Raymonde Carasco

An intimate exploration of Raymonde Carasco’s father.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

Joa (Bulle Ogier), an archaeologist from Mexico, comes to Paris in search of her sister Anna (Mireille Perrier), of whom she is suddenly without news. Anna, a theater actress, was in the title role in Sade's "Justine" when she disappeared. The investigation leading Joa to the people who have known her sister, turns into an initiatory quest. Her journey, her stroll through a subterranean marginal Paris, leads also to the emergence of a new woman.

The movie shows a smattering of images from the story of Wilhelm Jensen's Gradiva. The subject is sublimated desire.

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Rites of winter, rites of peyote. A creative documentary based on texts by Antonin Artaud read by Jean Rouch, and the words of the last shaman’s peyote, translated by Raymonde Carasco.

An intimate exploration of Raymonde Carasco’s father.

Joa (Bulle Ogier), an archaeologist from Mexico, comes to Paris in search of her sister Anna (Mireille Perrier), of whom she is suddenly without news. Anna, a theater actress, was in the title role in Sade's "Justine" when she disappeared. The investigation leading Joa to the people who have known her sister, turns into an initiatory quest. Her journey, her stroll through a subterranean marginal Paris, leads also to the emergence of a new woman.

Joa (Bulle Ogier), an archaeologist from Mexico, comes to Paris in search of her sister Anna (Mireille Perrier), of whom she is suddenly without news. Anna, a theater actress, was in the title role in Sade's "Justine" when she disappeared. The investigation leading Joa to the people who have known her sister, turns into an initiatory quest. Her journey, her stroll through a subterranean marginal Paris, leads also to the emergence of a new woman.

The movie shows a smattering of images from the story of Wilhelm Jensen's Gradiva. The subject is sublimated desire.

Rites of winter, rites of peyote. A creative documentary based on texts by Antonin Artaud read by Jean Rouch, and the words of the last shaman’s peyote, translated by Raymonde Carasco.

Rites of winter, rites of peyote. A creative documentary based on texts by Antonin Artaud read by Jean Rouch, and the words of the last shaman’s peyote, translated by Raymonde Carasco.

A documentary cycle involving the Rarámuri or Tarahumara people of Northern Mexico. This film addresses rites of winter as well as peyote and bakaka rites. Its commentary, read by Raymonde Carasco and Jean Rouch, is drawn from texts by Antonin Artaud.

This film is a confrontation between the texts Antonin Artaud wrote about the Tarahumaras and the films Raymonde Carasco made with the Tarahumaras (from 1977 to 1994) on the track of Antonin Artaud, in Norogachic, the only place explicitly mentioned by Antonin Artaud.

This film is a confrontation between the texts Antonin Artaud wrote about the Tarahumaras and the films Raymonde Carasco made with the Tarahumaras (from 1977 to 1994) on the track of Antonin Artaud, in Norogachic, the only place explicitly mentioned by Antonin Artaud.

This film chronicles a meeting: that of the Tarahumara Indians and a camera that looks at the people that are etymologically called "foot runners." Musical montage: steps rhythms, traditional gestures and postures.

This film chronicles a meeting: that of the Tarahumara Indians and a camera that looks at the people that are etymologically called "foot runners." Musical montage: steps rhythms, traditional gestures and postures.

"Erasmo Palma: Matachín dancer, Tarahumaras songwriter, resource for anthropologists, our informer and friend since 1978." (Régis Hebraud)

This film was shot during Easter 1985. It shows the preparation and staging of the Passion in the village of Norogachic, Mexico. The initiation rites of two Pascoleros, filmed for the first time, form the center of this document.

This film was shot during Easter 1985. It shows the preparation and staging of the Passion in the village of Norogachic, Mexico. The initiation rites of two Pascoleros, filmed for the first time, form the center of this document.

To mark the celebrations of Holy Week, the Tarahumara Indians of Mexico invented (or found) dance-rites in which men paint the face and body. Passion processions depict two kinds of "fariseos" (Pharisees): some dressed in white and crudely daubed with chalk; others, almost naked--feather helmets wearers--fully marked with large white spots. Children, teenagers, young men; all the men of the tribe are organized into a strip under the lead of an older flag carrying dancer. They occupy the site of the village for three days and three nights witn uninterrupted, obstinate drums. Commemoration or preparation for what fight? For the strange figure of Governador leather mask seems to revive the tradition of the leader of nomadic warriors. On Easter morning, the public festivities end abruptly with the appearance of two Pascoleros in body paint, the dual perform a subtle dance: they will be the signal for the up-to-death of Judas.

By combining a journey to the locations for Eisenstein’s unfinished opus Que Viva Mexico! with images of an Indian girl walking, Carasco has created a cinematic topos across multiple historical eras. We see figures walking, marching, in motion, as we set out on the trail of a film, and of the Tarahumara – those who run fast.

Third chapter of La fêlure du temps. "It's enough that Gloria tells you the first time: if you want to work that way, do it. The sueño is not taught: you yourself are going to think how to work the sueño"

“The most culturally mixed of the Tarahumara dances, a hermaphrodite dance says Raymonde. We may have captured a little of Artaud’s vision in the Le rite du peyotl chez les Tarahumaras.” (Régis Hébraud)

La fêlure du temps (2000-2003) is the last of the works of Raymonde Carasco focused on the Tarahumara. This epic divided into five chapters (L’Avant is the first) focuses on the origins and the disappearance of the Tarahumara culture, based on the words of the last shaman.

Fifth chapter of La fêlure du temps. "Yes, the dead, I see him very well. He tells me of the necessity to do that ritual. We have to end this, that he may be clean, limpiado, that he must finish all that needs to be finished."

Fourth chapter of La fêlure du temps. "We work the sueño, the pure sueño: first, see, see the disease, how the disease is advancing"

Second chapter of La fêlure du temps. "As a child, I loved to dance. I remember a time we lived in happiness"

This film was shot in August 1984 in NOROGACHIC, the heart of the Sierra Tarahumara (the same place where Antonin Artaud in 1936, claims to have attended the rites of Tutuguri after crossing "The Mountain of Signs").

Meet the last great shaman of peyote and secrets of healing. These are the winter rites opening the Route du Ciguri, the final stage of Antonin Artaud's Taharumara experience.

This film was shot in summer 1979. The repeated ritual of Tutuguri that Tranquilino the saweame sang and danced six times in a short, strictly accurate duration. Secret words from which only emerge vowels, dance that builds a sacred space between the four cardinal points of a cross, a black and pagan sign. A native solar rite, prior to the Spanish conquest. The assembly here builds in a single plane the two poles of real time and an expanded space-time, from dual material: Tutuguri and Carreras.

This film was shot in summer 1979. The repeated ritual of Tutuguri that Tranquilino the saweame sang and danced six times in a short, strictly accurate duration. Secret words from which only emerge vowels, dance that builds a sacred space between the four cardinal points of a cross, a black and pagan sign. A native solar rite, prior to the Spanish conquest. The assembly here builds in a single plane the two poles of real time and an expanded space-time, from dual material: Tutuguri and Carreras.