Clément-Marie Biazin, peintre-conteur africain

These are the first images shot in the ALN maquis, camera in hand, at the end of 1956 and in 1957. These war images taken in the Aurès-Nementchas are intended to be the basis of a dialogue between French and Algerians for peace in Algeria, by demonstrating the existence of an armed organization close to the people. Three versions of Algeria in Flames are produced: French, German and Arabic. From the end of the editing, the film circulates without any cuts throughout the world, except in France where the first screening takes place in the occupied Sorbonne in 1968. Certain images of the film have circulated and are found in films, in particular Algerian films. Because of the excitement caused by this film, he was forced to go into hiding for 25 months. After the declaration of independence, he founded the first Algerian Audiovisual Center.

Departing from peripheral details of some paintings of the Bilbao Fine Arts Museum, a female narrator unravels several stories related to the economic, social and psychological conditions of past and current artists.

Guerre aux images en Algérie

This 17-minute documentary is featured on the 3-Disc Criterion Collection DVD of The Battle of Algiers (1966), released in 2004. An in-depth look at the Battle of Algiers through the eyes of five established and accomplished filmmakers; Spike Lee, Steven Soderbergh, Oliver Stone, Julian Schnabel and Mira Nair. They discuss how the shots, cinematography, set design, sound and editing directly influenced their own work and how the film's sequences look incredibly realistic, despite the claim that everything in the film was staged .

Between 1954-1962, one hundred to three hundred young French people refused to participate in the Algerian war. These rebels, soldiers or conscripts were non-violent or anti-colonialists. Some took refuge in Switzerland where Swiss citizens came to their aid, while in France they were condemned as traitors to the country. In 1962, a few months after Independence, Villi Hermann went to a region devastated by war near the Algerian-Moroccan border, to help rebuild a school. In 2016 he returned to Algeria and reunited with his former students. He also met French refractories, now living in France or Switzerland.

The first French anti-colonialist film, derived from an assignment in which the director was to document educational activities by the French League of Schooling in West Africa. Vautier later filmed what he actually saw: “a lack of teachers and doctors, the crimes committed by the French Army in the name of France, the instrumentalization of the colonized peoples.” For his role in the film, Vautier was imprisoned for several months. The film was banned from public screening for more than 40 years.

Romantic art was a response to the social upheavals of the 19th century, as shown by works by its emblematic painters Friedrich, Venetsianov and Delacroix.

The Super Sucklord is a New York pop artist who makes bootleg action figures through his designer toy company, Suckadelic. He pioneered an entirely new art form and now hundreds of artists all over the world follow in his footsteps creating their own resin bootleg art toys.

Portrait of Andy Goldsworthy, an artist whose specialty is ephemeral sculptures made from elements of nature.

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.

Bacon-Freud, face à face

Frantz Fanon alone embodies all the issues of French colonial history. Martinican resistance fighter, he enlisted, like millions of colonial soldiers, in the Free Army out of loyalty to France and the idea of freedom that it embodies for him. A writer, he participated in the bubbling life of Saint-Germain with Césaire, Senghor and Sartre, debating tirelessly on the destiny of colonized peoples. As a doctor, he revolutionized the practice of psychiatry, seeking in the relations of domination of colonial societies the foundations of the pathologies of his patients in Blida. Activist, he brings together through his action and his history of him, the anger of peoples crushed by centuries of colonial oppression. But beyond this exceptional journey which makes sensitive the permanence of French colonialism in the Lesser Antilles at the gates of the Algerian desert, he leaves an incomparable body of work which has made him today one of the most studied French authors across the Atlantic.

Die weiße Gefahr

Black Is the Color highlights key moments in the history of Black visual art, from Edmonds Lewis’s 1867 sculpture Forever Free, to the work of contemporary artists such as Whitfield Lovell, Kerry James Marshall, Ellen Gallagher, and Jean-Michel Basquiat. Art historians and gallery owners place the works in context, setting them against the larger social contexts of Jim Crow, WWI, the civil rights movement and the racism of the Reagan era, while contemporary artists discuss individual works by their forerunners and their ongoing influence.

In this film, four key witnesses, who live in Algeria today, as full-fledged Agerians, show us what this colonization was really like, so "beneficial" that they themselves perceived it as the oppression of one people by another. Three of them, who today would be called "pieds noirs," in other words, those Europeans to whom France, the occupying power, gave the best land, taken from the indigenous populations, work, and exclusive rights, not shared by the entire population, lived rather well compared to the majority of the "natives." The fourth was far from all that and lived in Argentina. Annie Steiner, Felix Colozzi, Pierre Chaulet, and Roberto Muniz explain to us what led them to show solidarity with the struggle of the weak, the humiliated, and to risk their freedom and their lives by committing to liberate Algeria.

“La Voix du Peuple,” composed of archival photographs by René Vauthier and others, exposes the root causes of the armed conflict of the Algerian resistance. Participating in a war of real images against French colonial propaganda, these images aimed to show the images that the occupier had censored or distorted, by showing the extortions of the French occupation army: torture, arrests and arbitrary executions, napalm bombings, roundabout fires, erasing entire villages from the map, etc. This is what the French media described as a “pacification campaign”.

One of the 20th century Belgian artists who was the most idolized, exhibited, published, sold... Yet the artist himself, Jean-Michel Folon (1934-2005), whose work became controversial because deemed insipid, with its mannerisms, pastel tones and colors, remains little-known. Through previously unseen archive footage, Gaëtan de Saint-Rémy offers him a voice.

This award-winning 1982 documentary includes in-depth interviews with Willem and Elaine de Kooning as well as archival footage of Willem de Kooning, Franz Kline, and Harold Rosenberg in conversation.

A musical, and also a reflection on watching, on trying to escape an anthropocentric gaze and also on watching itself in cinema. Featuring mares and horses: Triana, Víctor K, Bambi Sailor, San Special Solano, Buck Red Skin, Onkaia, Cool Boy, the donkey Agostino, the mule Guapa. And also Alfredo Lagos, Raül Refree, María Marín, Pepe Habichuela, Virgina García del Pino, María García Ruiz, Pilar Monsell, María Pérez Sanz.

In 1967, Visconti came to Algiers for the filming of The Stranger with Mastroianni and Anna Karina. Camus, during his lifetime, had always refused to allow one of his novels to be brought to the screen. His family made another decision. The filming of the film was experienced in Algiers, like a posthumous return of the writer to Algiers. During filming, a young filmmaker specializing in documentaries Gérard Patris attempts a report on the impact of the filming of The Stranger on the Algerians. Interspersed with sequences from the shooting of Visconti's film, he films Poncet, Maisonseul, Bénisti and Sénac, friends of Camus, in full discussions to situate Camus and his work in a sociological and historical context. “The idea is for us to show people, others, ourselves as if they could all be Meursault, or at least the witnesses concerned to his drama.”