Le Mois du film documentaire 2026

In the Chris Marker exhibition at the Cinémathèque Française, my cousin Jean-Henri recognised himself in "La Jetée". Shot from behind, the photograph of him and his parents on the observation deck at Orly Airport, was the fifth shot of the film. If it was him, he was the hero of the film as a child. Our whole family recognized them, and I was drawn into his vision and the secret paths it opened up of our family history and the history of those images. It was to Orly Airport that we had arrived from Algeria in 1962. As for Marker...

La réalisation du film « Shoah » de Claude Lanzmann est une aventure en elle-même. Douze années de travail, des milliers d’heures de préparation, des voyages aux quatre coins du monde, des dizaines de témoins... et autant de doutes, de déboires, de fausses routes, mais aussi de moments de grâce douloureuse où la vérité apparaît. Grace aux 220 heures de rushes non utilisées au montage et aux mémoires de son auteur, Guillaume Ribot plonge au cœur de la production d’une œuvre majeure du cinéma, au plus près des obsessions de celui qui entreprit de faire émerger la vérité du néant.

Delving deep into the woodland realms, where lynxes, bears, deer, owls, capercaillies, and other river creatures roam, Munier not only seeks to pay tribute once again to the visual splendor of nature but also to capture the forest’s poetic sounds. The whispers of the woods are echoing the whispers passed from Munier’s father to himself, and now to his own son. This becomes a heartfelt declaration of Munier’s love for his father, intertwining familial bonds with the untamed beauty of the natural world.

Bobbing around on Mediterranean waters aboard the Ocean Viking, aid workers from the French relief service SOS Méditerranée gaze at the horizon. Is that a rubber dinghy in the distance, or is it garbage? The organization sails up and down the Libyan coast looking to pick up refugees in boats. On board is a 30-strong team ready to offer help and support refugees with their asylum applications.

Delphine Seyrig interviews twenty-four French and American actresses about their professional experiences as women, their roles, and their relationships with directors, producers, and technical crews. The overall assessment in 1976 was rather negative, revealing a profession that offered only stereotypical and alienating roles.