In December 1953, Coco Chanel began her incredible return to center stage. The designer reopens her Haute Couture house after fifteen years of absence. The collection is welcomed by the French press with an icy silence. Only the American media supports the looks that define the rebirth of Chanel's style.
A total solo. In the center of a huge space, alone on a constantly shrinking stage, Jeanne Added engages in a hand-to-hand ballet with the camera. With Both Sides, Jeanne Added has invented a pure performance by sculpting her playing space into this huge white stage, suspended in the middle of nothing. Alone, without any pomp, the artist gives herself over completely to her vocals and dancing. An allegory of the dance floor, of a space that, by shrinking, opens itself up to immensity; or the struggle of a solitary figure, who fights while dancing, as the ground moves beneath her feet. The film of this live performance is unusual: a visual confrontation, a powerful musical battle, the pared-back presentation invites the spectator to share a unique experience. Exuding a singular and unique charm, this “living UFO” gives us an unprecedented perception of Jeanne’s intense music.
Pierre Tardieu, a day laborer, lives with his sick father. Reminiscing about his childhood with his mother on the beach, he can't free himself from her. Murdering someone becomes the only way of realizing his existence. One day, he meets a pianist called Laure in a bookstore and falls in love with her.
Belfast's own Móglaí Bap, Mo Chara and DJ Próvai perform their politically relevant tracks off their latest album "Fine Art" as they are fresh off their first feature biopic film which is Ireland's official submission for the 2025 OSCARS and as the first Irish language band to be on Jimmy Fallon. Filmed on April 16, 2024 at Yoyo, Paris.
PJ Harvey plays a typically magnetic, no-nonsense performance to a packed audience at the Paris Olympia, bringing together some of her older hits with newer material from her tenth album: I Inside the Old Year Dying.
Meeting of two greats, Cissé's tribute to the dean of African cinema is without discours, without pathos. It is the one returned by his mini camera, which attends the funeral ceremonies that marked the departure of Ousmane Sembene in Dakar, and finds the relatives of Sembene in the house he had built in Yoff, directly on rocks beaten by the ocean. These simple and close images, with a distance from the ceremonial that Sembene would have appreciated, those briefly borrowed from his films and archives, weave a film full of friendship and fraternity.
