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Notes décousues sur l’antique idée de cinéphilie

À propos du Sel des larmes de Philippe Garrel

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FID Marseille, 2020

Notes festivalières
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Ficunam 2020, Mexico

Regarder sous un autre angle

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Yoshi’s Crafted World

Les coulisses de la matière

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Le lieu et l’ombre

Sur Descentes aux limbes de Patrice Rollet

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Tête-à-queue de l’univers

À propos de l’exposition Time Machine: Cinematic Temporalities (Antonio Somaini, Éline Grignard et Marie Rebecchi, Parme, 2020)
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Le Vent : chaud, très chaud

Sur The Wind (1928) de Victor Seastrom / Viktor Sjöström

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Portrait de l’artiste en Toutankhamon

À propos du Studio d’Orphée de Jean-Luc Godard (2019, Fondazione Prada, Milan)
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Revue jaune


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Festival International de Yamagata 2019 (3/3)

Entretiens : des films aux hommes/femmes, et retour.

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Festival International de Yamagata 2019 (2/3)

Programmes thématiques : obscurité, oubli et sur-visibilité

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Festival International de Yamagata 2019 (1/3)

Compétition internationale : la mémoire en étoile et le présent des luttes

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Dix ans de Cahiers du cinéma


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Sfumato, Christophe Bisson

Ceux qui s’approchent, ce qui s’accroche

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Motifs de Richard Linklater

Montages

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Frontières à vif

A propos des Etats généraux du film documentaire de Lussas, 2019

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Connecter les points

A propos du FID 2019
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Communautés

A propos des Crevettes pailletées de Cédric Le Gallo et Maxime Govare et Made in China de Julien Abraham

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Motifs de Philippe Faucon

Montages

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Bile noire

A propos de "Nous finirons ensemble" de Guillaume Canet

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Eyes Wide Shut / Kubrick’s shots

Motifs

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Des étrangers à Bagnolet

A propos de "La lutte des classes" de Michel Leclerc

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Želimir Žilnik, le cinéma traversé


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Le temps qui passe (ou pas)

A propos de Mon bébé de Lisa Azuelos et Convoi exceptionnel de Bertrand Blier

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