Sylvina Boissonnas

This autobiographical film portrays a regression to life in the womb and represents three psychic states.

The film begins with shots in Venice, passers-by seized from a hotel room, with Tina Aumont. It continues in Morocco during the filming of Bed of the Virgin, in a hotel room, people chat, play the guitar, smoke.

A series of disconnected, minimalist vignettes often featuring Raynal herself, deliberately repeating actions and dialogue to challenge traditional storytelling. The film explicitly seeks to deconstruct cinematic meaning and the conventional portrayal of women in film, serving as a radical, self-aware diary film.

An experimental arrangement of austerely executed but intensely hallucinatory episodes that build into a nightmarish fever of isolation and hopelessness.

30 year old child enters the new city, riding on a donkey. He says he is the Savior. He has spent no time among men. He is trembling with cold. His clothes are soaked. His mother was overprotective ; his father conspicuously absent. He knows that he must face the mockery, refusal, ignorance and blindness of the men around him. They travel in gangs, in large numbers : soldiers, mercenaries or the like, on majestic, imposing horses. Everything is out of proportion to his thin, bewildered, innocent body ; he is the madman of the new city...

Cleopatra situates itself in the same relationship to Hollywood as the Warhol/Morrisey films of the period. It corresponds to Joseph Mankiewicz's 1963 Cleopatra, starring Elizabeth Taylor and Richard Burton which Auder's cast watched and used as the starting point for scene by scene improvisation Auder drew his cast from Warhol's ensemble – including not only Viva and Louis Waldon, but also Taylor Mead, Ondine, Andrea Feldman, Gerard Melanga and others.

Memory of what belongs to the invention of cinema. the film is a single shot to be shown in any order and size (Normal or scope) made in eight hours with a machine that conceptualizes light.

“FUN AND GAMES (FOR EVERYONE): a pitch black and milky white film shot during one of Olivier Mosset's exhibition openings. A psychedelic game of improvisation joins the Zanzibar group with Salvador Dalí, Barbet Schroeder and Jean Mascolo... the solarized image reminiscent of thick strokes of a paintbrush.” - Philippe Azoury

This autobiographical film portrays a regression to life in the womb and represents three psychic states.

This autobiographical film portrays a regression to life in the womb and represents three psychic states.

This autobiographical film portrays a regression to life in the womb and represents three psychic states.

Detruisez-vous is a ‘primitive’ film which breaks all the rules of film-making. It’s the first Zanzibar film (and predates the very naming of the movement), an attempt to make a film which defies the rules of production, the production line of commerce

A composition of symbolic, surreal and almost mystic images.

A 4-year-old child is the element from and around which the action develops, and brings sentiments and emotions to light.

In 1979, Iranian Women invite the American feminist Kate Millett to celebrate March 8, the International Women's Day, in Tehran. On March 7, the religious leaders announce that women have to wear the Islamic veil. From March 8 to March 13, women and liberals demonstrate in the streets against the veil. A crew of four French feminists filmed these historical events before being expelled by the mullahs.

In 1979, Iranian Women invite the American feminist Kate Millett to celebrate March 8, the International Women's Day, in Tehran. On March 7, the religious leaders announce that women have to wear the Islamic veil. From March 8 to March 13, women and liberals demonstrate in the streets against the veil. A crew of four French feminists filmed these historical events before being expelled by the mullahs.

In 1969, the painter-sculptor Daniel Pommereulle made his third film, this one financed by Sylvina Boissonnas. Although only a short, Vite was one of the most costly of all the Zanzibar productions. It features, for instance, shots of the moon taken by a state-of-the-art telescope, the Questar, that Pommereulle first saw while visiting Marlon Brando in southern California in 1968. In Rohmer’s La Collectionneuse, Pommereulle and his friend Adrien philosophize on how best to achieve le vide (emptiness) during their summer holidays. Three years later, Pommereulle would transform the word “vide” to “vite” (quickly), signifying his profound disenchantment with the aftermath of the revolution of May ’68. —Harvard Film Archive

An experimental and poetic portrait of a woman.

Maddening and mysterious,with the elements—ocean, wind, rocky terrain—dominating the scenes.

In 1972, what does making a film mean? How does a movie make? What is the relationship between the producer of shows and the spectator? How does meaning travel in the story? These are the questions posed and proposed by the film.

A look into Africa that is rarely available to ethnographers or anthropologists. At its heart is the spirit of interaction. It observes, but with the wavering eye of home movie, rather than the fixed formality of a documentary.