James Tissot: L'étoffe d'un peintre

The documentary delves into Éric Rohmer's distinctive filmmaking process, using film clips, rare interviews, and unreleased test footage.

An account of the life of the French poet Jean de la Fontaine (1621-95), author of more than one hundred fables and a model for many other European fabulists of later times.

This film traces the elusive trajectory of Mark Rothko (1903-1970), the American master of abstract expressionism who called his work "a pharmacy for the soul." Moving from Latvia to the US as a child, he left Yale to paint, later inspired by Italy to create his iconic color fields. Full of vibrant colors, drama, and emotion, this subtle portrait makes his legendary art shine forth.

To be in Venice and see the architecture of New York, to perceive in a painting by Tintoretto the birth of animated images, to look at the burlesque Cretinetti as the ancestor of montage - so many shifts, displacements, and striking telescopings that Philippe-Alain Michaud proposes in this film dedicated to him. To follow this art historian, curator of the cinema collections at the Centre Pompidou, is to go from the oriental carpet to the film, or from the first fireworks to the cinema. And everywhere the animation of the images - projections of Antony McCall, or of Paul Sharits, Column without end of Brancusi, Pasolini's Accatone - everything moves! Under the tutelage of Aby Warburg, the great art historian of the early twentieth century, precursor of iconology and image comparison, to whom Philippe-Alain Michaud was the first in France to devote an important essay, eleven images are placed on the table to describe the singular journey of this art historian.

Entering Georges Didi-Huberman’s home is already entering his work: the libraries and their classification, the organized reproductions, and especially the table on which the historian places a few images chosen for us, seeking their relationship of affinity, conflict, dialectical tension. 45 minutes pass where a world is constructed at the same time as a gaze is organized before our eyes, inside the frame. Not only the world of art, the world of images, but the world in general.