Jean-Pierre Mocky, libre et sentimental

With his new film "France" now in theaters, we look back at Bruno Dumont's early films "La vie de Jésus," "Flandres," "L'humanité," "Hadewijch," and "Twentynine Palms," all available online. What does it mean to film the sacred? What are his influences? Why is the question of evil central to his cinema?

"I only film people who are always active. Even if their activity is strange, weird." The activity François Truffaut talks about here is love. Romantic or filial love. Love as an educational, political and social action. The love imagined by a filmmaker who wanted to show that love is within everyone's reach ! To gather Truffaut's formulas in a documentary rekindles how Truffaut communicates the essential.

Françoise Etchegaray and Mary Stephen, who worked with Rohmer, talk about his Tales of four seasons.

In the later part of his oeuvre, the famous Japanese filmmaker Yasujirō Ozu looks at the society of post-war Japan through family stories from the lower middle class. Arte has compiled a decalogy of 10 films from this period from the director's creative work. This short documentary film, created in this context, explains the film works using fragments of Ozu's notes, which he wrote between 1933 and 1963, elegant drawings and film clips. A fine insight into the themes and aesthetics of this moving cinema about intimacy and the passage of time and a fascinating journey into the moving final part of the Japanese master's work.

Claude Chabrol devoted his life as a filmmaker to understanding the extreme actions of others, without judging them, without romanticism, with phenomenal, sublime dedication. In the late 1960s and early 1970s, couples, loners, women and men in front of his camera explored the dangerous notion, unique in the world, far from bourgeois materialism: crazy love.

Star actress of the Golden Age of Hollywood, Ida Lupino establish herself as a director after World War 2. Here's the portrait of an independant filmmaker, whose films, imbued with dark realism, have to be rediscovered.

When Portuguese filmmaker Manoel de Oliveira died in 2015 at the age of 106, he left behind him a body of work unique in cinema: Oliveira transforms the everyday into the sublime and deals with themes such as death, love, the rituals of life and the passing of time with elegance and subtlety.

This is a scar born from a knife strike in the back of the young Mizoguchi, coming from an enamoured jealous prostitute. This event enabled him to become the great cineast of women, and much more !

For several decades, filmmaker Catherine Corsini has been filming different worlds, yet all of them are permeated by the same desire for her characters to truly come into their own. With a vitality that is ready for anything, including cheating before finally giving up, the heroes of Corsini's films take every risk, and Corsini understands them.