Watching the Pain of Others

Odile lives alone. Afraid that someone might enter her flat when she’s not at home, she enters a video surveillance online community, in the hope that users will keep an eye on her apartment and inform her in case of unexpected intrusion. And the intrusion happens: dark smudges appear on the walls. Furious, she decides to leave the community. While she tries to fight against infiltrations, she realizes that she is still on watch…

This video essay explores the gender dynamics behind the acts of looking and being-looked-at in Black Narcissus (Michael Powell and Emeric Pressburger, 1947).

A film that brings two worlds into dialogue: that of the online game GeoGuessr and that of the filmography of Chris Marker, the filmmaker and multimedia artist, deeply fascinated by digital technology and travel.

Through a series of text, clips, and sounds popping up on a simulated computer screen, French researcher and filmmaker Chloé Galibert-Laîné investigates the noise that terrified Daney, as well as those that have scared her; the result proving its success by, spooking us in turn.

"This video was produced as part of an ongoing collaborative project on terrorist media. The project aims to explore the contents and contexts for production of terrorist media and to question how these images migrate from social media to news broadcasts, from phones to computers, from the Middle East to other regions of the globe. This specific video explores the online presence of the French-Moroccan jihadist known as Abu Abdallah Guitone who died in Syria in 2014."

A film about Chris Kennedy’s Watching the Detectives (2018), a detective comedy appropriating for its own purposes the principle of its model: inquiring about the inquirer.

Documentary by Occitane Lacurie.

Inventing a poetic path through images created with Louis Daguerre's centuries-old photographic device, 16mm film cameras, pixelated video games consoles, early smarphones and contemporary computer interfaces, the work asks: what aspects of reality have these different technologies been designed to document? What phenomenon, either too slow or too fast to be recorded, have escaped their capture? Are there still dimensions of our experience on Earth that have never been visually documented, and for which photographic techologies are yet to be invented ?

What do the numerous similarities between the films of Michael Haneke and Quentin Dupieux reveal about their respective filmmaking strategies?

“Threads of Blood” is a collective documentary in which thirteen filmmakers from different parts of the world share and showcase their personal stories about menstruation. The essayistic documentary brings together various formats such as video letters, video calls, and archival material.

Produced as part of an end-of-the-year series of videos looking back at films released in 2015, this video essay asks: when does the act of framing an image become a political gesture?

Bottled Songs is an ongoing media project depicting strategies for making sense of online terrorist propaganda. Filmmakers and media researchers Chloé Galibert-Laîné and Kevin B. Lee compose letters addressed to each other, narrating their encounters with videos originating from the terrorist group the Islamic State (ISIS). They use a desktop documentary approach to trace and record their investigations playing directly upon their computer screens.

A video essay by Chloé Galibert-Laîné and Kevin B. Lee. Commissioned by Dana Linssen and Jan Pieter Ekker for Critics Choice V: Absence, 2019 International Film Festival Rotterdam. Special thanks to Bero Beyer. Dedicated to the film I DO NOT CARE IF WE GO DOWN IN HISTORY AS BARBARIANS by Radu Jude.

From role playing games to animated GIFs, from reenacted performances to poetic writing, this video essay asks: what is an authentic expression of anger?

A poetic journey through the collages of paper maps made by Robert Kramer during the preparation of the shooting of Route One USA, to which are superimposed excerpts from his diary, and scenes from the finished film. How do you prepare a shoot when your desire is simply to leave, camera in hand, on the roads, and document unexpected encounters?

At the turn of the 20th century, the 'flâneurs' started disappearing from the Parisian landscape. Walter Benjamin became, in his posthumous book 'Das Passagen-Werk', the witness of their extinction. What if one century later, against all odds, the art of flânerie was reappearing in Paris?