Logorama explores the extent to which logos are embedded in our daily existence. In the words of members of H5, "Logorama presents us with an over-marketed world built only from logos and real trademarks that are destroyed by a series of natural disasters (including an earthquake and a tidal wave of oil). Logotypes are used to describe an alarming universe (similar to the one that we are living in) with all the graphic signs that accompany us in our everyday lives. This over-organized universe is violently transformed when the cataclysm becomes fantastic and absurd. It shows the victory of the creative against the rational, where nature and human fantasy triumph.”

I drift for several hours in the streets of Santiago in Chile, camera in the hand. In a district close to the Palace of Moneda, a man stands rigidly in the middle of the footpath. His body has become numb from years of solitude and suffering. Only the occasional glance from frightened passers-by connects him to society.

In Italian Somalia in 1934, a powerful colonist is running a vast estate with many indigenous workers, helped by a young, energetic and well-liked overseer. Then the colonist's beautiful, innocent daughter who had remained in her home country arrives, eager to experience the romance of Africa, full of exotic animals and human beings with strange, delightfully primitive customs. The young people fall in love, but the landowner vehemently rejects what he sees as an inappropriate match. The young overseer leaves and finds consolation in the arms of a beautiful native woman, but the tribe and her husband strongly and tragically oppose this.

This collaborative film, banned for more than a decade by French censors as an attack on French colonialism (and now available only in shortened form), is a deeply felt study of African art and the decline it underwent as a result of its contact with Western civilization. Marker's characteristically witty and thoughtful commentary is combined with images of a stark formal beauty in this passionate outcry against the fate of an art that was once integral to communal life but became debased as it fell victim to the demands of another culture.

One “pie noire” goes back to his country to meet his dying father. It is the last month of the Algerian war.

Les Maitres Foux is about the ceremony of a religious sect, the Hauka, which was widespread in West Africa from the 1920s to the 1950s. Hauka participants were usually rural migrants from Niger who came to cities such as Accra in Ghana (then Gold Coast), where they found work as labourers in the city's lumber yards, as stevedores at the docks, or in the mines. There were at least 30,000 practicing Hauka in Accra in 1954 when Jean Rouch was asked by a small group to film their annual ceremony During this ritual, which took place on a farm a few hours from the city, the Hauka entered trance and were possessed by various spirits associated with the Western colonial powers: the governor general, the engineer, the doctor's wife, the wicked major, the corporal of the guard.