Of Lead and Coal
In eastern Morocco, in mines dating back to the French protectorate, miners continue to extract the last veins of lead and coal. Assou and Bousta lose themselves in a maze of tunnels on the verge of collapse. Further awa
Found 10,000 results Back to Home
In eastern Morocco, in mines dating back to the French protectorate, miners continue to extract the last veins of lead and coal. Assou and Bousta lose themselves in a maze of tunnels on the verge of collapse. Further awa
-Housing, a human right or a "commodity like any other"? In this striking case, a group of underprivileged tenants is told that they have the law on their side, but still cannot obtain justice against the landlord. And y
Historian James Holland explores how amphetamine use affected the course of World War II.
Based on an investigation of local botany, this film is an attempt to expand the possibilities of the archive. Under the cloak of cicadas, the plasticity of matter expands between poetic and philosophical reflections.
A clown creates a giant version of his face, and then retrieves two miniature versions of himself from his luggage.
The film is a portrait of Liv Ullmann as an actress, director, human rights activist and a private person. The shows include Liv Ullmann directed work Enskilda samtal (1987) which had a screenplay by Ingmar Bergman and a
Synopsys unknown.
Âmes et rythmes is a Moroccan film directed by Abdelaziz Ramdani, released in 1962.
An early hand-tinted adaptation of Ali Baba.
Olivier Desroses and Juliette Carignan have two children, Mélanie and Quentin. They decide to leave Paris for Burgundy. Juliette, just out of a long period of unemployment, takes on the sales management of a major wine a
The tradition of ceramics with metallic reflections, discovered in the eighth century in Mesopotamia, spread to the East before being introduced to Spain, where it gave birth to the Hispano-Moorish style. In Nabeul in Tu
Through her aunt's words, a young woman tries to grasp the outlines of her deceased mother's life. The film follows a fragile moment of reconstruction, where gestures, archives, and silences serve as markers for a fragme
Noël Godin and his supporters throw a pie with cream into the face of Daniel Toscan du Plantier in the Palace of the Film Festival of Cannes 1996.