INA

18 years after his last film, (The Troubles We've Seen), Marcel Ophuls emerges from retirement as one of our last masters, the most corrosive, the funniest as well. And the most forceful. The director of The Sorrow and the Pity shares with us stories of his exceptionally rich life in this light-hearted yet bitter escapade though the century and the movies. Son of the great Max Ophuls, he is generous in his admiration. We also meet Jeanne Moreau, Bertolt Brecht, Ernst Lubitsch, Otto Preminger, Woody Allen, Stanley Kubrick and of course François Truffaut. There are no great filmmakers without a memory, so here is the memory shop of Marcel Ophuls.

A man's bathroom routine triggers a miraculous vision in a nearby church.

Through the editing of archive footage and a reading of Ovidie's La Chair est triste hélas, Gabrielle Stemmer's collage film shatters the heterosexual model, a story that is both intimate and political.

A series of compounding dramatic situations, drawn from Georges Polti's '36 Dramatic Situations' and acted out in shadowplay and voiceover.

In the community gardens of New York

This short documentary from 2002, written by Jacques Tati scholar Stéphane Goudet and featuring rare archival footage, explores the genesis of the director’s hugely ambitious 1967 film production.

In 1976-77, José Ma Berzosa contacted General Pinochet during a trip to Chilean Antarctica. On his return to Santiago, Pinochet agreed to be interviewed. In front of the camera, the General and three members of the junta speak about their memories and political thoughts, artistic tastes and their family lives. From the interviews, conducted in an apparently cordial atmosphere, emerges an ironic portrait without concessions of their taste for order, efficiency and a certain "ordinary fascism." By way of contrast, the families of victims and missing people endure a different reality.

Documentary that tells the deepest story of Mexico today. The story of the Zapatista Army of National Liberation, that army of Mayan Indians that burst into our lives with the sound of the voices of women and men who emerged, on January 1, 1994, from the Lacandon jungle to tell the powerful enough is enough!

Alone in a dark room, a mysterious woman dreams while surrounded by phantoms.

On the planet Ygam, the Draags, extremely technologically and spiritually advanced blue humanoids, consider the tiny Oms, human beings descendants of Terra's inhabitants, as ignorant animals. Those who live in slavery are treated as simple pets and used to entertain Draag children; those who live hidden in the hostile wilderness of the planet are periodically hunted and ruthlessly slaughtered as if they were vermin.

After an extensive immersion work on abandoned childhood, Ciro Durán presents, from his point of view, the life of street children, who have broken all family ties and have regrouped to survive in the concrete jungle.

An intimate exploration of Raymonde Carasco’s father.

Paris, 2016. At two in the morning, a young filmmaker in crisis meets his 93-year-old neighbor — the legendary, mercurial violinist Ivry Gitlis. Their unexpected bond ignites a five-year odyssey into the soul of a forgotten genius, to help understand why Ivry was virtually erased from the official records.

Like Fantasia (1940) or Allegro Non Troppo (1977), L'Opéra Imaginaire (1993) is an assembly of animated short films based on classic music greats. Directed by some of the best European animators and artists, L'Opéra Imaginaire takes us through dance, theater, music and painting masterpieces. It uses several animation techniques, like stop-motion clay animation or CG characters.

In 1978, Ruiz was commissioned to make a television documentary about the French elections from the viewpoint of a Chilean exile in Paris’ eleventh arrondissement. But, contrary to the producers’ expectation, the Left lost. Ruiz seized on this anti-climax to make a documentary about nothing except itself – a film whose central subject is forever lost in digression and ‘dispersal’, harking back to his Chilean experiments of the ‘60s. Its political content is deliberately left negligible: it’s hard to tell at the end who did actually win the election, let alone why.

A playful and electronic choreographic interpretation to the tune of Habanera.

After years of war, the King returns home and his son the Prince welcomes him, glad to see him safe and sound. The Prince is in love but the King disapproves their relationship.