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.

The episode of Gérard Courant's Carnets filmés, Crime contre le cinéma (December 25, 2006 to December 2, 2006) is divided into four parts: Colas Ricard at Centre Pompidou, Joseph Morder at La Rochelle, the Filmer à tout prix Festival in Brussels, and Michel Nedjar and Jakobois at Centre Pompidou.

On the occasion of the 7th meetings of Digne, Pour un autre cinéma, organized by Pierre Queyrel and which presented a retrospective of Philippe Garrel's cinematographic work, this film is the sound recording of the discussion that the filmmaker made with the audience after the screening of his films Marie pour mémoire, Athanor, Voyage au jardin des morts and Le Bleu des origines.

Courant registered Garrel’s dialogues in order to produce his first urgent film, the first of his essays inquiring the state of current cinema. As a synthesis for the 20th century, Garrel invoked his relationship with Freud, Henri Langlois, Orson Welles, Marx, The Rolling Stones, Godard, Warhol, Picasso and Bergman and draw a territory in that different kind of cinema also inhabited by Courant’s art. Four years later –as a sequel, and a first example of Courant’s series– there was another meeting with Garrel, where again the filmmaker adds names related to his sensitivity, such as Murnau, Von Stroheim, the Lumière brothers, Abel Gance, Polanski, Rivette; the writers André Breton and Gabriele d’Annunzio; and the actresses Anna Karina, Nico, Zouzou and Maria Schneider –three stars of his films. (Diego Trerotola)

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.

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

Swiss filmmaker Daniel Schmid died on August 5, 2006, and German filmmaker Werner Schroeter on April 12, 2010. They were close friends, and along with Jean Eustache, Rainer Werner Fassbinder and Philippe Garrel were the most innovative filmmakers of the post-New Wave era.

To mark the 30th anniversary of Kodak's invention of the Super 8 format, the Close Encounters of the 8th Type in Tours, France, asked filmmakers to make a film in this format. I was the only filmmaker to respond favorably to this request, and I created a tribute to 1965 by "compressing" a cult film from that year: Jean-Luc Godard's Alphaville . Jean-Luc Godard's Alphaville Compression is a 25-fold reduction of Alphaville , the 1965 masterpiece Jean-Luc Godard directed, starring Anna Karina, Eddie Constantine, Howard Vernon, and Akim Tamiroff, from a runtime of 1 hour 30 minutes into a 4-minute film. The film is "compressed" in the manner of a work by César. But unlike the work of this artist, who compressed everyday objects, Jean-Luc Godard's Alphaville Compression compresses an artistic object! The feat and challenge of Jean-Luc Godard's Alphaville Compression was to create a total compression: in this film, not a single shot from the original film is missing!

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)

A woman's face under the light of life.

Artemis is not a Cinématon in the strict sense of the term since the person being filmed - Artemis - is not an individual but a statue! This portrait is therefore not part of the Cinématon anthology and is, consequently, outside the collection. In Greek mythology, Artemis, filmed here on the Acropolis in Athens, was the goddess of the hunt, childbirth, and the moon. Of course, this Cinematon is not a real one, but it gives a fairly precise idea of ​​what the one of the goddess Artemis could have been like if the cinematograph had been invented more than 2000 years earlier! (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)

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.

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)

An ongoing collection of single static shot, mute, showing a view of the cinema facades where Cinematons have been screened.