Joseph Morder

An ongoing collection of single static shot, mute, showing a view of the cinema facades where Cinematons have been screened.

A film about an ongoing cinematic adventure that began in 1978: a vast anthology of personality portraits called Cinématons, dealing with people in the arts. Historical, ethnological, sociological and psychological, this anthology is a living record of the artistic community of the last 20th century which attempts to answer these questions: Why film everyone? Why choose cultural personalities? How do the subjects look at their image? How much exhibitionism and narcissism is involved in being filmed?

In this avant-garde exercise in self-reflection, director Joseph Morder reminisces about his youth in Guayaquil, Ecuador, where his Jewish parents settled after they left Poland. The heat of August in Paris brings forth memories and at the same time the adult Morder is involved in a love affair. There are no scenes from Ecuador here, and none of the images in the film are used to carry the narration; instead they vaguely illustrate what Morder happens to be saying at the moment.

15 years through Le Bois de Vincennes - The "before" and "after" 1999 storm destructions.

To attain knowledge, man and woman had to be willing to give up their innocence," says Boris Lehman. Life Lesson is a poetic and philosophic reflection on the theme of paradise lost. Some fifty persons illustrate the planet's convulsions and the world's vacillations. Trying to communicate, to commune with the invisible, they cry out, sing out, give out messages, each in their own way, in their own state of solitude. These are like multiple echoes that resemble waves in the water or stars in the sky. " Behind these images and sounds that have been stifled by today's society, Lehman hunts for noises, cries, songs, messages that go astray. He says that if we look at the invisible we may hear the words. He invites us to look beyond the appearances of social life and to vibrate in tune with life's polyphony that is all around us."

Reel 3 of Gérard Courant's on-going Cinematon series.

This episode of Carnets filmés, Délices lointains, which spans the year 2004, reaches its climax in its last part with my trip to Mexico with the photographer Barbara Peón Solis.

William’s great surprise, his cousin Clovis, whom he did not see again since around thirty years, arrives from New York to visit him. Reunion between both men creates one thousand memories: always so collusive, they become fast inseparable, living again, the space of moment, their young years… Only Elizabeth, wife of William, who has just lost her father, does not share their cheerfulness.

Reel 33 of Gérard Courant’s on-going Cinematon series.

Reel 8 of Gérard Courant's on-going Cinematon series.

A French director in Berlin creates a film letter to his lover, while reminiscing over their relationship.

All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.

No synopsis available yet.

No synopsis available yet.

One of the most intimate and obstinate filmmakers in Belgium, Boris Lehman acts, directs, produces, and distributes his films, single-handedly incarnating the essence of a creator who manages to survive on the fringes of his industry. From Brussels to Paris, friends, filmmakers and critics offer their understanding of a man for whom life is a reason to film, and film, a reason to live.

Almost all of this episode of the Carnets filmés, with the evocative title, Tout est Brisé is devoted to the misdeeds of the storm of 26 December 1999 on the Bois de Vincennes, whose forest extends at the foot of my building. For several months, I was the cinematographic witness of this disaster which brought down more than half of the 130,000 trees in the Bois.

A young man tired of writing and rewriting a screenplay decides to begin a Super 8mm film diary. He films his parents and those close to him and determines to tell the about his homosexuality.

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.

No synopsis available yet.

Poetic sci-fi film as an homage to Cinema, Cocteau, Goodis and to American B-series of the 1940s. Constructed exclusively on photograms in black and white and freely inspired on Jean-Luc Godard's Alphaville.

Joseph Morder transforms his face.

On the occasion of the passing of Marcel Hanoun, Gérard Courant wanted to pay tribute to this companion whom he had known since 1975 by accompanying him with the song Avec le temps by Léo Ferré.

I give a methodical account of my film work: the creation of new series (Lire, Trio, Avec Mariola), the shooting of a new feature film (Amours décolorées which will take ten years to edit) with Mariola San Martin.

No synopsis available yet.

In this avant-garde exercise in self-reflection, director Joseph Morder reminisces about his youth in Guayaquil, Ecuador, where his Jewish parents settled after they left Poland. The heat of August in Paris brings forth memories and at the same time the adult Morder is involved in a love affair. There are no scenes from Ecuador here, and none of the images in the film are used to carry the narration; instead they vaguely illustrate what Morder happens to be saying at the moment.

In this avant-garde exercise in self-reflection, director Joseph Morder reminisces about his youth in Guayaquil, Ecuador, where his Jewish parents settled after they left Poland. The heat of August in Paris brings forth memories and at the same time the adult Morder is involved in a love affair. There are no scenes from Ecuador here, and none of the images in the film are used to carry the narration; instead they vaguely illustrate what Morder happens to be saying at the moment.

Suzanne and Albertine, her daughter, return to Omaha Beach, one of the D-Day beaches where their family has spent holidays for a Long time. The place is the scene of major family events. This time, Albertine has something to tell her mother.

Suzanne and Albertine, her daughter, return to Omaha Beach, one of the D-Day beaches where their family has spent holidays for a Long time. The place is the scene of major family events. This time, Albertine has something to tell her mother.

William’s great surprise, his cousin Clovis, whom he did not see again since around thirty years, arrives from New York to visit him. Reunion between both men creates one thousand memories: always so collusive, they become fast inseparable, living again, the space of moment, their young years… Only Elizabeth, wife of William, who has just lost her father, does not share their cheerfulness.

William’s great surprise, his cousin Clovis, whom he did not see again since around thirty years, arrives from New York to visit him. Reunion between both men creates one thousand memories: always so collusive, they become fast inseparable, living again, the space of moment, their young years… Only Elizabeth, wife of William, who has just lost her father, does not share their cheerfulness.

A French director in Berlin creates a film letter to his lover, while reminiscing over their relationship.

A French director in Berlin creates a film letter to his lover, while reminiscing over their relationship.

A private detective, Assoud the Buffalo, feels lonely and is heading for deep depression at the beginning of the Parisian summer. Lucy, a friend, organises a mysterious meeting for him on the banks of the Canal St Martin.

A private detective, Assoud the Buffalo, feels lonely and is heading for deep depression at the beginning of the Parisian summer. Lucy, a friend, organises a mysterious meeting for him on the banks of the Canal St Martin.

Assoud, known as "The Buffalo", and his sister Louise are private detectives. One day, a mysterious character asks them to carry out an investigation into the places of his childhood in Cuba. In Havana, the siblings find their cousin Mimi Shanghai, and discover an evil beach haunted by a mysterious legend. They then set out for their client's childhood home. When the client decides to join them, they at last discover his face and enable him to come to terms with his past.

Assoud, known as "The Buffalo", and his sister Louise are private detectives. One day, a mysterious character asks them to carry out an investigation into the places of his childhood in Cuba. In Havana, the siblings find their cousin Mimi Shanghai, and discover an evil beach haunted by a mysterious legend. They then set out for their client's childhood home. When the client decides to join them, they at last discover his face and enable him to come to terms with his past.

No synopsis available yet.

Max, a forty-year-old bachelor, receives a telephone call from a childhood friend, Charlotte, who left for Canada with her parents thirty years earlier.

Max, a forty-year-old bachelor, receives a telephone call from a childhood friend, Charlotte, who left for Canada with her parents thirty years earlier.

Magda Freund, widow, recently arrived from Argentina, visits a Parisian apartment. Although knowing that its owner does not want to rent it for the moment, Magda, mysteriously seduced by this place, wishes to meet him to convince him to change his mind. This man is called Marek Kowalski and lives in the outer suburbs. Magda decides to make the journey.

Magda Freund, widow, recently arrived from Argentina, visits a Parisian apartment. Although knowing that its owner does not want to rent it for the moment, Magda, mysteriously seduced by this place, wishes to meet him to convince him to change his mind. This man is called Marek Kowalski and lives in the outer suburbs. Magda decides to make the journey.

Guillaume, thirty years old, a man of images who never goes out without a filming device, decides one morning to take a voyage to Rouen empty-handed.

Guillaume, thirty years old, a man of images who never goes out without a filming device, decides one morning to take a voyage to Rouen empty-handed.

A silent, Super 8 film in color by Joseph Morder.

No synopsis available yet.

Ghosts of the past have come to today's world. They have taken the appearance of human beings and have a story to tell us. A camera mobile phone is always in their field. Through the seasons and the places, they speak about war, about camps, about extermination. They have the duty to get into our memory.

No synopsis available yet.

A Super 8, color and sound film by Joseph Morder.