Lapsus

Natal 71 is the name of a record given to the soldiers of the portuguese colonies overseas for Christmas 1971. Niassa's Songbook is the title of an audiotape illegally recorded by soldiers during the war years, in Mozambique. They are memories from a country which was shut from the rest of the world, poor and ignorant, laid to sleep by a stale and primitive propaganda which tried to hide all the conflicts from us and kept us from thinking and recognising the repressive nature of the regime we lived in.

A journey in the company of Bernadette Lafont, French Cinema’s most atypical actress. Tracing her career from pin-up girl, to New Wave model of sexual freedom, to drug-dealing granny in the film Paulette, by way of La Fiancée du Pirate and Les Stances à Sophie, this film pays tribute to her extraordinary life and artistic odyssey. Her grand-daughters, Anna, Juliette and Solène, revisit the dreams of Bernadette, in the family home in the Cevennes region where they, like her, grew up. Her close friends, Bulle Ogier and Jean-Pierre Kalfon, reminisce on their artistic and human complicity. Throughout the film, Bernadette Lafont in person, with her inimitable character actress voice, re-evokes a life in cinema marked with insolence, courage and freedom.

Documents the little-known heroism of the Belgian Resistance who, during the Nazi occupation, hid over 4,000 Jewish children, rescuing them from deportation and extermination, , often risking their own lives. Directed by Myriam Abramowicz and Esther Hoffenberg, children of parents who spent the war in hiding, the film inspired the creation of The Hidden Child, a world-wide network of hidden children, which, for three decades, has organized reunions of hidden children with the families who hid them in Belgium during WWII.

Fabiana, Carlo, Claudio and Vincenzo… I met them in 1982 in Mercatale, their village in Tuscany, near Florence. They were aged between 25 and 45 and were cheerful militants in the Italian Communist Party, that strange party which has made its mark on history and which was both a school and a family for them. I have filmed in Mercatale every two or three years for over 20 years (1982/2004). The fi lm takes the “long view” of their political and personal development against the backdrop of village life. Stories with both human and political interest spanning over a quarter of a century with relevance for present day issues: what has become of the plans to change the world in Berlusconi’s Italy? From a more global perspective: what else can politics do? When the time comes to take stock the paths of their rich and varied personal lives cross once more with all their doubts and allegiances.