I, a Negro

In Jean Rouch's cinematic reinterpretation of Julius-Amédée Laou's theatrical work, a freshly appointed nurse steps into the chaotic world of a psychiatric ward. Tasked with nurturing the minds within, she forms a profound connection with a patient from Martinique who has been confined within the institution's walls for half a century. As their relationship deepens, the lines between reality and delusion blur, weaving a complex narrative of human connection and psychological intrigue.

An anthropological study of a cargo cult in a fictitious self-marginalized commune, which existed next to the Moscow Ring Road - a highway that marks the boundaries of the Russian capital - and survived mainly on roadside trash. Although the road provided for their basic needs, the existence of the commune was extremely precarious and highly dependent on the roadway's fluctuations. This dependency led them to develop a cargo cult of the road.

A fortuitous meeting, late one afternoon, in the garden of the Tuileries, of one or two cameras, a tape recorder, and three cameramen/directors, Raymond Depardon, Jean Rouch, and Philippe Costantini.

In February 1974, Pam Sambo Zima, the oldest of the priests of possession in Niamey, Niger, died at the age of seventy-plus years. In his backyard, the followers from the possession cult symbolically break the dead priest's ritual vases and cry for the deceased while dividing up the clothes of the divinities.

Jean Rouch filmed this loving and humorous portrait of anthropologist and filmmaker Margaret Mead in September 1977 while he was a guest of the first Margaret Mead Film Festival. As both a friend and colleague, Rouch reveals a glimpse of the legendary Mead in her later years.

A seven-day initiation ceremony is documented in which two women undergo ritual healing following a diagnosis of spirit possession, presented without narration, intertitles, or explanatory commentary.

Paris, summer 1960. Anthropologist and filmmaker Jean Rouch and sociologist and film critic Edgar Morin wander through the crowded streets asking passersby how they cope with life's misfortunes.

An African travels to Paris to learn about the construction of tall buildings, but is soon taken up with the oddities of French life.

In 1972, the Dogon of the Bandiagara cliff in Mali celebrated the funeral of Anaï Dolo, head of the Bongo Masks Society, who died at the age of 122. On this occasion, the large Bongo mask, is erected and for twenty days, family members, elders, men from neighbouring villages purify the village.

A film in four episodes presenting teenage girls chosen as representative of their country and our time, in Italy, France, Japan and Canada. In spite of the stylistic peculiarities of the filmmakers, we find in each of them the same desire not to affirm anything, not to judge, but to quite simply show.

Jaguar, a kind of road movie on foot, tells of the journey of three friends, Damouré, Lam and Illo, on their way to the Gold Coast where they hope to make a fortune in order to return to their village in a few months.

Filmed in Paris in 1964, this documentary short follows two fifteen-year-old girls from the city’s 16th arrondissement as they move through leisure, conversation, and social encounters. The film records their views on adulthood, relationships, and the future, capturing a moment of transition between adolescence and adult life.

Collaborative experimental project on which three director made different films about the Swedish icebreaker "Frej".

The film narrates a utopian abandonment, consensual and festive of the market economy and high productivity. The population decides on a number of resolutions beginning with "We stop everything" and the second "After a total downtime will be revived-reluctantly-that the services and products including lack will prove intolerable. Probably: water to drink, electricity for reading at night, the TSF to say "This is not the end of the world, this is an 01, and now a page of Celestial Mechanics". The implementation of these resolutions is the first day of a new era, Year 01. The Year 01 is emblematic of the challenge of the 1970s and covers such diverse topics as ecology, negation of authority, free love, communal living, rejection of private property and labor.

After an unsuccessful attempt in 1946 to film a traditional bangaoui (hippopotamus hunt) on the Niger River, Jean Rouch returns several years later to document the ritual in full. The film records the ceremonial preparations, spiritual practices, and seasonal hunt conducted by Sorko fishermen, situating the event within its cultural and ritual context rather than as spectacle.

Once upon a time, in the middle of the last century, a great warrior named Babatou. Nigerian jumper from the region Dounga Gurunsi invaded the country and settled there. The brave prisoners were integrated into the army, women espoused. For fifty years, the adventurous young people from Niger Babatou went to live in the epic.