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Retourner à Cannes ?

Festival de Cannes 2021

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Pick up the pieces and lower the flags

Commentaire de l’œuvre récente de James Benning

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Exposer Wang Bing

L’Œil qui marche (Le BAL, 2021)

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Sheffield Documentary Festival 2021

Des yeux sans visage
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Entrevues de Belfort 2020 (3/3)

Rétrospective Bruno Podalydès

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Entrevues de Belfort 2020 (2/3)

Net Found Footage

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Entrevues de Belfort, 2020 (1/3)

Compétition internationale - long métrages

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Suivre le fil

À propos de Plan 9 From Outer Space

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Une poétique de l’attention

Le cinéma documentaire de Dominique Cabrera

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Des énigmes dans le noir

À propos de "La vérité en ruines. Manifeste pour une architecture forensique" (2021) d'Eyal Weizman

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Le·a lecteur·rice utopique

À propos de "Fictions de Trump. Puissances des images et exercices du pouvoir" (2020) de Dork Zabunyan

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Cinéma du réel, 2021

La vie en technicolor
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“Vous voulez bien ?”, une érotique du consentement

À propos de Lady Chatterley de Pascale Ferran

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Festival Lumière 2020 (2/2)

Patrimoine / Thomas Vinterberg / Viggo Mortensen

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Festival Lumière 2020 (1/2)

Joan Micklin Silver / Alice Rorhwacher / Avant-premières

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The show must go on

Sur quelques spectacles filmés sortis en 2020

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Festival International du Film Fantastique de Gérardmer 2021

Contemporaines épouvantes

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Tempête dans l’aquarium

À propos de Fièvre sur Anatahan de Josef von Sternberg

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Quand la société tue l’amour

Sur Tabou de Murnau (1931)

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Animal Crossing: New Horizons (Nintendo, 2020)

L'espace des mondes profonds

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La trilogie ouvrière, Aki Kaurismäki

No country for work(wo)man

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Space Station Silicon Valley

L’auctorialité sans auteur

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Regards sur Valeurs actuelles

Le racisme comme science-fiction, le racisme comme film d'horreur

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Notes décousues sur l’antique idée de cinéphilie, 2

À propos d’Été 85 de François Ozon

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