Marceline Loridan-Ivens

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.

No synopsis available yet.

A realist dramedy about dedicated social workers who devote their long shifts to helping pregnant women.

Someone we hear talking - but whom we do not see - speaks of a project which describes the four key moments of love: meeting, physical passion, arguments/separation and making up. This project is to be told through three couples: young, adult and old. We do not know if the project is for a play, a film, a novel or an opera. The author of the project is always accompanied by a kind of servant. Meanwhile, two years earlier, an American civil servant meets with an elderly French couple who had fought in the Resistance during World War II, brokering a deal with a Hollywood director to buy the rights to tell their story. The members of the old couple's family discuss heatedly questions of nation, memory and history.

Patrick Deval, known as Bambou, the author of the cult film Acéphale, is celebrating his birthday.

An allegory of the Golem, a Jewish mythical creature personifying displacement and exile, this film tells the story of a woman (similar to the biblical Ruth) and her sisters, who are forced into exile after the death of their husbands. It is set in 1990s Paris, where the director was living in self-imposed exile following the ban on his 1982 documentary in Israel. The recurring theme of the film is migrations and unrooting, like the legendary Golem.

The untold story of a world-renowned place of remembrance of the Holocaust in France, the internment camp of Drancy, which was the central transit for the near totality of the 76 000 deported Jews of France during World War II.

Filmed in Laos in 1968, this four-part documentary examines the armed struggle against foreign intervention during the Indochina conflicts. The film focuses on the relationship between the population and guerrilla forces engaged in the war.

It is an autobiographical fiction starring Ivens as an old man who has spent his life trying to "tame the wind and harness the sea" by capturing them on film.

No synopsis available yet.

In 1998, a German documentary filmmaker named Daniela Schulz made a film about Joris Ivens’s dynamic partner, Bride of the Wind (Windsbraut), as a tribute to their decades of work together. Calling her friend Marceline “the second part of this legend [of Joris Ivens]”, she pays tribute to her as one who, after losing her “beloved and symbiotic partner, has kept her dynamism and liveliness as a person and a filmmaker”. The cinematic portrait illustrates how Loridan was in fact much more than a shadow at Ivens’s side.

A seventy-five-minute documentary featuring outtakes from "Chronicle of a Summer" (1961), along with new interviews with co-director Edgar Morin and some of the film’s participants.

Myriam, a survivor of the concentration camp at Auschwitz, is a filmmaker and journalist who has spent many years living abroad. She takes part in a memorial event at the town hall in Paris commemorating the liberation of the camp, where she wins a flight to Cracow. At first she refuses to accept the prize, then decides to go.

Myriam, a survivor of the concentration camp at Auschwitz, is a filmmaker and journalist who has spent many years living abroad. She takes part in a memorial event at the town hall in Paris commemorating the liberation of the camp, where she wins a flight to Cracow. At first she refuses to accept the prize, then decides to go.

This documentary examines the lives of the Kazakh ethnic minority in western China at the end of the Cultural Revolution. Directed by Joris Ivens and Marceline Loridan-Ivens, the film observes everyday life, work, and cultural traditions within a region shaped by political and social transition.

This documentary examines the lives of the Kazakh ethnic minority in western China at the end of the Cultural Revolution. Directed by Joris Ivens and Marceline Loridan-Ivens, the film observes everyday life, work, and cultural traditions within a region shaped by political and social transition.

From 1972 until 1974, Joris Ivens and Marceline Loridan, along with a Chinese film crew, documented the last days of the Cultural Revolution, marking the end of an era. The vast amount of footage they shot was edited into 14 films of varying lengths. Focusing on ordinary people spread over a wide geographic area—many of whom were living and working in collectives—the filmmakers recorded a unique moment in history, and also captured some of the more enduring aspects of Chinese culture.

Filmed in Laos in 1968, this four-part documentary examines the armed struggle against foreign intervention during the Indochina conflicts. The film focuses on the relationship between the population and guerrilla forces engaged in the war.

Filmed in western China in the late 1970s, this documentary portrays the Uyghur people, a Turkic-speaking Muslim minority living in the Xinjiang region. Directed by Joris Ivens and Marceline Loridan-Ivens, the film documents daily life and cultural practices during the closing years of the Cultural Revolution, situating Uyghur identity within the broader political and social framework of the People’s Republic of China.

Filmed in western China in the late 1970s, this documentary portrays the Uyghur people, a Turkic-speaking Muslim minority living in the Xinjiang region. Directed by Joris Ivens and Marceline Loridan-Ivens, the film documents daily life and cultural practices during the closing years of the Cultural Revolution, situating Uyghur identity within the broader political and social framework of the People’s Republic of China.

It is an autobiographical fiction starring Ivens as an old man who has spent his life trying to "tame the wind and harness the sea" by capturing them on film.

It is an autobiographical fiction starring Ivens as an old man who has spent his life trying to "tame the wind and harness the sea" by capturing them on film.

On the border of North and South Vietnam, civilians live underground and cultivate their land in the dead of night, farmers take up arms, and bombs fall like clockwork. Joris Ivens and Marceline Loridan’s record of daily life in one of the most volatile regions of a war-torn, divided country is both a hazardous piece of first-hand journalism and a shattering work in its own right, simmering with barely repressed anger.

On the border of North and South Vietnam, civilians live underground and cultivate their land in the dead of night, farmers take up arms, and bombs fall like clockwork. Joris Ivens and Marceline Loridan’s record of daily life in one of the most volatile regions of a war-torn, divided country is both a hazardous piece of first-hand journalism and a shattering work in its own right, simmering with barely repressed anger.

Documentary on the beginnings of Algerian independence filmed during the summer of 1962 in Algiers. The film was banned in France and Algeria but won the Grand Prize at the Leipzig International Film Festival in 1965. Out of friendship, the production company Images de France sent an operator, Bruno Muel, who later declared: "For those who were called to Algeria (for me, 1956-58), participating in a film on independence was a victory over horror, lies and absurdity. It was also the beginning of my commitment to the cinema."

Filmed inside Pharmacy No. 3 in Shanghai, Joris Ivens and Marceline Loridan-Ivens document the daily work of a state pharmacy that functions as both a dispensary and a neighborhood medical center. The film focuses on routine interactions between staff and patients, revealing an integrated model of urban healthcare in 1970s China.

This brief interview film, released in 1970, is one of the last given by Ho Chi Minh, and one of the rare ones in colour.

This brief interview film, released in 1970, is one of the last given by Ho Chi Minh, and one of the rare ones in colour.

A César award winning documentary about a high school in Beijing where a student throws a ball in the direction of the teacher who had just asked them to stop playing. The class then meets to discuss this problem.