Les trésors des ambassades parisiennes

The Flemish painter, humanist and diplomat Peter Paul Rubens (1577-1640) was fortunate to be recognized during his lifetime as an artist of genius and one of the most prolific among his peers, making him a key figure of the Baroque.

Arthur Rimbaud : Six mois en enfer

For more than a decade, Reichsmarschall Hermann Goering, Adolf Hitler's right-hand man during the infamous Third Reich, assembled a collection of thousands of works of art that were meticulously catalogued.

Frosia, une femme libre au Goulag

A personal journey. A search for "the image of death" along the paths of the incommunicable, during a long walk through the cemeteries of Paris in search of César Vallejo's tomb.

We go behind the scenes and into the minds of artists as they capture, commemorate, and, at times, condemn our presidents.

Sur les traces de Louis Braille

A Bulgarian theater company struggles to adapt Herman Melville's epic "Moby Dick" for the stage, revealing the obsessive dedication and creative challenges faced by cast and crew in their quest to bring an unfilmable masterpiece to life.

Over time, Queen Marie-Antoinette, who was the most hated woman of her time, experienced a spectacular return to favor. Today, historians and curators show another character: an independent and loving woman in constant search of intimacy who knew how to keep her secrets; a woman with refined, feminine and modern taste who marked her time. At Versailles, in this sublime setting cut off from the world where she barricaded herself, Marie-Antoinette cultivated her own style and influenced, throughout Europe, the tastes of her time.

Oskar Kokoschka : Portraits européens

Released in 1796 posthumously, The Nun, a novel that Diderot did not dream of publishing during his lifetime, as he knew it to be revolutionary, caused the same explosion in the 19th century France as in that of the 1960s, when Jacques Rivette decided to adapt it, with Anna Karina in the title role. “This film is banned and it will remain so!” said the General de Gaulle. Exploration of an indictment of incredible modernity which, through the tragedy of the young Suzanne, locked up in the convent against her will, denounces the inequity of a society denying women all moral, political and sexual freedom.

Cameramen and women discuss the craft and art of cinematography and of the "DP" (the director of photography), illustrating their points with clips from 100 films, from Birth of a Nation to Do the Right Thing. Themes: the DP tells people where to look; changes in movies (the arrival of sound, color, and wide screens) required creative responses from DPs; and, these artisans constantly invent new equipment and try new things, with wonderful results. The narration takes us through the identifiable studio styles of the 30s, the emergence of noir, the New York look, and the impact of Europeans. Citizen Kane, The Conformist, and Gordon Willis get special attention.

Vercingétorix : le Gaulois qui a défié César

Samba, Popping, and Jazz. Through these dance styles and documentary interviews, Bodies That Tell Stories seeks to discuss the standardization and whitening of dances that had their roots in Black people.

In 1847, British writer Emily Brontë (1818-48), perhaps the most enigmatic of the three Brontë sisters, published her novel Wuthering Heights, a dark romance set in the desolation of the moors, a unique work of early Victorian literature that stunned contemporary critics.

In this documentary about the exile of two famous French actors in Argentina during and after World War II, the director Cozarinsky returns to Argentina after many years in France and recalls places and events from his childhood, particularly the celebration of the liberation of Paris on in August of 1944, in Buenos Aires's Plaza Francia. Featuring testimony from various authors and acquaintances of Maria (Renee) Falconetti and Robert Le Vigan, the film explores their lives and final years in Argentina.

On October 1, 2013, the elusive street artist Banksy launched a month-long residency in New York, an art show he called Better Out Than In. As one new work of art was presented each day in a secret location, a group of fans, called “Banksy Hunters,” took to the streets and blew up social media.

The Molotovs kick things off in style with “Rebel Rebel,” followed by magical covers of “Heroes” (The Horrors), ‘Fascination’ (La Roux), “Let's Dance” (Jeanne Added), “Rock'n'Roll Suicide” (The Libertines), “Sound and Vision” (Anna Calvi), “Starman” (The Divine Comedy), and “The Man Who Sold the World” (Yasmine Hamdan): eight intense reinterpretations of David Bowie's work, delivered during an arty and decidedly London-esque stroll, which, from stage to studio, recreates the fragile intensity of a live performance.

In 1970, a British film crew set out to make a straightforward literary portrait of James Baldwin set in Paris, insisting on setting aside his political activism. Baldwin bristled at their questions, and the result is a fascinating, confrontational, often uncomfortable butting of heads between the filmmakers and their subject, in which the author visits the Bastille and other Parisian landmarks and reflects on revolution, colonialism, and what it means to be a Black expatriate in Europe.

After the defeat of 1940, and faced with the unexpected collapse of French power, all eyes turned to a horizon of both hope and uncertainty: the colonies. France had suddenly become an empire without a metropolis, reduced to two-thirds of its former size. Pétain saw the colonies as a "consoling myth" after the defeat, while de Gaulle considered them essential strategic locations for the Resistance. The two clashed in a propaganda war.