1977 年，一本摄影集记录了一场觉醒--女性摆脱了童年时代的文化束缚，拥抱了完整的人性。这部纪录片重温了这些照片、这些女性和那个时代，并将镜头对准了我们今天的文化，这种文化令人震惊地显示出继续变革的必要性。

本纪录片发行于2015年。聚焦1966至1971年，20世纪第二波女性运动浪潮，各流派女权主义为争取女性权利愤怒发声。纪录片包含了不同种族、性取向的女性团体和妇女运动的兴起。女权主义者们在改变社会传统观念的同时，也在反省，进步。

Since the cult success of Merci Patron!, activist/journalist/filmmaker François Ruffin has become an MP. Here, he attempts to table a law aimed at upholding the rights of what in Quebec are known as caregivers, and shows us in passing how a law whose need seems patently obvious is put together, debated, voted on and . . . dies on the battleground of French politics. A stirring documentary about social injustice that somehow manages to make us bust a gut laughing as we rage with indignation. And also cry at the beauty of it all, thanks to the director’s humanist sensibility and a deft play between reality and fiction.

在该片中，导演继续她对性暴力的探索，深入到一个典型的英国成年仪式中：年轻女性在马略卡岛度假，在狂欢中失去她们的贞操。观众会跟随三个好朋友Zara、Em和Sky的旅程，与她们一同面对集体意识和同辈人竞争压力。

《揭开面纱：好莱坞的跨性别人生》以前所未有、令人大开眼界的方式探讨了电影和电视剧中对跨性别者的描绘，揭示了好莱坞如何同时反映和制造我们对性别最深层的焦虑。
包括拉弗恩·考克斯、莉莉·沃卓斯基、恩斯·福特、MJ·罗德里格斯、杰米·克莱顿和查兹·波诺在内的跨性别思想家和创意人士，分享了他们对一些好莱坞经典片段的反应和抗拒。
通过《弗州迷魅》(1914)、《热天午后》《哭泣的游戏》和《男孩别哭》等电影，以及《杰斐逊一家》《拉字至上》和《姿态》等节目，他们追溯了一段既无人道又不断发展、复杂、时而幽默的历史，从中可以一窥屏幕上的跨性别形象、社会看法和真实跨性别生活之间的相互影响。导演萨姆·费德尔以崭新的视角重塑了熟悉的场景和标志性人物，让观众面对未经检验的假设，并展示了曾经引起美国人遐想的事物如今如何引发新的感受。在我们如何看待和理解跨性别者方面，《揭开面纱：好莱坞的跨性别人生》引发了一场惊人的革命。

随着这八个独特的心灵和思想在彼此的生活中相互交织，他们的情谊也因丑闻、惊奇与欢庆而更加稳固。

2017年卢米埃尔学院奖最佳纪录片提名

上世纪五六十年代，在美国乡村深处的卡茨基尔山脚下有一个带谷仓的小木屋，也是第一个私密的异装者聚集地。黛安娜和凯特现在已经 80 岁了，是这个秘密组织的成员。今天，他们展现了那些被遗忘但是相当重要的一段时期。这是一个充满喧嚣和愤怒的故事，记录了非凡的人物，包括有名的苏珊娜，她曾勇敢地创建了一个名为“苏珊娜之家”的庇护所。

跟所有的先锋电影一样，《蔷薇的葬列》全部使用非职业演员，男同性恋异装者在镜头前演出自己。男主角Eddie是一个年青的男同性恋异装夜总会的招待（电影并没有明确说他是娼妓），同夜总会的经理（madam）不和，同经理的男人，也就是俱乐部的老板有一腿。Eddie总是处于一种很压抑的状态之下，在不断的闪回中他的童年往事逐渐清晰：爸爸在他很小的时候就离家出走，于是他对妈妈有着很深的感情以及很强的占有欲。他本来想和妈妈相依为命，但是妈妈最终还是出去找了个新的男人。于是有一天，Eddie把妈妈和妈妈的情人用刀刺死，并在妈妈的身上捅了很多很多刀。故事回到现在时。俱乐部的老板终于把原来的经理甩掉，导致经理为情自杀，Eddie晋升为新的经理。在夜总会改朝换代之后，Eddie和老板开始双宿双栖。一天晚上，老板在Eddie新搬进来的行李当中发现了Eddie小时候的照片……结果是老板在厕所里刎颈自尽，Eddie用老板自尽的刀刺瞎了自己的双眼。

Told by those who took part—from drag queens and street hustlers to police detectives, journalists and a former mayor of New York—and featuring a rich trove of archival footage, Stonewall Uprising revisits a time when homosexual acts were illegal throughout America. Hunted and often entrapped by undercover police in their hometowns, gays from around the U.S. began fleeing to New York in search of a sanctuary. Hounded there still by an aggressive police force, they found a semblance of normalcy in a Mafia–run gay bar in Greenwich Village, the Stonewall Inn. When police raided Stonewall on June 28, 1969, gay men and women did something they hadn’t done before: they fought back. As the streets of New York erupted into violent protests and street demonstrations, the collective anger announced that the gay rights movement had arrived.

En 2024, Act Up-Paris, l’association militante de lutte contre le sida issue de la communauté homosexuelle française, aura 35 ans. Tout au long de son histoire, Act Up inventa une nouvelle manière de militer, provocante et radicale ; sortit les séropositifs et la communauté gay de l’invisibilité ; obligea les pouvoirs publics et les labos pharmaceutiques à prendre l’épidémie au sérieux et, grâce à son travail d’information et de prévention, sauva de nombreuses vies… ce qu’elle continue de faire aujourd’hui, au moment où un relâchement généralisé de la jeunesse laisse craindre un regain épidémique… Pour la première fois, à l’aide d’archives entièrement inédites et avec la participation exceptionnelle de celles et ceux qui ont fait Act Up, un récit documentaire exhaustif raconte l’histoire, terrible et magnifique, d’Act Up-Paris.

Demonstration by FHAR, the Homosexual Revolutionary Action Front, the 1st of May 1971. People discuss at the University of Vincennes and show a common determination to break prejudice and open minds. They refuse to hide anymore, and talk about this revolution of desire.

This film showcases Noam Chomsky, one of America's leading linguists and political dissidents. It also illustrates his message of how government and big media businesses cooperate to produce an effective propaganda machine in order to manipulate the opinions of the United States populous. The key example for this analysis is the simultaneous events of the massive coverage of the communist atrocities of Khmer Rouge regime of Cambodia and the suppression of news of the US supported Indonesian invasion and subjugation of East Timor.

There is what you see, what some people want you to see, and what you don't see. Never has France known such a concentration of private media. A few billionaire industrialists, owners of televisions, radios, newspapers use their media to defend their private interests. To the detriment of information of public interest. By hiding what is essential, by magnifying what is accessory, these media shape, orientate, hysterize for some the debate. With the complicity of certain political leaders, who willingly accept it. Mediapart and Premières Lignes tell you what goes on behind the scenes in the media.

In 1932, the writer Paul Nizan published "The New Watchdogs" to denounce the philosophers and writers of his time who, sheltering behind intellectual neutrality, imposed themselves as true watchdogs of the established order. Today the watchdogs are journalists, editors, and media experts who've openly become market evangelists and guardians of the social order. In a sardonic manner, "The New Watchdogs" denounces this press that, claiming to be independent, objective and pluralist, makes out it is a democratic force of opposition. With forcefulness and precision, the film puts its finger on the increasing danger of information produced by the major industrial groups of the Paris Stock Exchange and perverted into merchandise.

How can the masses be controlled? Apparently, the American publicist Edward L. Bernays (1891-1995), a pioneer in the field of propaganda and public relations, knew the answer to such a key question. The amazing story of the master of manipulation and the creation of the engineering of consent; a frightening true story about advertising, lies and charlatans.

Cruelty, psychological and sexual violence, humiliations: reality television seems to have gone mad. His debut in the early 2000s inaugurated a new era in the history of the audio-visual. Fifty years of archives trace the evolution of entertainment: how the staging of intimacy during the 80s opened new territories, how the privatization of the biggest channels has changed the relationship with the spectator. With the contribution of specialists, including philosopher Bernard Stiegler, this documentary demonstrates how emotion has made way for the exacerbation of the most destructive impulses.

The name of Georges Abdallah regularly appears in demonstrations, press articles or in letters from parliamentarians to the Ministry of Justice. But who is he really? Why has a Lebanese communist of Christian origin been imprisoned in France for more than 35 years? Why is he considered by the Palestinians as one of their prisoners? From the Nakba (1948) to Black September (1970) in Jordan, then the Israeli occupation of Lebanon (1982), from the Palestinian refugee camps that forged his conscience, to the international mobilization for his release, we discover the man who became one of the oldest political prisoners in Europe: Georges Adballah.

Director Mohammad Bakri revisits the Jenin refugee camp, reflecting on the devastation caused by Israel’s 2023 military invasion. Building on the framework of his 2002 documentary, ‘Jenin, Jenin’, this new film captures the ongoing struggle of the camp’s residents as they recount their experiences of destruction, loss, and resistance.

其实，作为左派的戈达尔，早在1968年从传统电影体制撤出来后，就以同情心关注着巴勒斯坦问题。他的吉加.维尔托夫小组在1970年于约旦实地拍摄关于巴勒斯坦解放运动的《直至胜利》，后来因为客观历史事件而被迫放弃。而这部未能露面的电影也成为吉加.维尔托夫小组电影试验的高峰。接下来的1974年，他与玛丽.密耶维尔在他们位于格勒诺勃城的声影制作室（Sonimage）完成了《此处和彼处》。

援引戈林.麦凯波在《戈达尔：影像、声音与政治》一书中所述：这部影片包含了《直至胜利》一片的部分片段，以及有关当代法国社会的影像。戈达尔将两者排列组合在一起，是想捕捉巴勒斯坦革命（彼处）和法国消费社会（此处）两者之间的差距。连接此处“和”彼处的这个连接助词“和”才是本片探索的焦点所在：我们在这里的生活、存在（法国）与那里的斗争（巴勒斯坦）两者之间存在着什么样的关系呢？一个电影工作者又如何创造出能够衔接二者的声音和影像呢？