Place Clichy sans complexe

In 1982, Wim Wenders asked 16 of his fellow directors to speak on the future of cinema, resulting in the film Room 666. Now, 40 years later, in Cannes, director Lubna Playoust asks Wim Wenders himself and a new generation of filmmakers (James Gray, Rebecca Zlotowski, Claire Denis, Olivier Assayas, Nadav Lapid, Asghar Farhadi, Alice Rohrwacher and more) the same question: “is cinema a language about to get lost, an art about to die?”

Director Simon Sheridan's exhaustive examination of British sexploitation movies, made during the 1960s and 1970s, when homegrown cinema was struggling to survive. The films' stars and makers share their memories of an extraordinary era.

Amazing, but true: Fort Lee, New Jersey (just across the George Washington Bridge from Manhattan), was once the epicenter of American film production. This documentary of a truly bygone era combines photographs culled from private collections, as well as restored footage from such films as Thomas A. Edison's Rescued from an Eagle's Nest and D.W. Griffith's The New York Hat, filmed at the studios in Fort Lee.

As notions of civil rights transformed across the world, so was the screen landscape reformed by the ascension of grassroots film movements seeking to challenge the mainstream. Some aspired to push form to its limit; others worked to destabilise what they saw as a homogenous industry, or to provoke questions around gender, sexuality, migration and race.

An investigation into accusations of teenagers being sexually abused within the film industry.

At a pivotal moment for gender equality in Hollywood, successful women directors talk about their art, lives and careers.

Industry professionals speak on how theatre changed their lives until film was deemed obsolete. 10 years later, their friendships, the movie business and the entire world would be forever altered yet again but now by a deadly pandemic.

From its distinctive neighborhoods to its architectural homes, Los Angeles has been the backdrop to countless movies. In this dazzling work, Andersen takes viewers on a whirlwind tour through the metropolis' real and cinematic history, investigating the myriad stories and legends that have come to define it, and meticulously, judiciously revealing the real city that lives beneath.

For more than 40 years Kathryn Bigelow has been making films that explore male violence. With movies like Blue Steel, Point Break, The Hurt Locker and Zero Dark Thirty, the Oscar winning American filmmaker has impressed with hard-hitting moviemaking that holds a mirror up to contemporary America and the world.

An inventive remembrance of the impact of the Hollywood blacklist on two American classics, rendered as a visually mesmerizing dialogue between Carl Foreman and Elia Kazan.

Debra Hill's documentary tells the story of her multifaceted life and of inspiring filmmakers around the world, and her legacy as a creative producer, mentor, film pioneer and activist is an enduring one.

The daily life of Petra, Virginie, and Estelle, three stuntwomen, from the dangerous film sets, where they face all kinds of deadly dangers, to the safety of their homes.

Documentary on Ciby 2000, the French film production company founded by Francis Bouygues in 1990.

French actors Lucien Jean-Baptiste, Aïssa Maïga, Sonia Rolland, Deborah Lukumuena, Marie-France Malonga, Gary Dourdan and others speak up on the reality of black actors in the French movie industry.

Filmmaker William Blackwell Kinney and friends embark on an unforgettable adventure at the Emerson Los Angeles program.

The Invisible Subtitler is an independent documentary about the use of subtitles in cinema and the life of subtitlers themselves, focusing on the economic issues faced by the subtitlers and how they are currently invisible in the globalized business of the film industry.

Pretty Woman, un conte de fées hollywoodien

Paris, 1940. German occupation forces create a new film production company, Continental, and put Alfred Greven – producer, cinephile, and opportunistic businessman – in charge. During the occupation, under Joseph Goebbels’s orders, Greven hires the best artists and technicians of French cinema to produce successful, highly entertaining films, which are also strategically devoid of propaganda. Simultaneously, he takes advantage of the confiscation of Jewish property to purchase film theaters, studios and laboratories, in order to control the whole production line. His goal: to create a European Hollywood. Among the thirty feature films thus produced under the auspices of Continental, several are, to this day, considered classics of French cinema.

Classic film star and queer icon Montgomery Clift’s legacy has long been a story of tragedy and self-destruction. But when his nephew dives into the family archives, a much more complicated picture emerges.

If you’ve seen Top Gun or Transformers, you may have wondered: Does all of that military machinery on screen come with strings attached? Does the military actually get a crack at the script? With the release of a vast new trove of internal government documents, the answers have come into sharp focus: the US military has exercised editorial control over thousands of films and television programs. As these activities gain new public scrutiny, new questions arise: How have they managed to fly under the radar for so long? And where do we go from here?