Alain Paucard

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Alain Paucard

Biography

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Credits

Voyage au centre du monde Voyage au centre du monde (1998) Character: N/A
Voyage au centre du monde is, following an invitation from the new Belgrade town hall and the government of the Republika Serbska, the film brought back by Gérard Courant from his trip with a group of writers in Yugoslavia and Bosnia and Herzegovina.
Portrait de groupe Portrait de groupe (1986) Character: Self
Portrait de groupe is a film series of filmed portraits that shows all kinds of groups gathered under family pretexts, friendly or professional, in a single fixed, wide shot (style: family photo) and silent of 3 minutes and 20 seconds.
Trio Trio (1987) Character: Self
Trio is a cinematic series of filmed portraits that shows, in a single large, fixed and silent shot of 3 minutes and 20 seconds, three people free to do what they want.
Les Jours et les Nuits Les Jours et les Nuits (2021) Character: Self
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.
Délices lointains Délices lointains (2012) Character: N/A
This episode of Carnets filmés, Délices lointains, which spans the year 2004, reaches its climax in its last part with my trip to Mexico with the photographer Barbara Peón Solis.
Car seuls les dieux ont mordu la pomme de l'amour Car seuls les dieux ont mordu la pomme de l'amour (2011) Character: N/A
The ending of filming 24 passions over 24 years in Burzet (France). Shot on a silver film, it takes us on a tour around the area now left empty.
2000 Cinématons 2000 Cinématons (2001) Character: Self
A film about an ongoing cinematic adventure that began in 1978: a vast anthology of personality portraits called Cinématons, dealing with people in the arts. Historical, ethnological, sociological and psychological, this anthology is a living record of the artistic community of the last 20th century which attempts to answer these questions: Why film everyone? Why choose cultural personalities? How do the subjects look at their image? How much exhibitionism and narcissism is involved in being filmed?



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