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Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

Jean-Luc Godard and Philippe Sollers meet in Paris to discuss Godard's film Je vous salue, Marie, and many other things.

Rendez-Vous a Melbourne is the official filmed record of the 1956 Olympic Games in Australia. At the time of its release, there was much controversy in the documentary-filmmaking world over the fact that the Aussies signed over exclusive distribution rights to a French firm, resulting in a boycott from other movie companies. None of this matters when the film is seen today: though not in the same league as Leni Reifenstahl's Olympiad, this 110-minute extravaganza is consistently entertaining. Fifteen cameras were utilized to lens every aspect of the event; it was then up to editors Jean Dudrumet and Monique Lacombe to burrow through miles and miles of film to cull the highlights seen herein. Portions of Rendez-Vous a Melbourne have since resurfaced in practically every Olympics documentary -- not to mention the many TV specials attending the now-biannual event.

I give a methodical account of my film work: the creation of new series (Lire, Trio, Avec Mariola), the shooting of a new feature film (Amours décolorées which will take ten years to edit) with Mariola San Martin.

[Here] Pollet made a work that is the very definition of what French critics like to call an ovni or ufo (as in ‘unidentified filmic object’). [It] has been described as being ‘like a comet in the sky of French cinema,’ an ‘unknown masterpiece,’ and an ‘unprecedented’ work that refuses interpretation even as it has provoked reams of critical writing. Its rhythmic collage of images – a girl on a gurney, a fisherman, Greek ruins, a Sicilian garden, a Spanish corrida – is accompanied by an abstract commentary written by Sollers, and only the somber lyricism of Antoine Duhamel’s score holds the film’s elements together. At first viewing, you fear that [it] might fly apart into incoherent fragments. Instead, over the course of its 45 minutes it invents its own rules, and you realize you’re watching something like the filmic channeling of an ancient ritual.

A look back at the life of Jacques Derrida, on the 10th anniversary of the philosopher's death.

Amours décolorées is a cinematographic poem to the glory of Mariola San Martin, model, stylist, dancer and Spanish photographer.

Popular neighborhoods that are open-air prisons. Where beauty flirts with violence. The kingdom of the insubordinate children, veterans of the lead. A garden of amputated flowers, which with crutches on their backs, still grow and dance.

From this "inexorable disease", Hervé Guibert did not recover. The miracle he had so much hoped for did not happen. But, before his death in 1991, three years after learning of his HIV-positive status, he engraved in his literary and photographic work "the places of [his] suffering", "the stations of [his] way of the cross". With his thin body and sunken cheeks, the handsome man with curly hair that he was, the one whose clear gaze radiated from the seaside photos, fought a fierce battle against AIDS. A fight of every moment against the decay of the body, observed and commented with a methodical care in his autobiographical novels, in particular "To the Friend Who Did Not Save My Life" (1990) and "The Compassionate Protocol" (1991), and of which he testified on television on the set of "Apostrophes"...

Le Passeur immobile, which covers the year 1987, is a Booklet filmed stuck between The Days and the Nights (1986) and The Artifice and the Fake (1988). These Notebooks have been punctuating my activity as a filmmaker for about fifteen years. They are like a life parallel to my other films and film series (Cinema, Group Portrait, Read, etc.). They are also like a letter to the spectators.

An intimate conversation between Félix Guattari and psychiatrist Danielle Sivadon.

Four corrupted fascist libertines round up 9 teenage boys and girls and subject them to 120 days of sadistic physical, mental and sexual torture.

A slow and ugly fairy tale based on the drawings of inmates at a psychiatric clinic where LaLoux worked.

The sequel to 1956's "Liane, Jungle Goddess" finds the title character still a jungle goddess, but captured by slave traders.

Six vignettes set in different sections of Paris, by six directors. St. Germain des Pres (Douchet), Gare du Nord (Rouch), Rue St. Denis (Pollet), and Montparnasse et Levallois (Godard) are stories of love, flirtation and prostitution; Place d'Etoile (Rohmer) concerns a haberdasher and his umbrella; and La Muette (Chabrol), a bourgeois family and earplugs.

Conceived, drawn and animated live by a team of patients from a psychiatric clinic, this achievement presents, in the eyes of its author, less interest on a purely cinematographic level than on that of human experience. It is the disturbing wordless story of a woman and a man living in a strange setting where objects are endowed with life that they have chosen to tell us through this theater of shadow puppets in cut out figurines. Their characters will know a tragic fate since carried in the air by balloons, they will finally be devoured by a horrible dragon.

As a rereading of his films, "Contretemps" (in the fight against time), Jean-Daniel Pollet brings together excerpts of his films and a report by Jean Baronnet. The author Philippe Sollers and philosopher Julia Kristeva voice their thoughts.

Éric Rohmer's short for the portmanteau film Paris vu par (Six in Paris, 1965), concerning a haberdasher and his umbrella. Convinced he has killed a man, Jean-Marc flees and spends an anxious few days waiting for the death of the stranger to be reported in the newspapers...

From Gérard Courant’s Cinématon series.

Disjunctive fabric or network that collides, by means of re-appropriated or stolen resources, liberated archives that disrupt structures of power and institutions. Psychiatry and universities explode in an accelerated disruptive essay of archiving and post-archiving that coins “anarchoautism” as a flow of liberated desire. Through its form and politics of liberation, autistic and schizophrenic becomings imply a violent line of flight within institutional spaces.