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After COVID-19, in the autumn, my grandmother returned to her old house, located in a neighborhood that had been awaiting demolition for years—a silent place covered in dust. There, she discovered her child’s diary, in which were recounted the mysteries of a bygone world and distant lands she had never heard of. Today, her child has also grown old, and many mysteries of the past have already been unraveled. Although the world is evolving at great speed, some things seem to remain motionless. Individual life is built through gaps and differences, but often, it lacks the time to be contemplated. When daily life is constantly dominated by the power of ideologies, what is left for the individual? 　　L’automne après le COVID, ma grand-mère est retournée dans sa vieille maison, située dans un quartier promis à la démolition depuis des années, un lieu silencieux et couvert de poussière. Là, elle a découvert le journal intime de son enfant, dans lequel étaient évoqués les mystères d’un monde passé et de pays lointains dont elle n’avait jamais entendu parler. Aujourd’hui, son enfant a pris de l’âge, et beaucoup de mystères du passé ont déjà trouvé leur réponse...

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David, a Jewish filmmaker in his thirties, is working on a screenplay with autobiographical overtones. His girlfriend, Anna, with whom he lives, finds his story very narcissistic.

The dramatic events around the French king Louis XVI and the French crises in the late 1700's with no will to pay taxes, which led Louis XVI into an impossible situation as a king.

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Henri Laborit’s thoughts taken from Alain Resnais, Jean-Luc Godard shooting Notre musique, a song by Fairuz: just some of the materials in this essay-tribute to the Palestinian poet Mahmoud Darwich. 　　[FR] La pensée de Henri Laborit prise chez Alain Resnais, Jean-Luc Godard tournant Notre musique, une chanson de Fairuz : matériaux parmi d’autres de cet essai-hommage au poète palestinien Mahmoud Darwich.

This interrogation of famed 19th century French writer, proto feminist George Sand, includes discussion with the new early 1970s feminist movement and a critique of the limitations of her progressivism (she opposed the 1871 Paris Commune).

Inspired by the last essay Charles Darwin wrote on the action of worms, Anna Marziano crafted a film where the cultural and political action is placed in continuity with the work of earthworms, digesting and feeding the soil microscopically day after day. The film intertwines direct observation, video projections and the decay of some film negatives buried in the ground in the attempt to keep visual traces of the life of micro-organisms.

Inspired by the last essay Charles Darwin wrote on the action of worms, Anna Marziano crafted a film where the cultural and political action is placed in continuity with the work of earthworms, digesting and feeding the soil microscopically day after day. The film intertwines direct observation, video projections and the decay of some film negatives buried in the ground in the attempt to keep visual traces of the life of micro-organisms.