Jacques Chancel

In May 1974, Valéry Giscard d'Estaing became President of the Republic and wanted to bring about a new era of modernity. One of his first decisions was to break up the ORTF with the creation of three new television channels: TF1, Antenne 2 and FR3. Three new public channels but autonomous and competing. It is a race for the audience which is engaged then, and from now on the channels will make the war! This competition will give birth to a real golden age for television programs, with variety shows in the forefront. The stars of the song are going to invade the living rooms of the French for their biggest pleasure. This unedited documentary tells the story of the metamorphosis of this television of the early 1970s, between freedom of tone, scandals, political intrigues and programs that have become mythical.

A feature-length documentary about François Cavanna—creator of the publications Charlie Hebdo and Hara-Kiri—who passed away on January 29, 2014. His influence on several generations of writers, journalists, and comedians is far too little known. While older audiences are aware that he co-founded Hara-Kiri and Charlie Hebdo with Choron, the dozens of books and collections he wrote or contributed to remain largely unfamiliar. People chiefly remember his early autobiographical works—such as *Les Ritals*, *Les Russkoffs*, and *Bête et méchant*—while overlooking his historical novels, encyclopedias, and polemical writings like *Stop crève…* The film draws on interviews with Cavanna conducted shortly before his death, forgotten archival footage, and previously unheard testimonies from figures such as Siné, Willem, Delfeil de Ton, and Sylvie Caster.

François Morel-Raymond Devos, Raymond Devos-François Morel, and the loop has come full circle! Because the actor's new creation, Molière 2019, borrows from the illustrious artist the title of one of his famous sketches in which he questions the universe, the madness of existence, the incommunicability with his unequaled talent. Fascinated by this great clown with "a touch of madness capable of blocking the well-oiled mechanics of logic, reality, everyday life", François Morel immersed himself body and soul in his texts to invent a musical show in his homage . Devilishly cheerful! 100 ème représentation au Théâtre de Caen

Mixing interviews, rare archival footage and film extracts, the film shows how Melville's works were impacted by what he experienced in his youth during WWII, and how it structured his whole approach to cinema, not only in its thematic but also in its aesthetics.

On April 2, 1995, the television channel Canal+ censored the documentary "Pas vu à la télé" (Not Seen on TV), directed by Pierre Carles, which had been commissioned a few weeks earlier by the program director, Alain de Greef. "Pas vu à la télé" was slated to be featured in Canal+'s "TV Day" segment, under the heading "Television, Power, Morality." Carles recounted this censorship in the feature film "Pas vu pas pris" (Not Seen, Not Caught), released in theaters on November 18, 1998. It drew over 160,000 viewers. Eighteen years later, "Pas vu à la télé" remains unaired on French television. As for "Pas vu, pas pris," it has still not been broadcast on French television. However, it has been shown on television in Belgium, Quebec, and Switzerland. Since then, nine billionaires now control more than 80% of the media in France, while eleven of them account for 57% of the television audience.

An ambitious teaching student's finals studies are interrupted by a passionate affair with a jazz musician.

After moving to a new city, a young French teenage girl falls in love with a boy and thinks of having sex with him, since her girl friends have already done it.

Imitating stars from French pop music is the only leisure activity of a village girl. She decides to go to Paris with her mother in order to try her luck in show business industry.

Charles Aznavour talks to Jacques Chancel, evoking happy memories such as the pain au chocolat at tea time, or Graziella, his first love at the age of 12. The singer talks about his career, his admiration for Trenet and Brassens, and his marriage, “a happy and definitive stopover”. These confidences are interspersed with excerpts from concerts and rehearsals.