Ombres

Sha-Dada is an "expanded" film on two screens which presents itself as a confrontation between two imperialisms.

One year before starting his famous series "Cinematons", Gerard Courant had made an ancestor to this series: the portrait of Martine Rousset, filmed with a Bolex 16 mm mechanical.

"Readings. A place. Purity of lines. Fine angles. Dominance of whites and blues. Fragility of tapered glasses." A visual evocation of the writing of Katherine Mansfield.

Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"

To examine the image of this face, this look, there are fragments of raw stories, mineral lights, snatches of an endless dream ... The insistence clashes, until abstraction , To the decomposed time, to its chaos with the gleams of stone. From that face coming back, nothing was said. The look can not be deciphered. The illusion, even to the darkness, remains mute. Signs of an absent song.

Listen to the trace, over the absent times, from the shore, at the very edge of the page, in the blind corner where the reader is held, give a voice, as one throws a net.

Aurore collective is composed of 50 sequences filmed in Dijon and Paris (successive places of residence of the filmmaker), Chalon-sur-Saône, Valence, Cannes, Greece, India, Afghanistan and Pakistan.

Free adaptation of Faulkner's novel aroused by the Patrick Henry and Ranucci cases.

in the meantime , lighthouse , old lighthouse , far away , beyond the ponds , coolpix , little coolpix , long before the perfect clone .

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.

A cinematic metaphor, conceived as part of a compilation of films on AIDS, this is an emotional translation of the disease. The juxtaposition of music and images creates conflicts involving elements that, taken separately, would appear insignificant. Produced within the framework of SI FILM DA. (LightCone)

Portrait. She dances in the center of her area. Obscure to the look. She abandons us to her limit. Turn. Count the chips. Conjugate. Turn on yourself, in a blind echo. Cross the already deserted space.

A single-screen version of the Portraits / Mirrors multi-projection. Featuring portraits of: Aloual, Gaël Badaud, Raphaël Bassan, Yann Beauvais, Jean-Michel Bouhours, Gérard Courant, Berndt Deprez, Bertrand Gadenne, Mythia Kolésar, Christian Lebrat, Stéphane Marti, Pascal Martin, Michel Nedjar, Dominique Noguez, Vivian Ostrovsky, Bernard Roué, Martine Rousset, Alain Sayag, Unglee, and Catherine Zbinden.

The voices say a story. forget it. Of what time. And who speaks. Both of them. One or the other. later. Others may be. Of chance. Which would cross in this narrative. When. The times have intermingled. The winds meet. History. Pictures. The summer. Humble vacancy with furtive foliage. Fragile memory. Light is a trace of forgetfulness.

The first part of the Carolyn Carlson cycle. Between her and herself. Three images of the dance are repeated, come up against opacities that do not let themselves be crossed, are lost in transparencies from which there is no reflection. The sound describes their inevitable journey: this motionless movement.

The last part of the Carolyn Carlson cycle. Last look. Oversight. Irreversible erasure. The song is immersed. Blinded.