Joseph Morder

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

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

All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.

William’s great surprise, his cousin Clovis, whom he did not see again since around thirty years, arrives from New York to visit him. Reunion between both men creates one thousand memories: always so collusive, they become fast inseparable, living again, the space of moment, their young years… Only Elizabeth, wife of William, who has just lost her father, does not share their cheerfulness.

A young man tired of writing and rewriting a screenplay decides to begin a Super 8mm film diary. He films his parents and those close to him and determines to tell the about his homosexuality.

A French director in Berlin creates a film letter to his lover, while reminiscing over their relationship.

Joseph Morder transforms his face.

This episode of Carnets filmés, Délices lointains, which spans the year 2004, reaches its climax in its last part with my trip to Mexico with the photographer Barbara Peón Solis.

In this avant-garde exercise in self-reflection, director Joseph Morder reminisces about his youth in Guayaquil, Ecuador, where his Jewish parents settled after they left Poland. The heat of August in Paris brings forth memories and at the same time the adult Morder is involved in a love affair. There are no scenes from Ecuador here, and none of the images in the film are used to carry the narration; instead they vaguely illustrate what Morder happens to be saying at the moment.

Madrid, a stroll in the Spanish capital with Joseph Morder followed by the snowstorm that paralyzed the Paris region on December 8, 2010.

On the occasion of the passing of Marcel Hanoun, Gérard Courant wanted to pay tribute to this companion whom he had known since 1975 by accompanying him with the song Avec le temps by Léo Ferré.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

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.

From January 17 to 20, 2014, Gérard Courant returned to Nice with Joseph Morder to present his film Le Journal de Joseph M. and Morder’s L’Arbre mort at the Mercury Cinema. For Courant, the visit was an opportunity to continue his Filmed Notebooks, from which he brought back four episodes. In this third episode filmed in Nice, L’Arbre mort de Joseph Morder à Nice (January 18, 2014), Courant filmed: Josiane Scoleri introducing L’Arbre mort to the audience at the Mercury Cinema. The discussion with Joseph Morder that followed the screening.

The three presidents for life of the Morlock Academy are assassinated by the Academy's permanent secretary in a peaceful village in Ardèche.

From January 17 to 20, 2014, Gérard Courant returned to Nice to screen his film "Le Journal de Joseph M" at the Mercury Cinema. This visit gave him the opportunity to continue his "Carnets filmés", from which he brought back four episodes. In this second Nice episode, "Le Journal de Joseph M à Nice" (January 18, 2014), Gérard Courant filmed: * The lobby of the Mercury Cinema before the screening of "Le Journal de Joseph M". * The introduction to the film by Vincent Jourdan. * A discussion between Gérard Courant and Joseph Morder, the film's lead actor, with the audience at the cinema following the screening.

Valentin is a young gay painter who lives in the imaginary world of his paintings. When he finds his grandmother Nina, a Polish Jewish émigré whith whom he feels very close, he confesses his lack of inspiration and loneliness. During these few days together in a psychedelic Paris, Valentin expresses more and more the need to know the past Nina always tried to hide …

Strolling through France (Roanne, Nice and Carcassonne) with some excursions abroad (Munich, Montreal, New York).

To attain knowledge, man and woman had to be willing to give up their innocence," says Boris Lehman. Life Lesson is a poetic and philosophic reflection on the theme of paradise lost. Some fifty persons illustrate the planet's convulsions and the world's vacillations. Trying to communicate, to commune with the invisible, they cry out, sing out, give out messages, each in their own way, in their own state of solitude. These are like multiple echoes that resemble waves in the water or stars in the sky. " Behind these images and sounds that have been stifled by today's society, Lehman hunts for noises, cries, songs, messages that go astray. He says that if we look at the invisible we may hear the words. He invites us to look beyond the appearances of social life and to vibrate in tune with life's polyphony that is all around us."