Christophe Clavert

The media hype didn’t do any good for the Calais Jungle. Far from such echoes, Christophe Clavert’s concern is to come back to the sites – afterwards, otherwise. Beginning with clarifications as to how to do things. Thus, by way of a preamble, the scrupulous and detailed reminder of events and the political, administrative context of the jungle in Calais in 2016 while the places the film-maker evokes unfold through slow, methodical sequences. It’s about the tale’s rendition, from one time to another, and from the images of the regime unfolding, with its magnificent drawings taken back then, in counterpoint to the photographic archives and video. A work of hospitality, devoid of excessive light or spectacle, yet insisting on History’s memory, as the final annotation reminds us with striking dryness.

"The word 'revolution' to us Frenchmen is not a vague term. We know that Revolution is a rupture, that Revolution is an Absolute. There is no such thing as a moderate revolution, there is no such thing as a planned revolution—as one speaks of a planned economy. The revolution we are announcing will overturn the entire existing order or it will not take place at all..."

More than a land, it is from the lake that this son comes. Raised by a father fisherman, he learned his noises and currents, maybe also its hardness at the same time as that of adults. Lake is also a border, but in the water his drawing is lost: in the fishery, "profession of free men", Savoyards and Vaudois find themselves in confreres, and if out loud we only talk about nets and fish, in silence we sometimes enter the Resistance. During the war, Switzerland was sent to refugees, without always understanding what is happening, or why they have this look. After the war, the son will contribute to another history: elected municipal, he participates in the emergence, in Lausanne or to Thonon, of a new left. According to the novel Gens du Lac de Janine Massard, published by Bernard Campiche

In a single static shot a man is threatened with death at another's gunpoint.

No synopsis available yet.

Today, in France. A man escaped from a detention center travels the roads trying to reach Paris. At the same time, in 1894, a strange scene takes place in an apartment.

The media hype didn’t do any good for the Calais Jungle. Far from such echoes, Christophe Clavert’s concern is to come back to the sites – afterwards, otherwise. Beginning with clarifications as to how to do things. Thus, by way of a preamble, the scrupulous and detailed reminder of events and the political, administrative context of the jungle in Calais in 2016 while the places the film-maker evokes unfold through slow, methodical sequences. It’s about the tale’s rendition, from one time to another, and from the images of the regime unfolding, with its magnificent drawings taken back then, in counterpoint to the photographic archives and video. A work of hospitality, devoid of excessive light or spectacle, yet insisting on History’s memory, as the final annotation reminds us with striking dryness.

The media hype didn’t do any good for the Calais Jungle. Far from such echoes, Christophe Clavert’s concern is to come back to the sites – afterwards, otherwise. Beginning with clarifications as to how to do things. Thus, by way of a preamble, the scrupulous and detailed reminder of events and the political, administrative context of the jungle in Calais in 2016 while the places the film-maker evokes unfold through slow, methodical sequences. It’s about the tale’s rendition, from one time to another, and from the images of the regime unfolding, with its magnificent drawings taken back then, in counterpoint to the photographic archives and video. A work of hospitality, devoid of excessive light or spectacle, yet insisting on History’s memory, as the final annotation reminds us with striking dryness.

No synopsis available yet.

Today, in France. A man escaped from a detention center travels the roads trying to reach Paris. At the same time, in 1894, a strange scene takes place in an apartment.