1789

Based on the play by Hélène Cixous, filmed in 2002, Tambours sur la Digue is a story written by Hélène Cixous based on an ancient Asian fable about who shall be saved during a flood and presented by live actors as puppets and puppeteers, evoking the theatrical traditions of Japanese Noh and bunraku.

French military man Adrien Dufourquet gets an eight-day furlough to visit his fiancée, Agnès. But when he arrives in Paris, he learns that her late father's partner, museum curator Professor Catalan, has just been kidnapped by a group of Amazon tribesmen who have also stolen a priceless statue from the museum. Adrien and Agnès pursue the kidnappers to Brazil, where they learn that the statue is the key to a hidden Amazon treasure.

To celebrate the bicentennial of the French revolution, an exposition of mannequins representing the deputies brought together in 1789 to discuss the Declaration of the rights of man, is held in the the French National Assembly. The mannequins come to life suddenly and are joined by other historical figures who fought for human rights.

A film-crew in the early twentieth century, the cabaret known as ‘Le Fol Espoir’ has been transformed into an amateur soundstage. The motion picture tells the story of a ship and its passengers – from the famous opera singer down to the petty criminal. The film is an optimistic political fable intended to educate the masses. There’s comedy aplenty – slapstick punches, custard pies and gags reminiscent of Buster Keaton and Fatty Arbuckle; there’s adventure, high drama moments of great bravura , and passionate love stories. The filming begins on June 28th 1914, the day of the Archiduke Franz Ferdinand’s assassination in Sarajevo, the gunpowder that sets Europe alight. It ends with news of another assassination – that of Jean Jaures on July 31st followed by the general conscription of August 1st, heralded by church bells across France. The allegory of the shipwreck is filmed at breakneck pace during the last five weeks before war breaks out.

Jean-Baptiste Poquelin is raised by his father and his grandfather because his mother dies when he's still very little. He works as a handyman, studies the law at a university and travels the country as an actor before he becomes the celebrated playwright Molière who impresses firstly the Duke of Orleans and then even King Louis XIV.

Krios, the youngest of the Titans, may be the least strong of the seven brothers whose strength comes from their mother, earth-goddess Gaia, but is by far the smartest, and thus their natural leader. He arrives on Crete, the kingdom of the mighty king Minos, impresses him as gladiator, gains his trust, falls in love with a mortal girl and discovers both Minos's human sacrifice-cult and a foreign conspiracy to seize power with a hidden army.

Le Dernier Caravanserail (Odyssées) is a series of stories, scraps of destinies, bits of the lives of men and women – of those "refugees", "illegals" and "migrants" who term themselves, with greater dignity, "travellers". This is a veritable ocean of time-battered odysseys, sometimes heroic, sometimes commonplace, and always dramatic. Initially a work for the theatre, Le Dernier Caravanserail (Odyssées) is now a film. A whole new artistic adventure using the cinema to bring even greater depth to the virtually inexhaustible original material, and intended above all to keep the promise made to those whose stories we are telling: to give them a hearing.

This is a film about the rehearsing of Molière's 'Tartuffe' in 1995. Working handheld or with a stand for up to 12 hours a day, cameraman Eric Darmon became so much part of the landscape that he had a totally free hand in documenting the play's gestation, complete with director Ariane Mnouchkine's instructions, urgings and moments of uncertainty. Every action, decision, and all the tensions, elation, gaffes and bouts of craziness were filmed as they happened. And then along came editor Catherine Vilpoux, faced with 580 hours of rushes and a titanic exercise in viewing, sorting, selecting and assembling. Gradually the film took shape a shape that reflects the Théâtre du Soleil's commitment to finding the right theatrical form. Ultimately, is this a film about stage directing? About a troupe of actors? About the way actors work? About how an actor is born? About the learning process? The teaching process? The theatre? Life? Probably all of that. And an unparalleled work of its kind.

A film crew in the early twentieth century, the cabaret known as ‘Le Fol Espoir’ has been transformed into an amateur soundstage. The motion picture tells the story of a ship and its passengers – from the famous opera singer down to the petty criminal. The film is an optimistic political fable intended to educate the masses. There’s comedy aplenty – slapstick punches, custard pies and gags reminiscent of Buster Keaton and Fatty Arbuckle; there’s adventure, high drama moments of great bravura , and passionate love stories. The filming begins on June 28th 1914, the day of the Archiduke Franz Ferdinand’s assassination in Sarajevo, the gunpowder that sets Europe alight. It ends with news of another assassination – that of Jean Jaures on July 31st followed by the general conscription of August 1st, heralded by church bells across France. The allegory of the shipwreck is filmed at breakneck pace during the last five weeks before war breaks out.