1996), in which journalist and screenwriter Alain Riou proposed to the filmmaker to accompany him by bike on the course of the mountain stage of the Tour de France, Chambéry-Les Arcs.

Encore Cinématé ! is a fake Cinématon by Gérard Courant, the author and designer of this famous film series. It is not part of the anthology and is therefore out of collection. However, he has all the characteristics of an official Cinématon but the filmmaker, who had just lent himself to the cinematon game a year earlier, on the occasion of the 2000th portrait of his collection, did not want to overload his fetish series with new portraits of him. He preferred not to integrate it while ensuring that this portrait has a real existence, that it is visible and that it is a film in its own right.

Encore Cinématé ! is a fake Cinématon by Gérard Courant, the author and designer of this famous film series. It is not part of the anthology and is therefore out of collection. However, he has all the characteristics of an official Cinématon but the filmmaker, who had just lent himself to the cinematon game a year earlier, on the occasion of the 2000th portrait of his collection, did not want to overload his fetish series with new portraits of him. He preferred not to integrate it while ensuring that this portrait has a real existence, that it is visible and that it is a film in its own right.

Encore Cinématé ! is a fake Cinématon by Gérard Courant, the author and designer of this famous film series. It is not part of the anthology and is therefore out of collection. However, he has all the characteristics of an official Cinématon but the filmmaker, who had just lent himself to the cinematon game a year earlier, on the occasion of the 2000th portrait of his collection, did not want to overload his fetish series with new portraits of him. He preferred not to integrate it while ensuring that this portrait has a real existence, that it is visible and that it is a film in its own right.

Encore Cinématé ! is a fake Cinématon by Gérard Courant, the author and designer of this famous film series. It is not part of the anthology and is therefore out of collection. However, he has all the characteristics of an official Cinématon but the filmmaker, who had just lent himself to the cinematon game a year earlier, on the occasion of the 2000th portrait of his collection, did not want to overload his fetish series with new portraits of him. He preferred not to integrate it while ensuring that this portrait has a real existence, that it is visible and that it is a film in its own right.

"Ponts routiers de la Seine à Paris" is a film series that shows, in a single fixed, wide and silent plan all the bridges (and bridges) that span the Seine in Paris. (Rail bridges and motorway bridges on the ring road are excluded). The bridges are filmed in order, from upstream to downstream. The camera is placed on the left bank and films towards the right bank.

"Ponts routiers de la Seine à Paris" is a film series that shows, in a single fixed, wide and silent plan all the bridges (and bridges) that span the Seine in Paris. (Rail bridges and motorway bridges on the ring road are excluded). The bridges are filmed in order, from upstream to downstream. The camera is placed on the left bank and films towards the right bank.

"Ponts routiers de la Seine à Paris" is a film series that shows, in a single fixed, wide and silent plan all the bridges (and bridges) that span the Seine in Paris. (Rail bridges and motorway bridges on the ring road are excluded). The bridges are filmed in order, from upstream to downstream. The camera is placed on the left bank and films towards the right bank.

"Ponts routiers de la Seine à Paris" is a film series that shows, in a single fixed, wide and silent plan all the bridges (and bridges) that span the Seine in Paris. (Rail bridges and motorway bridges on the ring road are excluded). The bridges are filmed in order, from upstream to downstream. The camera is placed on the left bank and films towards the right bank.

A fusion of two Cinématons to celebrate the day of experimental cinema in Samawah, Iraq.

“Les Malheurs de Marc Allégret” shows the ravages of time on the rushes of the unfinished film “Les Corsaires” which Marc Allégret began filming in 1940 and which was interrupted by the Second World War. By isolating and slowing down the most damaged parts of the French filmmaker's film rushes, I managed to create an object with abstract shapes and, insidiously, give another life to a major artistic work. - Gérard Courant

“Les Malheurs de Marc Allégret” shows the ravages of time on the rushes of the unfinished film “Les Corsaires” which Marc Allégret began filming in 1940 and which was interrupted by the Second World War. By isolating and slowing down the most damaged parts of the French filmmaker's film rushes, I managed to create an object with abstract shapes and, insidiously, give another life to a major artistic work. - Gérard Courant

“Les Malheurs de Marc Allégret” shows the ravages of time on the rushes of the unfinished film “Les Corsaires” which Marc Allégret began filming in 1940 and which was interrupted by the Second World War. By isolating and slowing down the most damaged parts of the French filmmaker's film rushes, I managed to create an object with abstract shapes and, insidiously, give another life to a major artistic work. - Gérard Courant

"Les Malheurs d'Yvan Noé" shows the ravages of time on the film A Death Without Importance that Yvan Noé shot in 1948. By isolating and slowing down the most damaged parts of the French filmmaker's film, I managed to create a object with abstract shapes and, insidiously, to give another life to an artistic work. - Gérard Courant

"Les Malheurs d'Yvan Noé" shows the ravages of time on the film A Death Without Importance that Yvan Noé shot in 1948. By isolating and slowing down the most damaged parts of the French filmmaker's film, I managed to create a object with abstract shapes and, insidiously, to give another life to an artistic work. - Gérard Courant

"Les Malheurs d'Yvan Noé" shows the ravages of time on the film A Death Without Importance that Yvan Noé shot in 1948. By isolating and slowing down the most damaged parts of the French filmmaker's film, I managed to create a object with abstract shapes and, insidiously, to give another life to an artistic work. - Gérard Courant

Every Good Friday, since 1980, I have filmed the reconstruction of the Stations of the Cross of the Passion of Christ in Burzet, in an isolated village in Ardèche, where the inhabitants, for seven centuries, have dressed up to celebrate and perpetuate this religious rite. “Dis-nous ce que tu sais” is the report of the Good Friday ceremonial of the year 2023 in Burzet.

Every Good Friday, since 1980, I have filmed the reconstruction of the Stations of the Cross of the Passion of Christ in Burzet, in an isolated village in Ardèche, where the inhabitants, for seven centuries, have dressed up to celebrate and perpetuate this religious rite. “Dis-nous ce que tu sais” is the report of the Good Friday ceremonial of the year 2023 in Burzet.

Every Good Friday, since 1980, I have filmed the reconstruction of the Stations of the Cross of the Passion of Christ in Burzet, in an isolated village in Ardèche, where the inhabitants, for seven centuries, have dressed up to celebrate and perpetuate this religious rite. “Dis-nous ce que tu sais” is the report of the Good Friday ceremonial of the year 2023 in Burzet.

"Lyon in 96 minutes" is, with a subjective camera and in a single sequence shot lasting one hour and 36 minutes, a stroll through the city of Lyon which begins on the Fourvière hill and its basilica and ends on the other Lyon hill, that of Croix-Rousse. Between these two summits, the film plunges into Old Lyon by taking the Chemin des Rosaires, the climb (in the direction of descent) of Chazeaux, crosses the Place Saint-Jean bordered by the cathedral of the same name which it visit, then runs along the Palais de Justice, the banks of the Saône which it crosses at the Feuillée bridge. The journey continues via rue d'Algérie, the famous Place des Terreaux with its town hall and the Palais Saint-Pierre, rue Puits Gaillot, the slopes of Croix-Rousse with its multitude of steps and staircases which lead us on the tray. The film ends on the esplanade of Boulevard de la Croix-Rousse and the Gros Caillou of ice house origin. - Gérard Courant

"Lyon in 96 minutes" is, with a subjective camera and in a single sequence shot lasting one hour and 36 minutes, a stroll through the city of Lyon which begins on the Fourvière hill and its basilica and ends on the other Lyon hill, that of Croix-Rousse. Between these two summits, the film plunges into Old Lyon by taking the Chemin des Rosaires, the climb (in the direction of descent) of Chazeaux, crosses the Place Saint-Jean bordered by the cathedral of the same name which it visit, then runs along the Palais de Justice, the banks of the Saône which it crosses at the Feuillée bridge. The journey continues via rue d'Algérie, the famous Place des Terreaux with its town hall and the Palais Saint-Pierre, rue Puits Gaillot, the slopes of Croix-Rousse with its multitude of steps and staircases which lead us on the tray. The film ends on the esplanade of Boulevard de la Croix-Rousse and the Gros Caillou of ice house origin. - Gérard Courant

Notes Lyonnaises I (October 29, 2002 to November 2, 2006) is the first of the four episodes of the Filmed Carnets that the filmmaker shot on the sidelines of Lyon, autopsie d’une grande ville. These Notebooks are essentially composed of unpreserved shots and notes filmed according to the filmmaker's wanderings in the city where cinema was invented by the Lumière brothers.

Notes Lyonnaises I (October 29, 2002 to November 2, 2006) is the first of the four episodes of the Filmed Carnets that the filmmaker shot on the sidelines of Lyon, autopsie d’une grande ville. These Notebooks are essentially composed of unpreserved shots and notes filmed according to the filmmaker's wanderings in the city where cinema was invented by the Lumière brothers.

Notes Lyonnaises I (October 29, 2002 to November 2, 2006) is the first of the four episodes of the Filmed Carnets that the filmmaker shot on the sidelines of Lyon, autopsie d’une grande ville. These Notebooks are essentially composed of unpreserved shots and notes filmed according to the filmmaker's wanderings in the city where cinema was invented by the Lumière brothers.

Notes Lyonnaises I (October 29, 2002 to November 2, 2006) is the first of the four episodes of the Filmed Carnets that the filmmaker shot on the sidelines of Lyon, autopsie d’une grande ville. These Notebooks are essentially composed of unpreserved shots and notes filmed according to the filmmaker's wanderings in the city where cinema was invented by the Lumière brothers.

Notes Lyonnaises II (April 4, 2007 to October 20, 2010) is the second of the four episodes of the Carnets filmed that the filmmaker shot on the sidelines of Lyon, autopsie d’une grande ville. These Notebooks are essentially composed of unpreserved shots and notes filmed according to the filmmaker's wanderings in the city where cinema was invented by the Lumière brothers.

Notes Lyonnaises II (April 4, 2007 to October 20, 2010) is the second of the four episodes of the Carnets filmed that the filmmaker shot on the sidelines of Lyon, autopsie d’une grande ville. These Notebooks are essentially composed of unpreserved shots and notes filmed according to the filmmaker's wanderings in the city where cinema was invented by the Lumière brothers.

Notes Lyonnaises II (April 4, 2007 to October 20, 2010) is the second of the four episodes of the Carnets filmed that the filmmaker shot on the sidelines of Lyon, autopsie d’une grande ville. These Notebooks are essentially composed of unpreserved shots and notes filmed according to the filmmaker's wanderings in the city where cinema was invented by the Lumière brothers.

Notes Lyonnaises II (April 4, 2007 to October 20, 2010) is the second of the four episodes of the Carnets filmed that the filmmaker shot on the sidelines of Lyon, autopsie d’une grande ville. These Notebooks are essentially composed of unpreserved shots and notes filmed according to the filmmaker's wanderings in the city where cinema was invented by the Lumière brothers.

Les Deux Lyon is, in a subjective camera and in a single sequence of just over an hour, a wandering through the city of Lyon that begins from the hill of Fourvière and its basilica to end on the other hill in Lyon, that of Croix-Rousse. Between these two peaks, the film sinks into Old Lyon by taking the chemin des Rosaires, the ascent (in the direction of the descent) of the Chazeaux, crosses the Place Saint-Jean bordered by the cathedral of the same name (in the process of renovation), then runs along the Palace of Justice (hidden in part by a palisade due to work), The journey continues through the rue d'Algérie, the famous Place des Terreaux with its town hall and museum of fine arts, rue Puits Gaillot, the slopes of the Croix-Rousse with its multitude of steps and stairs that lead us to the Plateau. The film ends on the esplanade of Boulevard de la Croix-Rousse and the Gros Caillou of glacial origin that is climbed by children.

Les Deux Lyon is, in a subjective camera and in a single sequence of just over an hour, a wandering through the city of Lyon that begins from the hill of Fourvière and its basilica to end on the other hill in Lyon, that of Croix-Rousse. Between these two peaks, the film sinks into Old Lyon by taking the chemin des Rosaires, the ascent (in the direction of the descent) of the Chazeaux, crosses the Place Saint-Jean bordered by the cathedral of the same name (in the process of renovation), then runs along the Palace of Justice (hidden in part by a palisade due to work), The journey continues through the rue d'Algérie, the famous Place des Terreaux with its town hall and museum of fine arts, rue Puits Gaillot, the slopes of the Croix-Rousse with its multitude of steps and stairs that lead us to the Plateau. The film ends on the esplanade of Boulevard de la Croix-Rousse and the Gros Caillou of glacial origin that is climbed by children.

Les Deux Lyon is, in a subjective camera and in a single sequence of just over an hour, a wandering through the city of Lyon that begins from the hill of Fourvière and its basilica to end on the other hill in Lyon, that of Croix-Rousse. Between these two peaks, the film sinks into Old Lyon by taking the chemin des Rosaires, the ascent (in the direction of the descent) of the Chazeaux, crosses the Place Saint-Jean bordered by the cathedral of the same name (in the process of renovation), then runs along the Palace of Justice (hidden in part by a palisade due to work), The journey continues through the rue d'Algérie, the famous Place des Terreaux with its town hall and museum of fine arts, rue Puits Gaillot, the slopes of the Croix-Rousse with its multitude of steps and stairs that lead us to the Plateau. The film ends on the esplanade of Boulevard de la Croix-Rousse and the Gros Caillou of glacial origin that is climbed by children.

Les Deux Lyon is, in a subjective camera and in a single sequence of just over an hour, a wandering through the city of Lyon that begins from the hill of Fourvière and its basilica to end on the other hill in Lyon, that of Croix-Rousse. Between these two peaks, the film sinks into Old Lyon by taking the chemin des Rosaires, the ascent (in the direction of the descent) of the Chazeaux, crosses the Place Saint-Jean bordered by the cathedral of the same name (in the process of renovation), then runs along the Palace of Justice (hidden in part by a palisade due to work), The journey continues through the rue d'Algérie, the famous Place des Terreaux with its town hall and museum of fine arts, rue Puits Gaillot, the slopes of the Croix-Rousse with its multitude of steps and stairs that lead us to the Plateau. The film ends on the esplanade of Boulevard de la Croix-Rousse and the Gros Caillou of glacial origin that is climbed by children.

"Inventaire filmé des rues et places de Lyon avec des noms d’universitaires" presents all 92 streets (as well as the alleys, avenues, boulevards, courtyards, dead ends, and passages) and the 14 squares (as well as the squares...) of Lyon that have university names.

"Inventaire filmé des rues et places de Lyon avec des noms d’universitaires" presents all 92 streets (as well as the alleys, avenues, boulevards, courtyards, dead ends, and passages) and the 14 squares (as well as the squares...) of Lyon that have university names.

"Inventaire filmé des rues et places de Lyon avec des noms d’universitaires" presents all 92 streets (as well as the alleys, avenues, boulevards, courtyards, dead ends, and passages) and the 14 squares (as well as the squares...) of Lyon that have university names.

"Inventaire filmé des rues et places de Lyon avec des noms d’universitaires" presents all 92 streets (as well as the alleys, avenues, boulevards, courtyards, dead ends, and passages) and the 14 squares (as well as the squares...) of Lyon that have university names.

A simple, modest and faithful record of some moments at the Lucca Film Festival in October 2010, with songs and speeches by Abel Ferrara: trace of the co-presence of two of the greatest contemporary filmmakers, dissident and true sons of Cesare Zavattini’s revolutionary spirit.

The films of Marilyn Monroe, sped up by Gerard Courant.

"During the invitation to a film festival in Thessaloniki, Greece, where I presented the Cinématon and my feature film Blue Heart (which won a prize), I filmed the daily life of the city. The seafront, the university and the city where I was staying."

A documentary about Luc Moullet and the mountainous locations featured in his films.

Mais qui a tué Alfred Hitchcock? is a variation of Alfred Hitchcock's Cinématon hors collection directed by Gérard Courant on 14 May 1972 in Cannes (France), of which he has transformed the image frame.

Compression The Birds de Alfred Hitchcock is the reduction of The Birds, Alfred Hitchcock's 1963 masterpiece with Tippi Hedren and Rod Taylor, from a 2-hour film to a 5-minute film. The film is "compressed" in the manner of a work by Arman or César. But unlike the work of these artists who compressed everyday objects, Alfred Hitchcock's Compression of The Birds compresses an artistic object!

Hitch x 4 is a filmed portrait of Alfred Hitchcock which, in a screen divided into four equal parts, brings together Gérard Courant's special Cinematon of the master of suspense made on 14 May 1972 with three variations of the same Cinematon.

Le Ciné-Club Universitaire de Dijon is the recording of this radio programme - a first for Gérard Courant - which allows him to talk about some of the films that are close to his heart: The Death of Maria Malibran by Werner Schroeter, La Cicatrice intérieure by Philippe Garrel, Hotel Monterey and Jeanne Dielman 23 quai du Commerce 1080 Bruxelles by Chantal Akerman, La Chinoise (The Chinese) by Jean-Luc Godard, Né by Jacques Richard.

This film is an audio interview of Louis Skorecki, filmmaker and film critic for Cahiers du cinéma, by Patrice Kirchhofer and Gérard Courant. This interview, later put into images by Gérard Courant, is centred around the feature film Eugénie de Franval, based on Sade's novella, which Louis Skorecki shot in 1974 and which was awarded the prize of "la porte entrouverte" at the festival of young cinema in Toulon in 1975 by the jury composed of Marguerite Duras, Shuji Terayama and Dominique Noguez.

Aurore collective is composed of 50 sequences filmed in Dijon and Paris (successive places of residence of the filmmaker), Chalon-sur-Saône, Valence, Cannes, Greece, India, Afghanistan and Pakistan.

Aurore collective is composed of 50 sequences filmed in Dijon and Paris (successive places of residence of the filmmaker), Chalon-sur-Saône, Valence, Cannes, Greece, India, Afghanistan and Pakistan.

This is the sound recording of the interview that Michael Snow, filmmaker, sculptor, photographer and visual artist, gave to Gérard Courant for the magazine Art press, published in February 1979, in its number 25. A great connoisseur of the Canadian artist's work and one of the first to pay tribute to him in 1973 in the magazine Zoom, Noël Simsolo accompanied the two filmmakers at the beginning of the discussion.

Le Cinéma selon Luc Moullet is an audio interview with Luc Moullet recorded on 29 January 1979 by Gérard Courant for the magazine Cinéma 79.

On 15 December 1980, Joseph Morder, with the joyful complicity of his Morlock compatriots, created the Morlock Academy in the salons of the Club Pernod on the Champs Élysées in Paris. Three weeks later, Gérard Courant brought together Joseph Morder, Guy Pezzetta and Jean-Claude Réminiac, the three founders of the Morlock movement, to talk about the genesis of the group.

Khrónos 1981 is an episode of Gérard Courant's Filmed Notebooks shot entirely in Thessaloniki, Greece, in parallel with the filmmaker's presence at the city's Super 8 film festival, where he presented his Cinematon series and his feature film Coeur bleu. Gérard Courant filmed, day by day, the life of the city, the activities on the waterfront, the university and the city centre.

Michel Foucault Werner Schroeter, La Conversation is the third of the four film encounters I have had with Werner Schroeter. Unlike the first two, this time a personality from outside the German filmmaker's work joined the meeting. But what a personality! The great philosopher Michel Foucault.

Plus mon Loir gaulois que le Tibre latin is a slow exploration of the snowy city, its surroundings, the banks of the Loire and the village of Chambilly.

In this new opus of the Carnets filmés we find his pronounced taste for travel (West Berlin, Marseille, the Pyrenees, the Southern Alps) and his life devoted to filming (the feature films Coeur bleu, Vivre est une solution, Spoonful, La Neige tremblait sur les arbres). Also noteworthy in 1980 was the appearance of a ceremony that would be filmed every year: the re-enactment by the villagers of Burzet, in the Ardèche, of the Passion of Christ.

In this new opus of the Carnets filmés we find his pronounced taste for travel (West Berlin, Marseille, the Pyrenees, the Southern Alps) and his life devoted to filming (the feature films Coeur bleu, Vivre est une solution, Spoonful, La Neige tremblait sur les arbres). Also noteworthy in 1980 was the appearance of a ceremony that would be filmed every year: the re-enactment by the villagers of Burzet, in the Ardèche, of the Passion of Christ.

Le Blanc Cassé is a pedestrian drift, camera in hand, which starts on rue Gazan in the 14th arrondissement and ends near the Palais de Chaillot in the 16th arrondissement.

Jean Seberg, Philippe Garrel et Les Hautes solitudes is composed of excerpts from four of my films about Philippe Garrel which concern his silent masterpiece Les Hautes solitudes (1974) and its protagonist, the icon of the New Wave, Jean Seberg.

Joseph Morder sur Radio Ark en Ciel is the sound recording of this meeting in which the filmmaker talks about his films and his famous Film Diary and about the Morlock Academy which he founded in 1980.

The film is a cinematic stroll through the city of Genoa and an exploration of the alleys in the city centre. It also shows the palaces, churches and basilicas, and then takes a long look at the cimitero monumentale di Staglieno, before climbing to the heights of Genoa, which offer an astonishing panorama of the city and its immense port, crossed by the Strada sopraelevata.

Printemps Météore continues to travel, meet people and shoot. Berlin again, Burzet (in the Ardèche), the Chartreuse massif and, above all, the beginning of a new feature film (The Adventures of Eddie Turley) with Philip Dubuquoy, who was one of my first Cinématons in 1978 (No. 13)

Le Naufragé et le Prisonnier continue's my frenetic quest for travel and filming. This episode of the Filmed Notebooks is the continuation of the previous one (Printemps météore) with the filming of the Adventures of Eddie Turley, whose protagonists are Philip Dubuquoy and Françoise Michaud.

Le Voyageur sans Ombre is a sort of antechamber to Aventures d'Eddie Turley. We can follow step by step the progress of the filming with Philip Dubuquoy, Françoise Michaud and Joseph Morder during their travels in the South of France (Marseille, Aix-en-Provence, Prades) and in Paris.

Études préparatoires pour "À propos de la Grèce" is a filmed diary that is a summer journey through the Greek islands. This film served as a preparation for the feature film, À propos de la Grèce.

Esquisses Helléniques pour "A propos de la Grèce" is a filmed diary which is a summer journey through the Greece of Athens and the islands. This film served as a preparation for the feature film, A propos de la Grèce.

L'Arbre de la Vie is, first of all, a summer trip to the island of Sifnos, Greece, then, in Paris, the film shows the preparations for the shooting of my new film, The Adventures of Eddie Turley, with Philip Dubuquoy, Françoise Michaud, Joël Barbouth, Joseph Morder and Gérard Tallet.

Le Monde Impatient is an episode of the Filmed Diaries that takes place in New York on the occasion of my second visit to the city. It's a long wander through Manhattan, the Bronx and Queens. The end of this episode of Filmed Notebooks takes me to my favourite French regions: the Vivarais, the Velay and Saint-Marcellin, at the foot of the Vercors, where I lived as a child in the 1950s.

Les Vivants et les morts begins with a long sequence in both Berlin, mainly West Berlin, where I stay the whole month of January, thanks to a grant from the Goethe Institute. Then, most of this episode is a daily observation of Paris and the Butte Montmartre seen from my flat in Montparnasse.

Filmed in parallel with the retrospective of Gérard Courant's films at the Studio Molière organised by the French Institute in Vienna. La Valse de Vienne is a cinematic stroll through the city of Vienna and an exploration of its historic centre. The film takes place at length around the Hofburg Palace.

Die Reise nach Wien was filmed in parallel with the retrospective of Gérard Courant's films at the Studio Molière organised by the French Institute in Vienna. Die Reise nach Wien is a cinematic tour of the city of Vienna. The film takes place at length in front of the Wiener Staatsoper (Vienna State Opera).

Even if trips (Burzet, the Lac du Bourget, Geneva, Dijon, Normandy) punctuate La Marche du temps (1 April 1984 to 31 December 1984), this episode settles for a long time in Paris and its region.

Un jour l'hiver finira is an episode of Gérard Courant's filmed notebooks which is mainly devoted to the recording of three programmes on Radio France Berry Sud. In the first, on 17 March 1986, Gérard Patrigeon invited Pierre Laudijois and Dominique Marchès to talk about the retrospective of Gérard Courant's films that would take place a few days later. In the second, on 21 March 1986, Gérard Patrigeon invited the same two as well as Gérard Courant to discuss the screenings. In the third, Christian Daumas invited Pierre Laudijois, Dominique Laudijois, Gérard Courant, the child Martin Laudijois and the artist Philippe Vacher to make a positive assessment of this retrospective. In this programme the announcement is made of the organisation of a future independent film festival.

I give a methodical account of my film work: the creation of new series (Lire, Trio, Avec Mariola), the shooting of a new feature film (Amours décolorées which will take ten years to edit) with Mariola San Martin.

Et si on jouait? is the first episode of my Filmed Notebooks shot on video, whereas all the others were shot on film for nearly fifteen years.

Double Jeu is a filmed Notebook which covers the year 1989.

Histoires ordinaires is a filmed diary that covers the year 1990.

Le Nouvel Hiver is a slightly disillusioned reflection on the state of the world (the fall of the Berlin Wall, the end of the USSR, the Gulf War), the events of which are the thread of this year's Notebooks (1 January 1991 to 31 December 1991). Of course, these Notebooks are far from this sinister current events because life is elsewhere, in creation and in a quest for the absolute. And then, Le Nouvel Hiver takes us into surprising encounters (with Ken Loach, Brigitte Lahaie) and transports us to places I can't live without (the Ardèche in the North).

Every Good Friday, the inhabitants of Burzet, in Ardèche, repeat the Way of the Cross of the Passion of Christ. In 1992, the filmmaker Jean-Pierre Bozon filmed this ceremony at length and met the main characters in this seven-century-old Way of the Cross. Gérard Courant collected and edited the rushes from this filming and made five films. The first, Régis Audigier, le Christ de Burzet, is an encounter with Régis Audigier, farmer and interpreter of the Christ of the Passion of Burzet.

Every Good Friday, the inhabitants of Burzet, in Ardèche, repeat the Way of the Cross of the Passion of Christ. In 1992, the filmmaker Jean-Pierre Bozon filmed this ceremony at length and met the main characters in this seven-century-old Way of the Cross. Gérard Courant collected and edited the rushes from this filming and made five films. The second, Solange and Jean Mounier, Véronique et le Centurion de Burzet, is a meeting with Solange and Jean Mounier, interpreters of Véronique and the centurion of the Passion of Burzet.

Every Good Friday, the inhabitants of Burzet, in Ardèche, repeat the Way of the Cross of the Passion of Christ. In 1992, the filmmaker Jean-Pierre Bozon filmed this ceremony at length and met the main characters in this seven-century-old Way of the Cross. Gérard Courant collected and edited the rushes from this filming and made five films. The third, Gaston Hilaire, the former centurion of Burzet, is an encounter with Gaston Hilaire, the former centurion of the Passion of Burzet.

Every Good Friday, the inhabitants of Burzet, in Ardèche, repeat the Way of the Cross of the Passion of Christ. In 1992, the filmmaker Jean-Pierre Bozon filmed this ceremony at length and met the main characters in this seven-century-old Way of the Cross. Gérard Courant collected and edited the rushes from this filming and made five films. The fourth, Bernard de Chanaleilles, le Simon de Cyrène de Burzet, is an encounter with Bernard de Chanaleilles, interpreter of Simon de Cyrène in the Burzet Passion.

La Terre des Vivants, is serenity in the midst of an increasingly fast-moving world. This new part of the Filmed Diaries is spread over only six months (from 1 January 1992 to 30 June 1992). In response to this agitation, The Land of the Living is nothing but calm and contemplation. These are slow journeys on Swiss soil (Geneva, Lausanne, La Chaux de Fonds, Bienne), in the Morvan, the Bugey, Cherbourg, the Southern Alps. And Paris seen from its very bowels: by slow boat travels on the Seine.

Le Passager Solitaire is a new drift through my favourite regions: Bugey, Vivarais, Burgundy but also Moscow, Kiev and... Saint-Maurice, in the Paris suburbs where I live.

Following on from Le Passé retrouvé, we find the same litanies that were the charm of the previous episodes: travel, the love of cinema, my filming and the passion for cycling. The same concerns are present: the fascination of faces, the cult of friendship and the importance of places.

On the occasion of the shooting of his film Chambéry-Les Arcs, entirely devoted to his passion for cycling, Gérard Courant met the writer and journalist Pierre Vavasseur, the scriptwriter and journalist Alain Riou and the filmmaker Luc Moullet with whom he shares this passion. Pierre Vavasseur, from Le Parisien, invited Gérard Courant to follow a mountain stage of the Tour de France and Alain Riou, who is used to the great passes of the Alps, suggested that the filmmaker cycle with him on the same stage a few days before the riders.

Filmed on the Longchamp cycling circuit in Paris, the writer Olivier Dazat, author of the books Seigneurs et forçats du vélo (published by Calmann-Lévy) and Panache (published by Le Dilettante), shares his thoughts on the champions Fausto Coppi, Hugo Koblet, Jacques Anquetil, Raymond Poulidor, Luis Ocaña and Eddy Merckx.

Under the expert eye of Gérard Courant's camera, Janine Anquetil, the widow of cycling champion Jacques Anquetil, five-time winner of the Tour de France (between 1957 and 1964), recounts her husband's career, which was full of exceptional events.

Mongibello is an episode of Gérard Courant's Filmed Notebooks shot in Châteauroux, Paris, Taormina, Saint-Maurice, in the Vivarais region, in Burzet, Villefranche-sur-Saône, Deauville and Moncton, in New Brunswick, Canada.

Across the city, a Canadian megalopolis, Gérard Courant's images, blurred and faded, write the sound of Kraftwerck. Synthetic, techno... it illustrates movement, speed, rhythm. From the woods on the outskirts to the large, wide avenues, passers-by see the big cars go by. Night follows day, in the big city, pedestrians are anonymous.

This new episode of the Notebooks is entitled The New Desert (4 March 1998 to 26 November 1998). These are years of cinematographic maturity in a world that is searching for its bearings and has not found its bearings following the collapse and disappearance of the USSR and its communist satellites. It was a period of indecision and uncertainty. Are we happy? Is one unhappy? Nobody really knows. I travel, film, watch the events that come before my camera. I travel, film, watch the events that come before my camera. But I only retain the most insignificant or the most unusual, those that do not make history but are my history. My eye lingers on what others don't look at, on the banality of things, on what television and mainstream cinema ignore.

There are certain recurring themes: travel, desolate landscapes (especially in the Vivarais region), love of the cinema, the pleasure of wandering through towns, the side effects of my filming (in this episode, the Diary of Joseph M). We also encounter the same obsessions and concerns: the influence of the seasons, the fascination of faces, the taste for colours, the importance of the memory of places and people.

Marie-Christine Questerbert narrates Luc Moullet is part of the Carnets filmés that Gérard Courant has been making since the 1970s. The film is a meeting, filmed on 20 August 2000 in Paris, with Marie-Christine Questerbert, film critic, director and actress, mainly in the films of Luc Moullet. In this film by Gérard Courant, Marie-Christine Questerbert, the main actress in Une aventure de Billy le Kid (1970) and Anatomie d'un rapport (1975, co-directed with Antonietta Pizzorno) by Luc Moullet, talks about her cinematic experiences with this extraordinary director.

Iliana Lolic fait l'éloge de Luc Moullet is part of the Carnets filmés that Gérard Courant has been making since the 1970s. The film is a meeting, filmed on 20 August 2000 in Paris, with the actress Iliana Lolic. In this film by Gérard Courant, Iliana Lolic, an actress in Le Fantôme de Longstaff (1996) and Au champ d'honneur (1998) by Luc Moullet, talks about her cinematic experience with this unclassifiable filmmaker.

Almost all of this episode of the Carnets filmés, with the evocative title, Tout est Brisé is devoted to the misdeeds of the storm of 26 December 1999 on the Bois de Vincennes, whose forest extends at the foot of my building. For several months, I was the cinematographic witness of this disaster which brought down more than half of the 130,000 trees in the Bois.

Florence Loiret-Caille, Cinématon n°2013 shows the aftermath and the filming of actress Florence Loiret-Caille's Cinématon on the site of her birth (where she had never returned!).

In the first part, I discuss with the author of the famous Diary filmed in a café in Place Saint-Michel to commemorate our first meeting, in 1976, during a screening of the Collectif Jeune Cinéma that took place on the top floor of the MJC Saint-Michel. The discussion with Joseph Morder continued in a café on the Boulevard de Sébastopol opposite No. 102 where the cinema Le Palais des Arts was located. It was there that the Cinematons were shown for the first time in Paris in June 1978 and that Joseph Morder awarded me a Morlock prize for Cinematon and Rasage.

Lucia Sanchez, "Cinématon" n° 2014 shows the behind-the-scenes and filming of actress Lucia Sanchez's Cinematon.

Le Pharaon à Lyon is an episode of the Carnets filmés which takes place in France: in the Champ du Feu in the Vosges mountains, in Strasbourg, in Montreuil-sous-Bois, in the Bois de Vincennes in Paris, in Burzet (where I film, for the 22nd time, the Good Friday ceremony), in the snows of the Vivarais and Bugey regions and in Lyon where, with Philippe Djivas, Joseph Morder, Stéphane Collin, Nicolas Cornut, Frank Richard and Kathy Sebbah, I am scouting for the project of a series, entitled Le Pharaon.

Route d'argent is a journey through three Atlantic Canadian provinces: Nova Scotia, New Brunswick and Prince Edward Island. The film takes in Moncton, New Brunswick; Halifax, Nova Scotia; Victoria, Prince Edward Island; Bouctouche, New Brunswick; and, at length, Caraquet, New Brunswick. We visit the Public Gardens in Halifax, Hopewell Rocks Provincial Park and its famous "Flowerpots", the Pays de la Sagouine Tourist Park in Bouctouche and the Village Historique Acadien in Caraquet.

Quand reverrai-je mon petit village is an episode of the Carnets filmés, which was filmed entirely in France and follows Route d'argent, which was filmed entirely in Ca

From Gérard Courant's Cinématon series.

From Gérard Courant’s Cinématon series.

From Gérard Courant's Cinématon series.

Single sequence shot panning 180° over a landscape of roubines in the region of Digne-les-Bains, in the Southern Alps.

In the fall of 2023, I bought a used Sony video camera from the United States with the MiniDV cassette system online. It was an old model released in February 2007! Inside the camera was a cassette with 23 minutes of recorded footage from a vacation in Mexico. It's impossible to know when these images were filmed. In 2007? In 2023? Definitely between these two dates... Vacation by Proxy is these 23 minutes of film that I then reworked by transforming the image and the sound.

From Gérard Courant’s Cinématon series.

From Gérard Courant’s Cinématon series.

Legendary drag performer Ocaña in performance with a cardboard Marilyn on the west side of the Berlin Wall.

"Jean-Marie Straub and Danièle Huillet" is the overlay of two Cinematons by Gérard Courant with Jean-Marie Straub and Danièle Huillet: "Jean-Marie Straub, Cinématon number 342" and "Danièle Huillet, Cinematon number 343," filmed on May 27, 1984.

"Jean-Marie Straub and Danièle Huillet" is the overlay of two Cinematons by Gérard Courant with Jean-Marie Straub and Danièle Huillet: "Jean-Marie Straub, Cinématon number 342" and "Danièle Huillet, Cinematon number 343," filmed on May 27, 1984.

Amours décolorées is a cinematographic poem to the glory of Mariola San Martin, model, stylist, dancer and Spanish photographer.

Amours décolorées is a cinematographic poem to the glory of Mariola San Martin, model, stylist, dancer and Spanish photographer.

Amours décolorées is a cinematographic poem to the glory of Mariola San Martin, model, stylist, dancer and Spanish photographer.

Amours décolorées is a cinematographic poem to the glory of Mariola San Martin, model, stylist, dancer and Spanish photographer.

Gérard Courant films the routes of his voyage in Greece with a Super8 camera. Reflections, waves, ports and landscapes are edited at a dizzying pace; in their midst, portraits appear of a very beautiful woman, along with images of the director who turns the camera on himself, showing his face reddened by the sun.

Gérard Courant films the routes of his voyage in Greece with a Super8 camera. Reflections, waves, ports and landscapes are edited at a dizzying pace; in their midst, portraits appear of a very beautiful woman, along with images of the director who turns the camera on himself, showing his face reddened by the sun.

"This is the story of a search, that of a woman in pursuit of her own identity. This woman, Marie-Noëlle Kauffmann, ventures into the world of representation, meets four characters who, each in their own way, give her a key to cross the five sequences/initiations of the film which are all benchmarks that she must absolutely cross to have an answer to the question: Can cinema help find a lost balance?" -Gerard Courant

"This is the story of a search, that of a woman in pursuit of her own identity. This woman, Marie-Noëlle Kauffmann, ventures into the world of representation, meets four characters who, each in their own way, give her a key to cross the five sequences/initiations of the film which are all benchmarks that she must absolutely cross to have an answer to the question: Can cinema help find a lost balance?" -Gerard Courant

"This is the story of a search, that of a woman in pursuit of her own identity. This woman, Marie-Noëlle Kauffmann, ventures into the world of representation, meets four characters who, each in their own way, give her a key to cross the five sequences/initiations of the film which are all benchmarks that she must absolutely cross to have an answer to the question: Can cinema help find a lost balance?" -Gerard Courant