Pierre Schaeffer

Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her. Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend. First segment of “Love at Twenty” (1962).

The film is an apology of movement, made here by a short editing pushed to the extreme.

The images of this short film are linked to the concrete music by Michel Chion, and let the monologue of Saint Antoine (Pierre Schaeffer's voice) unfold and offer itself completely. The imagery, presented in parallel pictures, is intended to be earthy and close to nature, rediscovering, when necessary, the material which is offered in a metaphor surrounded by mists. At the sound of the gunshot, concrete in the music, occurs this break in the discourse, and the image, like this gunshot, finds the Asian connotation of death. And the dream raises the human form, then a face which offers itself before disappearing in the tumults of an imaginary sea. The earth seen from the sky then the sky itself take us very far (Robert Cahen)

A man is relentlessly pursued by a sinister shadowy figure, whom he cannot elude. Cornered with nowhere left to flee, he faces his tormentor and is shocked to discover his identity. A nightmarish allegorical tale about the destructive tendencies in high-pressure modern society.

A portrait of the artist as a "sublime demon with the archangel's face", with an innovative musique concrète soundtrack.

An experimental short film that evokes moments in the life of a man recreated through the magic of memory. Made from documents from various sources, this film is composed of several scenes: the stages of the day and of life between joy and carefree youth, the cruelty of the working world, the horror of war. The final result is put into perspective with the birth of a child, perpetuating the cycle of life.

Little did this pretty brunette know when she applied for a babysitting job that her employer was an artist and that everything at his place differed from the outside world. What struck her the most was to find out that her boss had shrunk his wife and kept her in the fridge in order, as he said, to keep her safe from a hostile world!

The pace is the oscillation that results from the maintenance of a sound, the internal rhythm of its sound structure, which makes it live and change from its emission until its extinction. In this study, the painter Raymond HAINS attempts a visual transposition of this acoustic law by filming his works through fluted lenses directly attached to the camera creating optical vibration effects that animate the shapes and colors and produce a colorful rhythm.