Behind the Doors of Umberto Eco

In her often pioneering work, historian Michelle Perrot has continually questioned the fate of those on the margins of our society, giving them a voice to break the silence of history. In her Histoire de chambres (History of Bedrooms), published in 2009, Michelle Perrot speaks in the first person for the first time. She explores the social and intimate role of bedrooms throughout history. Inspired by these reflections, Teri Wehn Damisch paints a "bedroom" portrait of the historian: we enter with Michelle Perrot into the bedrooms of the house in Nohant, where the rebel George Sand, her first heroine, lived. The defining events of her childhood, the awakening of her political consciousness, her daring research, her decisive encounters, her view of feminism: Michelle Perrot immerses us in the episodes that shaped her life as a free woman and placed her among the most influential intellectual figures of our time.

The German-French photographer Gisèle Freund (1908-2000) went into exile in Paris in 1933. She witnessed many major events and knew some of the most important personalities of the 20th century. Her works include the famous portrait of André Malraux and the iconic photographs of Frida Kahlo in Mexico City.

A man awakens to find himself immersed in a real-life scenario of a board game with an ever expanding cartography.

Commissioned by French television, this is a short documentary on the neo-classical statues found throughout Paris, predominantly on the walls of buildings, holding up windows, roofs etc.

Flangrant Délit, or In the Act, is the story of Liberty's visit as a tourist to New York. It borrows its dreamlike imagination not only from the Surrealist legacy, but also from Pop Art, which consummates the loss of the original object. Above all, it is the transcription of the “Manhattanism” and the “culture of congestion” described by Rem Koolhaas, where fantastic narratives exist side by side with fragments of reality, where the body is a mutant and symbiotic body, where the city yields up its mechanistic unconscious, and where skyscrapers are so many “desiring machines”.