Centre Georges Pompidou

In the fall of 1987, Philippe Haas accompanied the sculptor Richard Long to the Algerian Sahara and filmed him tracing with his feet, or constructing with desert stones, simple geometric figures (straight lines, circles, spirals). In counterpoint to the images, Richard Long explains his approach. Since 1967, Richard Long (1945, Bristol), who belongs to the land art movement, has traveled the world on foot and installed, in places often inaccessible to the public, stones, sticks and driftwood found in situ. His ephemeral works are reproduced through photography. He thus made walking an art, and land art an aspiration of modern man for solitude in nature.

A wordless portrait of sculptor Jessica Jackson Hutchins shows us the artist in the process of transforming clay into uncanny forms.

A video derived from footage Godard kept from his 1981 visit to Francis Ford Coppola's Zoetrope Studios at the time he was making Passion.

In 1906, Georges Braque and Pablo Picasso were 24 and 25 years old. The Butte Montmartre is their Parisian sanctuary where artists in need of recognition meet. Braque and Picasso become friends to the point of never leaving each other. For the moment, their paintings do not interest many people; only Apollinaire, then aged 26, and the young gallery owner Daniel-Henry Kahnweiler, 22, saw immense potential in them. And in addition to their passion for painting, these four inseparable boys share the same appetite for modernity. Collages, diversions of materials and geometrization of forms: cubism opened the way to abstraction. A revolution initiated by Picasso and Braque, which profoundly changed the course of the history of modern art.

João Pedro Rodrigues answers the question from the title with an autobiographical short-film.

In this documentary, director Mariana Otero looks at the daily life of a college in the "difficult" commune of Saint-Denis in the suburbs of Paris.

A man awakens to find himself immersed in a real-life scenario of a board game with an ever expanding cartography.

An incident with his neighbor sends director Barbet Schroeder on a quest for inner peace.

Jacques Rozier followed Bernard Ménez's tour in 1984 after the surprise success of his song "Jolie poupée". From a timecoded video in the possession of Jacques Rozier, post-production work was carried out in 2001 under the supervision of the director for his retrospective at the Center Pompidou. The element resulting from this work was digitized by the Cinémathèque française at the Hiventy laboratory in 2021.

An initiative from Pompidou Center, filmed by Jean Marie Straub.

Suzanne Valadon (1865-1938) did not seem destined for a life as an artist. Born in 1865 as the daughter of a single washerwoman and mother herself at the age of 18 - to the future painter Maurice Utrillo - her fate could have been sealed. But Valadon broke with the conventions of her time in order to follow her artistic creative urge. The Centre Pompidou in Paris paid tribute to the artist's work with an exhibition in 2023, which traces her special life and extraordinary modernity in a film documentary. Archive material, interviews and animations provide an insight into her career, which is characterized by encounters and friendships with other great artists of her time.

While researching their subject’s life for their feature My Life and Times With Antonin Artaud, co-directors/writers Gerard Mordillat and Jerome Prieur made a documentary on the famed French actor/writer/poet that died in 1948 at the age of 51.

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

"For reasons of health, Lee Kang-sheng and I moved to the mountains. We don't have any neighbors. Our house is part of a row of dilapidated houses. I love these abandoned houses. I often walk around in them casually. I think they are beautiful. I said to Lee Kang-sheng: we don't have to go elsewhere to make films anymore. I'll make all my remaining films right here. I got some old chairs and some of my paintings and arranged them in these abandoned houses. And thus, this film was made." Tsai Ming-liang

Média 000" is an oneiric microcosm describing the ultimate apogee of a world mediatized to the extreme. The 11 minute program is the main videotape of an installation made up of two screens, diffusing two distinct tapes, synchronized with two sets of slide projectors, and organized around a cybernetic sculpture representing a lengthened young woman connected to the screens. The witness penetrates an obscure black lighted room, symbolizing a scientific research laboratory.

Made in 1968, this is the only film by the writer, artist, poet, art critic Alain Jouffroy. This film constitutes a full scale attack against cult of art and its specialization, but also against authority figures and nation.

A dazzling, inventive, and rarely-screened fairy tale from the feminist artist.