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En une poignée de mains amies (1997)
Character: N/A
From the bridges of Porto to its estuary, two men are paying tribute to the elegant Douro River. Through Luís de Camões and Prince Henry the Navigator, through its Viking ships and dizzying bridges, the Douro is a great witness to the history and culture of Portugal. Jean Rouch and Manoel de Oliveira are walking alongside while reciting a poem written by de Oliveira himself. During their walk, they reflect upon documentary-making, the charm of the river, and what it represents to them.
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Rouch in Reverse (1995)
Character: himself
Malian filmmaker and New York University professor, Manthia Diawara critiques visual anthropology through the work of Jean Rouch.
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Ciguri – Tarahumaras 98 - La Danse Du Peyotl (1998)
Character: Narrator
A documentary cycle involving the Rarámuri or Tarahumara people of Northern Mexico. This film addresses rites of winter as well as peyote and bakaka rites. Its commentary, read by Raymonde Carasco and Jean Rouch, is drawn from texts by Antonin Artaud.
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Jean Rouch, Primera Película: 1947-1991 (1991)
Character: Himself
The first film in Jean Rouch's filmography is not his first film at all. It was edited by a French news company, using images he had shot but organised into a very different sequence from his own. On top of that, it was accompanied by a colonialist commentary said by a sports reporter! As we watch, Jean Rouch ad-libs a new commentary more in keeping with his images, and so, in 1991, he finally finishes his first film! - Dominique Dubosc
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Encountering Jean Rouch (2003)
Character: N/A
This short film was shot in 2002 during Bilan du Film Ethnographic for the purpose of introducing Jean Rouch to the audience at 2003 Taiwan International Ethnographic film festival. Unexpectedly, Jean Rouch passed away in 2004. In this film Jean Rouch talked about his new marriage, his anger towards the moving of the artifacts of the Mankind Museum, his anarchistic nature, his dreams and fantasies, etc.
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Mes entretiens filmés (2013)
Character: Himself
This distinctly personal journey into the artistic possibilities of independent film is not to be missed. Jonas Mekas, Jean-Pierre Gorin, Robert Kramer and many other visionaries and mavericks of the silver screen – as well as a book seller, a critic and a psychoanalyst – discuss what cinema has meant to them, what it is and what it could be and, implicitly, how it has changed over the 18 years in which this film was shot. Director Boris Lehman leads the charge, drawing in moments of absurdist humour and inventive camera work; he keeps things raw and spontaneous. His encounters with the now much-missed Jean Rouch and Stephen Dwoskin are particularly touching and stand testament to their personal playfulness and candour. An engaging, absorbing, epic odyssey of a movie.
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La Nouvelle Vague par elle-même (1964)
Character: Self
Made for Cinéastes de notre temps series. In 1964, several French New Wave auteurs discuss the success and crisis of the wave. Featuring Claude Chabrol, François Truffaut, Jacques Rivette, Jean-Luc Godard, Jacques Rozier, Jacques Demy, Agnès Varda, Jean Rouch, and many others.
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Sodankylä ikuisesti: Elokuvan vuosisata (2010)
Character: Self
The Midnight Sun Film Festival is held every June in the Finnish village of Sodankylä beyond the arctic circle — where the sun never sets. Founded by Aki and Mika Kaurismäki along with Anssi Mänttäri and Peter von Bagh in 1985, the festival has played host to an international who’s who of directors and each day begins with a two-hour discussion. To mark the festival’s silver anniversary, festival director Peter von Bagh edited together highlights from these dialogues to create an epic four-part choral history of cinema drawn from the anecdotes, insights, and wisdom of his all-star cast: Coppola, Fuller, Forman, Chabrol, Corman, Demy, Kieslowski, Kiarostami, Varda, Oliveira, Erice, Rouch, Gilliam, Jancso — and 64 more. Ranging across innumerable topics (war, censorship, movie stars, formative influences, America, neorealism) these voices, many now passed away, engage in a personal dialogue across the years that’s by turns charming, profound, hilarious and moving.
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Ciné-mafia (1980)
Character: N/A
Three pioneers of documentary filmmaking – Joris Ivens, Henri Storck, and the man behind the camera, Jean Rouch – recall the early days of the documentary genre and speak about their creative methods and sources of inspiration. This lively discussion between the directors is shot in cinéma vérité style and spliced with footage from their older films.
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Ciguri - Tarahumaras 99 - Le dernier chaman (1999)
Character: narrador
Rites of winter, rites of peyote. A creative documentary based on texts by Antonin Artaud read by Jean Rouch, and the words of the last shaman’s peyote, translated by Raymonde Carasco.
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Ciné-portrait de Raymond Depardon (1983)
Character: himself
A fortuitous meeting, late one afternoon, in the garden of the Tuileries, of one or two cameras, a tape recorder, and three cameramen/directors, Raymond Depardon, Jean Rouch, and Philippe Costantini.
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Civilisation: L'homme et les images (1967)
Character: Self
Collective contribution to a history of cinema, this issue of the “Civilisations” collection also takes part in the genesis of Deux ou trois choses que je sais d'elle and La Chinoise
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Lettre à Jean Rouch (1992)
Character: Self
This film is a moving tribute to French filmmaker Jean Rouch. Pauwels, a former collaborator of Rouch, accompanies him on a trip to Japan. In this cinematic letter, which he himself calls “a journey into the memory”, Pauwels philosophises about the essence of cinema and, consequently, of life.
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Мир без игры (1966)
Character: Himself
Documentary portrait of Dziga Vertov, father of documentary cinema.
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Ispahan : lettre persane (1977)
Character: Lui-même
Jean Rouch’s camera follows his friend, filmmaker/actor/critic Farrokh Ghaffari, as he walks and talks us through the famous Shah Mosque in Esfehan. While guiding him and answering his questions, Ghaffari makes Rouch discover the beauties of the architecture of the mosque and its impact on the city. Throughout the tour, they discuss Islam’s complex relationship with death, sex and cinema.
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Les Fils de l'eau (1959)
Character: N/A
A compilation of black and white excerpts from five previous color films by Jean Rouch: Yenendi, the Rainmakers, Cemeteries in the Cliff, The Millet People, The Circumcision, Battle on the Great River.
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Portrait de Jean Rouch (2004)
Character: Self
On the terrace of his regular café haunt in Paris' 14th arrondissement, Jean Rouch regales Noël Simsolo and Jackie Raynal with stories from the life of a self-described "amateur filmmaker".
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L'Oeuf sans coquille (1992)
Character: N/A
A male diva sings in a countertenor voice while massacring chickens brought to him by his butler, Jean Rouch, until a slave provides proof of his love for the chicken, which he has tucked under his arm. A film-opera based on a poem and musical theme by Rina Sherman.
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La Poupée (1962)
Character: Officer (uncredited)
An avant-garde political satire that takes place in a mythical country in South America. The dictator has been replaced by a look-alike revolutionary, and the dictator's wife has been replaced by a robot.
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Maya Deren, Take Zero (2012)
Character: Himself
This documentary interweaves films and voice recordings by Maya Deren with interviews featuring colleagues and contemporaries who worked with or knew her firsthand. Drawing on archival material and commentary from figures such as Jean Rouch and Jonas Mekas, the film traces Deren’s work and influence across experimental cinema and ethnographic thought.
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Cinéma! Cinéma! The French New Wave (1992)
Character: Self
An intimate window into one of the great movements in film history that brought about an evolution in the art of cinema. The documentary portrays the movement with insight on the lives and works of Jean-Luc Godard, François Truffaut and other principal players in the New Wave.
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Freddy Buache, le cinéma (2012)
Character: Self (archive footage)
A documentary film in which Fabrice Aragno assembles a range of footage from the archives of Radio Télévision Suisse, the Cinémathèque suisse and Cinéma en tête by Freddy Buache’s partner Marie-Magdeleine Brumagne.
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Le Fils de Gascogne (1995)
Character: Self
You're a provincial kid in Paris and suddenly you're the center of attention: Movie stars, famous directors and sexy women are doting on you because they all think you're the son of their long-dead legendary friend. You never knew your dad, but the facts of this famous guy's life suggest that he might have fathered you. Your mom tells you nothing. All the fuss makes you uncomfortable at first but soon you find it's rather fun to be the son of the famous Gascogne. And in the midst of it all you fall in love. It is, after all, springtime in Paris.
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Pierre Verger: Mensageiro Entre Dois Mundos (1998)
Character: Self
Inspired by the life of the french-born photographer and ethnographer, Pierre Verger, the movie follows his journey between Bahia, Brazil and Benin, Oriental Africa, showing places and people he met and his life study project: the Candomblé culture.
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Cinématon (1978)
Character: N°1256
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.
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Les Maîtres fous (1955)
Character: Narrator
The subject of the film was the Hauka movement. The Hauka movement consisted of mimicry and dancing to become possessed by French Colonial administrators. The participants performed the same elaborate military ceremonies of their colonial occupiers, but in more of a trance than true recreation.
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Chronique d'un été (Paris 1960) (1961)
Character: Self
Paris, summer 1960. Anthropologist and filmmaker Jean Rouch and sociologist and film critic Edgar Morin wander through the crowded streets asking passersby how they cope with life's misfortunes.
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Le Joli Mai (1963)
Character: Self (uncredited)
Candid interviews of ordinary people on the meaning of happiness, an often amorphous and inarticulable notion that evokes more basic and fundamentally egalitarian ideals of self-betterment, prosperity, tolerance, economic opportunity, and freedom.
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Germaine chez elle (1994)
Character: himself
In front of Jean Rouch's camera, Germaine Dieterlen recalls her ethnographic itinerary, at the Musée de l'Homme, in Mali and in the Paris of the 1930s.
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Samba le grand (1977)
Character: Narrator
Based on a traditional folktale, this animated film follows the hero Sambagana, who must complete a succession of arduous trials in order to make a princess laugh and earn her consent to marriage. Combining drawn animation and stop-motion puppetry, the film retells the legend through a stylized, episodic quest narrative.
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Jean Epstein, Young Oceans of Cinema (2011)
Character: Self (archive footage)
This portrait of the French film theorist and avant-garde director Jean Epstein (1897-1953) concentrates on the period when he filmed in Brittany, the spot where he became inspired by the sea. Using rare archive footage, Jean Epstein, Young Oceans of Cinema also looks at Epstein’s views on the specificity of the film medium.
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