What is real? 40 years of thinking

To celebrate the 40th anniversary of the Réel, our steps follow the footprints of its co-founder, Jean Rouch, exploring the path of friendship that in 1997 led him to co-direct the masterpiece En une poignée de mains amies with Manoel De Oliveira and which today helps us to listen to the signs that filmmakers mindful of the world exchange with each other.


Curated by Nicole Brenez & Nicolas Klotz


Trópico de Cáncer

Trópico de Cáncer by EUGENIO POLGOVSKY
Mexico, 2004, 53’

Tropic of Cancer, a description of the practices enabling a Mexican family to survive between an age-old desert and modern-day
highway, received the Joris Ivens award at the 2005 Cinéma du réel” – Nicole Brenez

with Mara Polgovsky



USA, 1970, 140’

« A film about people who are not sure about the future, by people inventing the form of a film and a struggle. » – Eric Baudelaire

with Eric Baudelaire


The Silent Majority Speaks by BANI KHOSHNOUDI
Iran, 2014, 94’

“In Iran, the rigged elections of June 2009 led to large-scale demonstrations, violent protests and left many dead. Bani Khoshnoudi has collected, juxtaposed and analysed images filmed on the fly, bringing much needed insight into the revolt.” – Jocelyne Saab

with Jocelyne Saab and Bani Khoshnoudi


Broadway By Light by WILLIAM KLEIN
USA, 1958, 11’
et The Messiah (Le Messie) by WILLIAM KLEIN
USA, 1999, 135′

“These are my first and last films.” – William Klein

with William Klein

Les Lettres de Stalingrad

EDGAR MORIN presents
Les Lettres de Stalingrad by JACQUELINE VEUVE
Switzerland, 1972, 30’

“The film of Jacqueline Veuve, a talented filmmaker and friend in our adventures at the Ethnographic Film Committee in the 1950s, deftly listens to the death knell in the letters of German soldiers surrounded by the Soviets at the Battle of Stalingrad.” – Edgar Morin


with Edgar Morin, Monique Peyrière
and Chiara Simonigh


Appunti per un’Orestiade africana (Carnets de notes pour une Orestie africaine) by PIER PAOLO PASOLINI
Italy, 1970, 65’

“By moving his filmmaking to Africa, Pasolini shatters the frontiers between documentary and fiction. Notes for an African Orestes not only questions his cinema but also critiques it. The film is inhabited by a cinematographic impetus towards the past, present and future.” – Nicolas Klotz and Elisabeth Perceval

with Nicolas Klotz and Elisabeth Perceval


Chile, la memoria obstinada (Chile, Obstinate Memory) by PATRICIO GUZMAN
UK, 1997, 59’

“Returning to Chile after 23 years of dictatorial rule, Guzmán in Chile, Obstinate Memory provides us with many useful insights, including the special knowledge that bonds forged in the struggle for justice are indissoluble.” – John Gianvito

with John Gianvito and Patricio Guzmán


D’Est (From the East) de CHANTAL AKERMAN
France, 1993, 115’

“Impossible words, a mutism in the face of a collapsing world. No commentary, no explanation and not a trace of context. Simply bodies, faces and gestures, which Akerman films in almost liquid movements.” – Valérie Massadian

with Valérie Massadian and Claire Atherton


A Question of Leadership


A Question of Leadership by KEN LOACH
1980, UK, 50’
and Which Side Are You On? by KEN LOACH
1985, UK, 53’

“Ken Loach’s aesthetic approach is as important as the subjects and themes in his films.His work is part of a collective public memory that the power structures would like to have erased.What are they afraid of?” – Lech Kowalski

with Lech Kowalski



Ciné-portrait de Bill Witney by JEAN ROUCH
France, 1986, 12’
Ciné-portrait de Raymond Depardon par Jean Rouch et réciproquement by JEAN ROUCH and RAYMOND DEPARDON
France, 1983, 12’
Cinemafia. Rencontre 1. Jean Rouch parle avec Joris Ivens et Henri Storck by JEAN ROUCH (photo)
Pays-Bas/Netherlands, 1980, 33’
unseen rushes from “Jean Rouch et sa caméra au cœur de l’Afrique (Niger-France, 1977-78)” by PHILO BREGSTEIN / 1978, 35’

“A series of finished and unfinished shorts by Jean Rouch, made with the help of several hands and several voices. And the as-of- yet unseen rushes from a film on Rouch, in which he appears – inspired by a passion for cinema, voiced and shown live, shared and transmitted.” – Andrea Paganini

                          with de Inoussa Ousseini,
Raymond Depardon (to be confirmed),
Andrea Paganini.



 « Que ferais-je de cette épée ? »

How do contemporary filmmakers conceive their images’ relationships to capturing the real and to the archive? How do they develop their own modes of description, narration, and editing? How do they invent their own documentary protocols, strategies, and aims? As an imprint and imago, cinema is a defensive weapon, but it is also an offensive weapon, a means of criticism and intervention. It has invented many conceptions of the real, explored many dimensions of reality, and constantly experimented with new ways of relating to events and phenomena. What are the nature, conditions and effects of such practices? What has been accomplished by cinema and what can it still do?

Public talk with : Claire Atherton, John Gianvito, Nicolas Klotz, Lech Kowalski, Valérie Massadian, Elisabeth Perceval, Jocelyne Saab.
 facilated by Pascale Cassagnau and Nicole Brenez.