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Un « voyageur » enquête sur la vie et l??uvre de Georges Bataille : le portrait qu?André S. Labarthe livre de l?écrivain se distingue autant de la biographie filmée que du commentaire érudit. Il se présente comme un inventaire où expériences et moments fondateurs de l?existence côtoient éclats et fulgurances de l??uvre. Le montage articule des séquences tournées aujourd?hui sur les quelques principaux lieux de l?itinéraire de Georges Bataille (Reims, Le Puy de Dôme, Vézelay, Orléans, Paris), des plans parcourant ses manuscrits, ses ouvrages édités et des revues créées à son initiative (Documents, Acéphale, Critique), et des images mettant en scène des motifs obsessionnels ou des « visions » de son univers. Le commentaire d?André S. Labarthe, dit par Jean-Claude Dauphin, alterne avec des lectures et quelques enregistrements sonores de la voix de Georges Bataille. Pierre Klossowski et Jacques Pimpaneau interviennent également dans ce film. Sélective et partiale, l?enquête d?André S. Labarthe extrait quelques clefs propres à saisir le noyau sensible d?une pensée radicale.

Né le 18 décembre 1931 à Oloron Sainte-Marie (Pyrénées-Atlantiques) Après des études universitaires en philosophie,il intègre la revue des Cahiers du cinéma courant des années 50. Il passe à la réalisation et à la production quand il démarre avec Jeanine Bazin la série Cinéastes de notre temps de 1964 à 1970. Parallèlement, il collabore à l`émission Cinéma Cinémas de 1982 à 1987 ainsi qu`à de nombreux magazines télé consacrés à la danse, la peinture, au théâtre et dernièrement à la littérature, avec la collection Un siècle d`écrivains. La Société des gens de lettres lui a décerné en 1984 le Grand Prix de la télévision pour l`ensemble de son oeuvre. En 1990, il remet en chantier sa collection de portraits de cinéastes renommée Cinéma, de notre temps. Il est également auteur de quelques ouvrages sur le cinéma et la peinture

Au Japon, le blanc est la couleur du deuil. Les danseurs de butô s`enduisent le corps de poudre blanche et la poétisation de l`espace qui caractérise les pièces de la compagnie Sankai Juku est comme un cadavre exquis, au sens littéral du terme. Pour Amagatsu, fondateur de la compagnie, la danse butô est à la fois vie et mort.

Né le 18 décembre 1931 à Oloron-Sainte-Marie, André S. Labarthe est un critique cinématographique, producteur, réalisateur et scénariste français. Après des études universitaires en philosophie,il intègre la revue des Cahiers du cinéma courant des années 50. Il passe à la réalisation et à la production quand il démarre avec Jeanine Bazin la série Cinéastes de notre temps de 1964 à 1970. Parallèlement, il collabore à l`émission Cinéma Cinémas de 1982 à 1987 ainsi qu`à de nombreux magazines télé consacrés à la danse, la peinture, au théâtre et dernièrement à la littérature, avec la collection Un siècle d`écrivains. La Société des gens de lettres lui a décerné en 1984 le Grand Prix de la télévision pour l`ensemble de son oeuvre. En 1990, il remet en chantier sa collection de portraits de cinéastes renommée Cinéma, de notre temps. Il est également auteur de quelques ouvrages sur le cinéma et la peinture.

"Surface Tension" est une anthologie réalisée par Ken Ehrlich, Brandon LaBelle et Stephen Vitiello. Ces différentes oeuvres sonores s`inscrivent dans une réflexion sur le lieu même de la création. A la recherche des interrelations avec un lieu, la façon dont il influence et répond à une création sonore. Le lieu se fait tour à tour ville ou corps. Entre extérieur et intérieur, non organique et organique. Ce programme a été diffusé dans le métro à Paris, station Carrefour Pleyel, lors des 10èmes Rencontres internationales Paris/Berlin. La diffusion du programme sur WPS1 prolonge cette question de l`espace public et des réseaux.

Brandon LaBelle vit et travaille à Los Angeles. Musicien, performeur, critique, plasticien des sons, éditeur, il est à l`intersection des différents champs artistiques, mixant ces diverses pratiques dans un travail singulier articulant le sonore à l`espace social. Par le biais de micro contacts, le corps humain devient une source sonore complexe, l`espace où se déroule son action s`impose comme un instrument à part entière. Il construit ses performances sonores en fonction du site et des objets trouvés sur place, found-art relevant d`une démarche tout à la fois très conceptuelle et dans un jeu d`improvisation. La musique de Brandon LaBelle révèle le contexte social dans laquelle elle s`inscrit, ou plus exactement c`est le contexte même qui est donné comme événement musical ; déplacement de la notion d`auteur sur un espace social agissant. " Techné " se présente comme la trace d`un processus où le corps physique entre en interaction avec une architecture par le biais de micro contacts. La technologie est l`interface de ce contact construit sur le désir et la contrainte architecturale du lieu (et son inconscient). Enregistrement d`une poétique situationniste où le projet politique donne la forme même, un bruit radical.

A short absurd fairy tale taking place on a historical site of modernism, with references to Lewis Caroll and George Lucas. A young man enters a futuristic building, the headquarters of the Communist Party of France PCF in Paris. In the subterraneous grand assembly hall he encounters relics of the past that shaped/described history. Simultaneously on the roof of the building a hooded figure scans the premises` structure while down below the white concrete overground dome of the hall transforms into the moon. Alice in Wonderland in a conflictive version - playing out a poetic discourse on surrealism & socialism where science fiction, architecture, and literature are dialectically intertwined with the human psyche. The title Alice.M relates phonetically as "alism" to the ending of certain "ism" terms, such as e.g. "surrealism", "socialism", "idealism", "dualism".

Philipp Lachenmann (*1963 Munich, lives in Berlin) studied filmmaking at Munich?s Academy for Film and Television and art history and philosophy at the Ludwig Maximilians University. He received a scholarship from the German Academic Exchange Program (DAAD) for New York in 1998 and in 2003 a grant for the Villa Aurora in Los Angeles. From 2000 to 2003 he was awarded a post-graduate fellowship at the Academy of Media Arts Cologne (KHM), and several travel & work grants. Selected exhibitions include the Goethe Institute Paris, the Museum K21 Düsseldorf, the Transmediale Berlin, the Reina Sofia Madrid, the Kunst-Werke Berlin, the Nationalgalerie im Hamburger Bahnhof Berlin, and the Deichtorhallen, Hamburg. Screenings at MIT Short Film Festival Boston, IFFR International Filmfestival Rotterdam, SIFF Seattle International Film Festival, SFIFF San Francisco International Film Festival, NYFF New York Film Festival, HKIFF Hongkong International Film Festival. For 2012 Lachenmann received a one year grant at the Villa Massimo in Rome.

?Silencio!? The ticking of La Bande Passante`s clock announces the beginning of the show: time stands still. The audience takes place in the theater. ?Quiet? camera rolling? action!?: a tracking shot reveals a row of lenses and microphones, before joining their point of view. The camera, wavering between documentary and fiction, ushers us into the movie, inviting us not to believe but to see and hear. With this movie, Thomas Lacoste offers us a deep breath, away from the relentless political turmoil. Carrying Marie Ndiaye?s words, Marianne Denicourt?s ?staggening murmur? invites us to watch and listen closely to those who continue to dream our world. Featuring over 35 guest speakers (philosophers, sociologists, economists, magistrates, doctors, scholars and writers), Our World establishes a communication forum and urges us to accept Jean-Luc Nancy?s invitation to work towards ?a shared thought?. However, far from an ideal, unfathomable world, practical solutions to the current dysfunctions and dead-ends are drawn up. Education, health, justice, labour law, culture, economy, international politics, sexual and racial discrimination, democracy: their symptoms are not only diagnosed, many cures are prescribed. Yet, more than a free space of expression, Our world fosters exchanges. Marianne Denicourt, ?the woman with a camera?, takes us from the studio to the theater, where the guest speakers address a live audience. Faces and cameras farther than the eye can see invite us to join in their gaze, while Marianne Denicourt?s whisper prompts us to listen carefully. In praise of a liberated political discourse, Our World sounds the alarm: politics are a public matter; each and everyone of us, ought to reinvest ?Our World?. Thomas Lacoste rejects a unilateral perspective by opposing a symphony of voices that urge us to become more involved in politics - preferably in novel ways. « Let`s invent Our World! »

Thomas Lacoste is a filmmaker, publisher and essayist. Founder and director of the international critical thinking review The Ordinary Passer-by (Le Passant Ordinaire, 1994, www.passant-ordinaire.com), of the Passer-by Editions (Les Éditions du Passant, 1997), The Other campaign (L?Autre campagne, 2006, www.lautrecampagne.org) and La Bande Passante (2009, www.labandepassante.org), an international network dedicated to critical thinking, alternative actions and contemporary creations. He directed more than fifty films and interviews, among which the « ciné-frontières » Our World (Notre Monde, 120?, 2012, Agat/LBP/Sister), Clandestin Ulysses, the identity excesses (Ulysse Clandestin, les dérives identitaires, 93?, 2011, LBP), Bad Days Will End, 40 years of justice in France (Les Mauvais Jours Finiront, 40 ans de justice en France, 126?, 2009, LBP), Universities, the big night (Universités, le grand soir, 68?, 2007, LBP) and Refutations (68?, 2007, LBP). In 2012, a DVD box set (Montparnasse films) including 47 of his movie-interviews was released, and a retrospective of his « ciné-frontières » was screened at the cinema Reflet Médicis in Paris.

Humanity died of unstoppable lust. Time stopped. Only two stayed alive. They fill and form the emptiness around with quite sounds and pauses. Their destiny is to save humanity with the help of Petty and Gimmy living in their heads. It is a musical post-apocalyptic movie. First part of mini-series discovering the territory of russian contemporary art music in form of popular genre films (post-apocalyptic, horror, space opera, etc.). Film is based on real characters: Kirill Shirokov (composer) and Sasha Elina (music performer), founders of `the same` ensemble, specialized in performing quite music related to certain space and time. During the film they perform music pieces from ‘every day melodies’ series composed by Kirill Shirokov. Interaction of time and space in perception of the spectator constructs the center point of the video.

Artist and circus performer. Born 1982 in Moscow. Graduated Moscow Lomonosov State University department of Physics (2005), Moscow Rodchenko school of photography and multimedia (2009). Cofounder and member of Upward! community and Vidiot art group. Curator of ex-Brown stripe apartment gallery. Founder and program curator of the 7th Floor Radio. Part of Great Circus of Failure. Main media: video film, performance, site-specific installation.

Like august flies, trying to escape certain death, people before the apocalypse started to copulate, mindlessly and robotically. Insatiable lust reigned over senseless flesh. Slaps, slurps and moans echoed across lands. It lasted for a long time, until every single one was completely exhausted. Then time stopped. The final pause had come. Only two people remained untouched. Having merged, like Salmacis and Hermaphroditus, in music that gave them eternal life, they wander timeless, empty spaces. Their destiny to save humanity. But humanity means nothing to them as it had failed to happen. Main characters of the movie, Kirill Shirokov and Sasha Elina, are real musicians and founders of “the same” ensemble, specialized in performing quite music related to certain space and time. During the film they perform music from "every day melodies" series composed by Kirill Shirokov. In this way the film uses fictional form to discover reality of interactions inside Russian contemporary art music. The movie is the first part of mini-series discovering the territory of contemporary art music.

Born 1982 in Moscow. Graduated Moscow Lomonosov State University department of Physics (2005), Moscow Rodchenko School of Photography and Multimedia (2009). Co-founder and member of Upward! community and Vidiot art group. Curator of ex-Brown stripe apartment gallery. Founder and program curator of the 7th Floor Radio. Main media: video film, performance, site-specific installation.

The city of Kolkata (Calcutta) was not touched by the tidal wave on December 26th 2004. The video document "Kolkata" was filmed throughout the first days of January 2005. It is a serene work with meditative depth, which can seem to take place a thousand miles away from where the catastrophe happened, but it carries the fine but persistent imprint of an underlying tension. The water is everywhere, discreet, flowing and running. It is the trace of the cameraman's unconscious at work, like an internal retort. It is not a documentary, journalism even less, but really an artistic production, with its own particular rhythm and breath. The fixed shots open up a space of time, of observation, and, of dreaming to the viewer. It is precisely this simplicity in the structure that at the same time guarantees the freedom of our gaze and a profound respect of what is on film. Benoit Laffiché thus shares with us his idea of the artist´s role, the first task is, to his eyes, allotted to him: give people something to see, to think about and to exchange.

Benoît Laffiché's work applies to global exchanges, migratory fluxes, otherness, and to cartography. To film, to photograph, is to meet the other and to offer him an image of his environment, a memory of his social times, a narrative that happens creates a distance. It's about looking at the other so that we can understand this other that we are. His work escapes from the ethnographic position which the American critic Hal Foster very justly criticizes for not having sufficiently questioned the ethnographic authority. This is not Laffiché's preoccupation. His purpose is elsewhere. For him, art, taking in account social and political questions, can manage to sufficiently hold onto its autonomy and distance in order to say something that only it can say. How, as close to reality as possible, does art affirms itself as such, surely sometimes mimetic, but never fusional? Laffiché's images do not impose anything, not a single injunction, just underlined ideas.

This video extracted from a serial work where lettuce is used as a main element of the composition "Cache-Cache Salade" wants to be read as an absurd story, a dream-like extract somehow strange and unhealthy, because with no immediate origins, neither possibilities of identification. The video starts with a fiddled panoramic frame, where a cloned character emerges jumping, miming a kid walking in the woods - straight from a children story. The sound wrapping takes parts in the dream-like and mysterious story. The character seems taken then in a hide and seek game, where he is himself attacked, tracked, and becomes a prey every time he is exposed to the outside sight (out of frame). Or is he himself, the predator? Hiding to hunt down the "beast"? The outside sight, suggested by barking out form frame, is also the one of the viewer/voyeur observing the scene. Let's note that this is by the character's behaviour, hiding and running alternatively between the trees, that a metaphoric link is created with the outside. The essential doesn't stand in the action as the only narration, but in that kind of hypnotic fascination brought by the image itself almost static - and by the impression of a moment giving up elsewhere, in a out of time. The poetry is here preserved by the persistence for the arbitrary, the image assures itself and refined only little by little its possible interpretation.

Born in 1978 (in France), Jérémy Laffon begins his artistic research by an exclusive pictorial and poetic work, then enlarges little by little his expression field to other supports such as carving, photography, performance (and happenings), but also video, still conserving a poetic unity revealing some of his influences (such as Incohérents', Fluxs', Francis Alys', Fischli & Weiss', Paul McCarthy, etc.). While collaborating on a regular basis with various artistic associations (during exhibitions or venues) the artist experiments his concepts and his creative processes (implementing them sometime in unappropriate spaces for that prospect, such as music festival or down the street). These concepts constitute today a singular language, gravitating around flow phenomenon, transitory and grotesque but always keeping an obsessive rigor and an irony toward the process of creation and the relation with the viewer. Defining himself as an usurper, professional novice and dressing himself with very different characters such as "the wanderer", "the dullar", "the stuffer", or the "pom-pom boy", Jérémy Laffon declines the role of the intruder, has an iconoclast sight on culture, while questioning key notions such as "power", money" or "manipulation".

"Stay Home" is a graphic logbook, which I try to keep by putting my feelings into it during this quarantine. How I perceive it and there feel from day to day. By putting my own experiences and the feelings of people around me that I have on the phone or other social networks. It is a very singular moment of life, which I think will mark and change our society. The apprehension of after is very important, even worrying. How will it be after confinement? A normal life? This is a summary of my 55 days.

Arnaud Laffond is a video artist, plastic digitalis workbench based in Lyon. His work is characterized by the creation of virtual environments and materials generated by computer. The color, as the material brute, is numerically sculptured, treated and altered to be reborn in vibrating and bright architecture. His works are situated on the verge of science fiction, halfway between abstraction and the representationalism , utopia and dystopia, architecture and landscape. He works with diverse aspects of video, such as installation, animated gif and impression

Following a passionate encounter with a young man, Karl finds himself filled with reservations and suspicion as the latter unexpectedly leaves from his apartment. Yet, the ensuing night presents Karl with a chance to reassess his perception.

Paolo Laganá was born in 1986 in Italy. Their artistic practice revolves around queer culture and themes of identity. They are currently based in Berlin, studying Film Editing at the Deutsche Film- und Fernsehakademie Berlin (dffb). Paolo's passion for filmmaking began early, leading them to create several short experimental films on Super 8. They spent several years in Bucharest, Romania, gaining experience in various roles on film sets and collaborating with many figures from the Romanian new wave. Paolo is the recipient of a scholarship for artistic merit from the German National Academic Foundation. Their film "A New Night" was produced independently, outside their academic studies.

Culminating at 3600 meters, the Rho?ne Glacier has become an object of scientific study and an important touristic site of the Swiss Alps. An eloquent indication of a predicted disappearance, part of the ablation zone of the glacier is covered with geotextile mosaics to protect it from solar radiation. If these reflective covers can potentially reduce the acceleration of the glacial retreat, this practice remains disputed by the scientific community. Evocative of an enigmatic setting, of shrouds or temporary refuges, the deployment of these survival blankets represents an anthropic attempt to control the landscape in a context of climatic upheaval. In an immersive work of image and sound, Fragile Monument explores the scales of temporality specific to the glacier, the water, the mineral environment and their entanglement with human rhythms. By questioning models of future ecologies, the work focuses on our complex relationship with an altered nature, where states of hybridity, vulnerability and the sublime are interlaced.

In parallel to their individual practices, Virginie Laganière and Jean-Maxime Dufresne’s artistic collaboration has focused on the transformations of our built, natural and technological territories and their social realities. Anthropological in nature, their approach is based on a research methodology developed during residencies abroad. At the confluence of documentary and fictional approaches, the situated research and observations feed into a work of the image as an object of investigation exploring different forms of narrativity and visibility. This is evidenced by their multifaceted installations in which video, sound art and photography interact with sculptural elements and architectural displays.?? Supported by the Conseil des arts et des lettres du Québec and the Canada Council for the Arts, their work has been presented in exhibitions, festivals and residencies in Quebec and internationally. These include the Festival International du Film sur l’Art, the Galerie de l’UQAM, the Musée d’art de Joliette, Tokyo Arts and Space, the Studio du Québec in Rome, the EXiS Experimental Film and Video Festival in Seoul, the Inside-Out Art Museum in Beijing and the Helsinki International Artist Programme. In 2021-2022, they developed a new research entitled Radiant Mountain at La Becque’s Principal Residency Program in Switzerland.

This movie has been made in collaboration with childs with mental illness. Beau Soleil is a Sc-Fi movie write through the aim of surrealistic game of writing. Shots in color Super8, it is about how the sun disapears and kills all the Human species, only some animals survive and organise themselves in a society.

Jules Lagrange (b. 1989, Besançon, France) is an artist who lives and works in Brussels. His practice manifests among others as fiction films. His research is organized around processes of rewriting and re-appropriation of the code of cinematic language with the aim to re-load and re-sentimentalize characters and emotions represented in cinema. He studied at the Institute of Art, Design and Technology in Dublin and at the National School of Fine Arts in Lyon, where he graduated in 2014. In 2016 he was an artist in residency at the postgraduate art program, directed by curator and critic François Piron, at the National School of Fine Arts in Lyon

Orion Aveugle, c’est l’histoire d’un rite funéraire vu à travers les yeux poussiéreux d’un cyborg. La temporalité et le contexte précis de cet événement appartenant au passé, lui sont inconnus. Ils ont disparus au profit d’une mémoire dense et disparate. Son implication et sa filiation aux sujets est inaccessible, perdues à jamais, dans la densité d’événements enregistrés au cours des siècles. Sa mémoire est donnée à voir, vidée de son sens. C’est l’histoire d’un être devenu le simple témoin, de sa propre nostalgie.

Jules Lagrange est un artiste français, né en 1989 à Besançon. Son travail se développe principalement dans l’élaboration de film de fiction. Ses recherches s’orientent autour de processus de réécriture et de jeu de réappropriation des codes cinématographique visant à ré-incarner et à re-sentimentaliser les corps et les affects représentés au cinéma. Il a étudié à l’institut of Art, Design and Technology de Dublin et à l’Ecole Nationale Supérieure des Beaux Arts de Lyon dont il est diplômé en 2014. En 2016, il intègre le post diplôme de l’ENSBA Lyon dirigé par François Piron. Son travail a été visible au travers d’expositions, notamment, à la Friche belle de Mai (Marseille), au Creux de l’enfer (Thiers) ou encore au Treize et à Glassbox (Paris). Ses films ont également était projeté au Festival International de Video de Camaguey (Cuba), au Frac Nord pas de Calais (Dunkerque), à Mains d’oeuvres (St Ouen) ou encore aux Musée des Confluences (Lyon). Il vit et travaille à Bruxelles.

The video is a narrative game reconstructing Lai?s own video diaries (1990-2004) and found footage. It plays with the thin line between remembering and fabricating, recording and staging, documentary and story? It subverts causal narrative logic and shows 13 women?s stories as a network of acquaintances, each in an isolated moment of her life. Questions on the practice of auto-ethnography are raised via ?the politics of the everyday.?

Currently teaching full-time at the School of Creative Media, the City University of Hong Kong, Linda Lai is a inter-disciplinary artist, curator, creative writer, scholar and historian. She did her Ph.D. in Cinema Studies at the New York University. Her scholarly and creative research includes cultural studies, film theory/history, narrative experimentation and creative writing, with a switching move into image & text, digital media, intermediality, cybertextuality and visual ethnography.

Synopsis court Les paroles de femmes travaillant dans un centre d’art sont jouées en lip-sync par une femme installée dans un intérieur sommairement meublé. Affects et expériences de travail se mêlent à mesure que la protagoniste est habillée de différentes tenues. Synopsis long Les paroles de femmes travaillant dans un centre d’art sont jouées en lip-sync par une femme installée dans un intérieur sommairement meublé. Affects et expériences de travail se mêlent à mesure que la protagoniste est habillée de différentes tenues qui petit à petit contraignent, exhibent puis dissimulent son corps. Une statue se détache sur un ciel bleu, dans le silence d’une rue. Alors que le monologue se poursuit, l’espace vacant devient celui d’une institution imaginaire, traversé de silhouettes de visiteurs et collaborateurs. Aux récits se mêlent des images d’archives, fragments de performances d’artistes femmes, détails d’une pratique collective de l’art.

LAINÉ VALENZA — vit et travaille à Marseille Lainé Valenza est un duo d’artistes, constitué à partir d’une conversation perpétuelle, d’une zone commune à la frontière de leurs recherches respectives. Il se caractérise par un intérêt pour la critique institutionnelle, la mutation des formes d’images et d’une attention visuelle, de ses enjeux culturels subjectifs et politiques. Au fil des projets, le duo emploi des formes visuelles diverses, telles que le cinéma étendu, des installations in situ, de la télévision en direct, des performances, etc. Emmanuelle Lainé est une artiste visuelle déjà bien connue pour ses installations in-situ à grande échelle. Elles montrent souvent une reconstitution précise de l'architecture créant un espace critique pour la perception du spectateur ainsi que pour l’institution qui l’accueil. Ses Installation se caractérisent par une utilisation systématique de la photographie très grand format, associée à un langage sculptural très exigeant. Benjamin Valenza concentre depuis plusieurs années déjà sa pratique artistique sur la création d'un média à part entière. Prenant en compte Internet et le numérique autant que la télévision comme point de départ il s’agit d’une forme critique et intentionnellement non déterminée . Le lieu d'exécution ou la problématique du contexte est central dans son travail, il s'articule avec la sculpture et l'installation afin de créer des situations de micro politique ou l’artiste s’efface au profit du collectif.

SYNOPSIS The South African choreographer, Robyn Orlin, staged Haendel?s opera l?Allegro, Il Penseroso ed Il Moderato at the Paris Opera, in April 2007. The documentary is based on the creation of the work. My position as collaborator at the heart of the work permits me to be the closest possible to her questioning, concerns, intentions. And it is in showing her relation to South Africa that the film will show what is truly at stake here. Her artistic concerns, the sources of her commitments, her contradictions, are in fact inextricably linked with South-African reality: exile, the search for recognition, guilt, power.

L’air des infortuné reconstructs a scene of the trial of Karl Wilhelm Naundorff, a controversial clockmaker who usurped the identity of Louis XVII, Dauphin of France, and proposes an imaginary narrative inspired by the blurry zones of History.

A 2009 graduate of the Bordeaux Academy of Fine Arts where he majored in photography and video, Nino Laisné also learned to play traditional Latin American music from guitarist Miguel Garau. At that point, his desire to blend film, music, and contemporary art emerged. Laisné takes a special interest in marginals advancing on the borders of official history, as well as in oral traditions in the aftermath of an uprooting. As early as 2010, with Os convidados, Laisné’s images took on sound, suggesting traditional music. In 2013, his film En présence (Piedad Silenciosa) struck a balance between visual and musical writing, around religious reminiscences in Venezuelan folklore. The production also marked the start of a rewarding collaboration with the musicians Daniel and Pablo Zapico, to whom Laisné would return with music written centuries ago. With Folk Songs (2014) et Esas lágrimas son pocas (2015) Laisné adopted forms related to the documentary to trace musical traditions in migratory phenomena. His projects have led to exhibitions in several countries, such as Portugal, Germany, Switzerland, Egypt, China, and Argentina. He is regularly invited to produce new pieces during creative residencies (Casa de Velázquez – Académie de France in Madrid; FRAC Franche-Comté; Park in Progress in Cyprus and Spain; Pollen in Monflanquin, etc). His video productions screen in movie theaters and at festivals, including the FID in Marseille, the FIAC Paris, Papay Gyro Nights Festival in Hong Kong (China), Festival Internacional de Cinema in Toluca (Mexico), Shot Short Films in Moscow (Russia), Digo Festival de Goiás (Brasil) or Boden International Film Festival (Sweden). Nino Laisné also collaborates with many stage artists, including the flamenco choreographer and dancer Israel Galván (El Amor Brujo), the puppet master Renaud Herbin (Open the Owl), or the spanish choreografer Luz Arcas (Toná). In 2017 in La Bâtie-Festival de Genève (Switzerland), he created the show Romances inciertos, un autre Orlando, produced by his encounter with François Chaignaud and presented at the 72nd Avignon Festival. With one hundred performances since its debut, after Australia and Japan, the show will continue to tour in France and internationally during the season 21’22’. In 2018, Laisné and Chaignaud shot the short film Mourn, O Nature!, inspired by the Massenet opera Werther, for an exhibition at the Grand Palais. In October 2019, for his new solo exhibition at the FRAC Franche-Comté, Nino Laisné presented L’air des infortunés, a film revisiting a historical imposture, with Cédric Eeckhout and Marc Mauillon.

Synopsis: Des gens qui passent, s`arrêtent, contemplent le vide, pour enfin disparaitre dans l`obscurité de la nuit.

Jabrane Lakhssassi né à Taza ( Maroc) en 1988, lauréat de l`école supérieure des arts visuels de Marrakech. "Journal d`un passage" est mon premier travail.

At the close of the 20th century, the people of Serbia were faced with a profound social and economic crisis the disintegration of the country, and wars. All of these left a lasting mark on their psychological and physical health. At times like that, when all values are at risk, the following question arises: What is healthy and what is sick? Our film shows how a country and a specific hospital in it share the same fate. We follow the story of the oldest psychiatric hospital in the Balkans (?Dr Laza Lazareviæ?), which is located in Belgrade. The ruination of the state and of Serbian society is reflected very directly in the fate of this psychiatric institution. The film also follows a group of several psychiatric ward inmates and their vision of the world, relationships, emotions, justice and injustice?

Ivana Laliæ - CV Born in 1972, in Belgrade. Graduated in journalism, at the Faculty of Political Sciences (University of Belgrade). She has worked for the news department of Radio Index, the ?Danas? daily newspaper, and Radio Free Europe. She has worked for Arhitel Production since 1994. Award for Investigative Journalism 2007 from the Independent Journalists? Association of Serbia. Selected filmography: ?THE BANKERS?, documentary - feature, 2000. ?THE ACADENICIANS?, documentary 2002. ?OPERATION DUBROVNIK?, documentary, 2003. ?THE LEADERS?, documentary 2004. ?ALI HAMAD?S STORY?, documentary, 2006. ?ECHO? documentary, 2007. Marko Popoviæ - CV Born in 1975, in Belgrade. He graduated in film and TV directing from the Film Academy in Prague (FAMU) in the class of Vera Hitilova, and from the Faculty of Dramatic Arts in Belgrade in the class of Darko Bajiæ. He has completed documentary film workshops during the Venice Film Festival 2006, HotDocs 2007 in Toronto, the Zelig Academy (Italy) and the ?Kvadrat? Center for Visual Communication (Belgrade). He directs television programs on the state-run RTS and independent TV B92. He has directed music videos, campaigns, promotional films for Save the Children, EAR, CeSID, the Ministry of Internal Affairs of Serbia, TVB92 and private companies. He directs TV documentaries, documentary and short feature films. Selected filmography: ?EXCURSION?, short feature, 2000. ?INTOLERANCE - IVAN? documentary, 2002. ?ECHO?, documentary, 2007.

The film presents a familiar place from the perspectives of three persons who are, respectively, born blind, mute and deaf. Representing the old, middle-aged, and young, they share their life experience with the audience, and lead them to a brave new world of cinematic experience. "The Circle`s Corner" has no specific dramatis personae, not even visible actors; it, however, depicts the audience with familiar landscapes. With down-to-earth but uncommon shooting techniques, voice-over, location sound, and bilingual subtitles in Chinese and English, it brings in a new angle of film presentation.

Kin-hung Lam born in Hong Kong. He worked as photojournalist when he finished his first degree in Photographic Design in Hong Kong Polytechnic University in 1995. Then, he earned a Master degree in Film & Video at the California Institute of the Arts, USA, in 2001. "The Circle`s Corner" is his first feature and documentary film.