Marceline Loridan-Ivens

In seven different parts, Godard, Ivens, Klein, Lelouch, Marker, Resnais, and Varda show their sympathy for the North-Vietnamese army during the Vietnam War.

Someone we hear talking - but whom we do not see - speaks of a project which describes the four key moments of love: meeting, physical passion, arguments/separation and making up. This project is to be told through three couples: young, adult and old. We do not know if the project is for a play, a film, a novel or an opera. The author of the project is always accompanied by a kind of servant. Meanwhile, two years earlier, an American civil servant meets with an elderly French couple who had fought in the Resistance during World War II, brokering a deal with a Hollywood director to buy the rights to tell their story. The members of the old couple's family discuss heatedly questions of nation, memory and history.

Myriam, a survivor of the concentration camp at Auschwitz, is a filmmaker and journalist who has spent many years living abroad. She takes part in a memorial event at the town hall in Paris commemorating the liberation of the camp, where she wins a flight to Cracow. At first she refuses to accept the prize, then decides to go.

This documentary presents the Vietnam War as seen from within Vietnam, focusing on civilian life, industrial and agricultural labor, and organized resistance under sustained aerial bombardment. Introduced by Bertrand Russell, the film situates the conflict within a broader history of anti-occupation struggles, drawing parallels to World War II resistance movements. Footage includes interviews with Vietnamese leaders, scenes of air defense, and mass political mobilization.

An allegory of the Golem, a Jewish mythical creature personifying displacement and exile, this film tells the story of a woman (similar to the biblical Ruth) and her sisters, who are forced into exile after the death of their husbands. It is set in 1990s Paris, where the director was living in self-imposed exile following the ban on his 1982 documentary in Israel. The recurring theme of the film is migrations and unrooting, like the legendary Golem.

From 1972 until 1974, Joris Ivens and Marceline Loridan, along with a Chinese film crew, documented the last days of the Cultural Revolution, marking the end of an era. The vast amount of footage they shot was edited into 14 films of varying lengths. Focusing on ordinary people spread over a wide geographic area—many of whom were living and working in collectives—the filmmakers recorded a unique moment in history, and also captured some of the more enduring aspects of Chinese culture.

It is an autobiographical fiction starring Ivens as an old man who has spent his life trying to "tame the wind and harness the sea" by capturing them on film.

A realist dramedy about dedicated social workers who devote their long shifts to helping pregnant women.